Write It for the Young at Heart
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Write It for the Young at Heart

Insights into writing Young Adult / Middle Grade fiction
4.8 (2 ratings)
Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings.
4 students enrolled
Created by Beth Kephart
Last updated 9/2016
English
Current price: $30 Original price: $35 Discount: 14% off
30-Day Money-Back Guarantee
Includes:
  • 1 hour on-demand video
  • 1 Supplemental Resource
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
JUNCTURE-YA
What Will I Learn?
Set new standards for excellence in the YA/MG books you write
Know which books to read to inspire your own stories
Begin to write an MG/YA book
Deepen the story with ideas about character, home, complexity, and language
Differentiate and distinguish your characters' voices
View Curriculum
Requirements
  • This course is open to all writers and readers with an interest in YA/MG books
Description

What are the prevailing trends of and possibilities for books written for the young at heart? How do enduring stories get made? What do we do with the beguiling reality that not all teens think the same, talk the same, want the same? What can we learn about teen readers when we ask them what they read, and why?

“Write It for the Young at Heart,” a ten-part video series, offers an insider’s view.  With segments ranging from “Bad, Good, Excellent?” “From Truth to Fiction,” and “Getting the Facts Right in Fiction” to “Building the Hearth of Your Story,” “He Said/She Said,” and “War Stories,” the series names and defines key writing challenges, celebrates the work of authors who have gracefully met those challenges, and offers writing tips and cautions. The series goes far beyond a traditional “how to” series by placing issues within historical, literary, and personal context.

With a dozen acclaimed young adult books to her name, Beth Kephart’s books have received multiple stars and best-of-year citations, been selected by the Junior Library Guild and Scholastic Book clubs, and been translated into multiple foreign languages. Kephart is a frequent review contributor to the Chicago Tribune, has presented keynote addresses on behalf of Bank Street, Publishing Perspectives, and elsewhere, has appeared on numerous national and local panels, and has traveled the country to visit high schools, middle schools, and libraries. She chaired the 2001 Young People’s Literature Jury for the National Book Awards, where she first developed her criteria of excellence. She is a teacher of creative nonfiction at the University of Pennsylvania, where she won the Beltran Family Award for Innovative Teaching and Mentoring. She is the author of a dozen other award-winning books for adults and a monthly contributor to the Philadelphia Inquirer. Finally, she is a partner in Juncture Workshops.

Who is the target audience?
  • Writers and readers of YA/MG
  • Teachers of YA/MG
Curriculum For This Course
Expand All 10 Lectures Collapse All 10 Lectures 01:13:47
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Write It for the Young at Heart
10 Lectures 01:13:47

In this introduction, I tell the story of how I got my first contract for a YA/MG book, and how that launched me into this whole new world.

Preview 02:53

What counts for excellence in the MG/YA books? Against which yardsticks should we be measuring our work? And what should we be reading to inspire the writing that we’ll do? In this lecture I look back at the criteria I developed as chair of the Young People’s Literature Jury for the National Book Awards in 2001 and at the books that inspire the writing I do.

Bad, Good, Excellent? What are we talking about here?
07:10

Passionate, urgent fiction most often carries forward strands of the truth. Even Suzanne Collins (Hunger Games), JK Rowling (Harry Potter series), and AS King (I Crawl Through It) have found, lodged within their science fiction, fantasy, or surreal novels, personal realities. In this lecture I reflect on the many ways that writers move from truth to fiction. I then share some truth-to-fiction prompts designed to get writers writing.

Getting Started: From Truth to Fiction (Part 1)
08:49

In this second part of the truth-to-fiction lecture, I look at what we learn from Jacqueline Woodson, Sherman Alexie, and Ellen Hopkins as they convert their personal lives to fiction, at how Patricia McCormick transformed the truth of another into fiction, and at how my own memories of my teen years launched my first book for younger readers, Undercover. I then make suggestions about how writers can move, in additional ways, from truth to fiction.

Getting Started: From Truth to Fiction (Part 2)
06:56

Every book of fiction, even if it comes from a personal, known place, is improved by research. Here I look at two of my own books and how they got their start in deep research. I then make suggestions about what resources might help launch or develop the YA/MG novels of others.

Making the Facts Right in Fiction
08:10

Every book of fiction also needs a centering place, a place from which the characters emerge and, perhaps, return to. Those centering places, those homes, are built detail by detail. Here I tell a story about how that gets done and provide some thoughts about what that word “home” can mean in fiction.

Build the Hearth of Your Story, One Detail at a Time
05:50

It’s much too easy to assume that books written for the young at heart are somehow easier to write than other kinds of books. That isn’t true. In fact, we have an obligation to elevate this category with intentional complexity by honoring the intelligence and complexity of our reader (and characters). I reflect on how that gets done in this lecture.

Preview 08:14

Too many teen books feature too many teens who sound precisely like every other fictional teen. Here we look at the importance of distinguishing young voices, and what we learn from multiple-voice novels as we work on the ways our characters talk.

He Said/She Said
09:17

Here I stop to recall the teens I met a few years ago at the National YoungArts program in Miami, where I served as the master writing teacher. They had a lot to say about what they actually read and why. I share parts of our conversation with the hope that inspires other writers to pay attention to the broader spectrum of storytelling possibilities.

Something’s Missing
04:41

In this final lecture in the series, I reflect on war stories and what the best war stories teach us about the possibilities of stories written for the young at heart. The lessons from this lecture can be applied to any number of additional story “types.”

War Stories
11:47
About the Instructor
Beth Kephart
4.8 Average rating
12 Reviews
38 Students
2 Courses
Memoirist, Teacher, Partner at Juncture Workshops

Beth Kephart is the award-winning writer of 21 books, including six memoirs, and the author of Handling the Truth: On the Writing of Memoir, which won the 2013 Books for a Better Life Award (Motivational) and was named a best writing book by O Magazine and Poets and Writers. The winner of the Beltran Family Teaching Award at the University of Pennsylvania, Beth is a partner in Juncture Workshops, which offers five-day workshops on extraordinary landscapes as well as a monthly memoir newsletter. Beth writes a monthly column on memory and place for the Philadelphia Inquirer, reviews regularly for the Chicago Tribune, and has written for the New York Times, Salon.com, The Millions, Creative Nonfiction, Brevity, and others.