Tag Archives: new adult

Isabella sails into gold at the FAPA President’s Awards

Tortuga Bay earned two gold medals in the FAPA President's Awards

Tortuga Bay earned two gold medals in the FAPA President’s Awards

Tortuga Bay continues to generate enthusiasm and accolades as 2016 moves into its final months. Earlier, Isabella and her crew fought their way to recognition as a Category Finalist in the Eric Hoffer Book Awards. Tortuga Bay has also made it into the final rounds of the Royal Palm Literary Awards (final results will be released in October). Now, her crew earned gold medals in two categories of the President’s Award competition hosted by the Florida Authors and Publishers Association.

Both awards came in Young Adult (YA) categories. This first category was Young Adult Fiction, a broad category that would have her compete among many other books and subgenres. The second category was in YA Romance, Coming of Age, and New Adult.

Gold medal certificate for Young Adult Fiction

Gold medal certificate for Young Adult Fiction

Tortuga Bay (and the Pirate of Panther Bay series) are showing a broad appeal. While all the results are not in, the story has made it into the RPLA finals under Published Fiction—Mainstream/Literary. That means the novel is competing against a wide range of novels, in and outside the young adult category. In addition, Tortuga Bay made it into the RPLA semi-finals in the categories of YA historical fiction, women’s fiction, and YA romance.

Gold medal certificate for Young Adult Romance/Coming of Age/New Adult

Gold medal certificate for Young Adult Romance/Coming of Age/New Adult

FAPA’s awards have a lot of integrity. Unlike some other competitions, FAPA does not feel obligated to hand out awards to books based on the number of submissions in a category. Each book is judged and evaluated numerically based on a rubric. In order to become a finalist, the book has to meet a minimum numerical threshold from the judges. Specific thresholds are also necessary to qualify as bronze, silver or gold. Some categories, in fact, didn’t have any medalists. Other categories didn’t have any gold medals awarded, and others didn’t have bronze or silver medal awards. So, winners have confidence that their award was based on an absolute measure of quality (although scores are still subjective) that are compared equally across other submissions.

Thus, we are particularly proud to have earned these gold medals.

To buy Tortuga Bay, check out amazon.com or SYP Publishing.

For more on the series and how it can be used in the classroom, check out my website: http://www.srstaley.com/pirate-of-panther-bay.html

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Will Tracy Lawson’s novels become this generation’s Ayn Rand substitute?

By SR Staley

Resist, the second novel in Tracy Lawson’s Resistance Series, picks up right where Counteract leaves off: Heroine Careen Catecher and love interest Tommy Bailey are on the run after the murder of the director of the national Office of Civilian Safety and Defense (OCSD). The OCSD is a federal umbrella agency that has subsumed major bureaucracies such as the FBI, CIA, Department of Homeland Security, and presumably even the Centers for Disease Control. Careen and Tommy have discovered the director of this super agency and his cronies are plotting to use terrorism as a cover to drug the general population under the pretense of inoculating them against biological warfare.LawsonResist,1

Set in the near future (15 years from current day), the Resistance Series explores the loss of freedom that can creep up on individuals and society through incremental changes that seem small but loom large over time. As Lawson says: “In the Resistance Series, there has been no rebellion, no cataclysmic event. The dystopian world in which they live has been created by fear, engineered by an enemy masquerading as a protector.” The premise is scary enough, and remarkably rooted in modern events and policies, as the controversy surrounding Edward Snowden and leaked classified information on domestic and international spying remind us.

The setting and premise could easily lend itself to an adult thriller by Michael Crichton, but Lawson’s series is firmly rooted in the young adult/new adult genre. The action is faster, and the story carries a syncopated beat that lends itself to the pace of a YA trilogy, not unlike the Hunger Games. In fact, like Katniss Everdeen, Peeta Mellark, and Gale Hawthorne, the protagonists are older teens who are simply trying to get on with their everyday lives. Rather than the post-apocalyptic setting of Panem, in which the vast majority of the population lives in servitude to the Capitol, Lawson’s protagonists are recent high-school graduates focused on the normal current-day activities of enrolling in college and participating in sports. Only an unanticipated series of small events leads them to discover the sinister plot to turn the nation into a mass of compliant citizens under the thumbs of politically powerful bureaucrats. In this way, Lawson’s series is very much grounded in another characteristic of the YA genre: everyday young adults forced to make significant life decisions without the luxury of experience or preparation. Not surprisingly, both Counteract and Resist tend to be plot- and setting-driven stories although the characters have an opportunity to flesh out in important ways in the second book.

Lawson,CounteractMy review of Counteract compared Lawson’s novel to 1984, George Orwell’s classic dystopian story the coined the term Big Brother and wrestled with government over reach, the tyranny of collectivism, and the implications for freedom. About halfway through Resist, I couldn’t stop thinking about the novels of Ayn Rand, especially her 1937 novella Anthem. In Anthem, Rand tells the story of a Equality 7-2521, a person who lives in a community in which individuality has been purged from the formal institutions of society. A Council of Vocations assigns jobs to people based on what they determine is their Life Mandate. The story follows Equality’s evolution into an individual as he discovers his natural inquisitiveness and intelligence leads him to innovate and produce. Through unregulated exploration, he discovers the word “I” and finds freedom.

Resist, fortunately, is not nearly as abstract as Anthem, making it much more suitable for YA audiences. It’s relentless focus on personal freedom and the right to live independently of the government is strong and tightly woven into the plot, and the action keeps the reader engaged. More importantly, however, as the characters develop, we see in Resist the makings of a trilogy that provokes readers in ways that more popular genre fiction doesn’t. Katniss Everdeen, for example, remains remarkably apolitical through the trilogy despite bearing witness to extraordinary oppression.AnthemBookCover

Lawson has the refreshing courage to push her characters to act and take responsibility for their actions. They don’t just bear witness. They recognize and accept the responsibilities that come with the knowledge they gain. And they act. Thus, unlike other YA fare, the Resistance Series admirably challenges its readers to ask themselves “What would you do?” and explores the implications of acting on those decisions.

For those looking for an engaging, YA adventure/thriller with strong pro-personal liberty themes, the Resistance Series should have a highly visible place in their book case or on their e-reader.

 

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Lessons in Writing Styles: Cussler vs. Clancy vs. Staley

One of the great benefits of Beta Readers–those brave souls willing to read drafts of your work before presenting it to the world or a publisher–is their insight into your writing style. Sometimes we resist these comparisons–as happened in this case–but they often yield a useful perspective that helps us define our own style and gives us a marketing angle as well.

This came home to me recently while my Tallahassee-based critique group was reading an early draft of St. Nic, Inc., my fourth novel released in August 2014.  After reading the opening chapters, critique group member and aspiring novelist Emily Timm said “Your book reads like a Clive Cussler novel.” After a few chuckles from the other members, she added, “and I mean that in a good way.”

Now, at this point, I was a bit embarrassed. I had never read a Clive Cussler novel, although I knew he had sold a lot of books. In fact, he’s sold millions, and his books have been on the New York Times best seller list twenty times. But this information was really useless to me as a writer, and I didn’t know how to process it. I wasn’t sure if this really was a good comparison.

Then, another reader (but not a critique group member), Mark McNees, said St. Nic, Inc. “artfully combines the action of a Tom Clancy novel with the insightful social commentary and multiple levels of experience as George Orwell’s Animal Farm.” Two more great cites. The contrast in writing styles between these now deceased writers was potentially significant: Orwell wrote in a class literary tradition while Clancy wrote action-adventure-technology thrillers. 

While I am very familiar with Orwell’s work, I wasn’t well versed in Tom Clancy’s, except for watching a few movies based on his novels. Tom Clancy was a genre buster and one of the few writers to have their inaugural novel (The Hunt for Red October) shoot to best seller status.  Still, I understood the genre pretty well, and I was curious how my writing style compares to Clancy’s.

The only way to find out was to read their books. What I found was quite revealing.

Of course, my writing style is different–neither Clive Cussler, Tom Clancy, or George Orwell. In part, this is the result of my focus on writing for young adults and middle school readers for the first three novels. St. Nic, Inc. is written for the general fiction market although it is accessible to young adults. These readers want fast plots, plenty of action, and a gripping story. The rule is the less description, the better. In this way, Clive Cussler’s style, although he is geared toward adult markets, is well suited to my approach.

But I also included layered characters with arcs that peak at different times based on the trajectory of the main plot and subplots. Thus, my stories aren’t as straightforward as Cussler’s, and my characters experience significant life changing events that influence how they view the world. Like Clancy, I strive to make my fiction authentic. The Pirate of Panther Bay attempts to stay true to the real world of pirates and the historical context in which the characters live. The Path of the Warrior series attempts to ensure the martial arts self-defense skills are authentic and realistic, set within the context of middle-school bullying and violence. These values permeate the stories and books.

So, where does St. Nic, Inc. fall? Of course, it’s a little bit of each. I admire the lean writing style of Clive Cussler even if it won’t earn him accolades from the literary elite. (Of course, readers love it.) While I would like a little more flourish when reading Cussler’s novels, the action and pace keep me engaged, and I’m not sidetracked by subplots or thinly disguised attempts to be classic fiction. The characters and stories are straightforward, and that suits his fans (and publisher). These are very easy reads, the epitome of escape literature. I like Clancy’s commitment to keep the adventure-thriller grounded in reality and the characters more layered and complex. This also has turned out to be a highly successful strategy, and it probably reflects his own personality as a writer. While still escapist in its approach, Clancy’s novels require a bit more patience and enjoyment of the journey.

Based on the comments I’ve received from readers, St. Nic, Inc. seems to reflect a happy evolution of my writing style, one that embraces a lean writing style with layered stories. I am pleased to embrace comparisons to all three highly successful (for different reasons) literary giants. I’m not sure I would have made these connections, and become more confident in my own writing style, if hadn’t been for the prodding and candid observations of my beta readers, friends and critique group.

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