Ottawa's Festival of Ideas Since 1997

Twisted Reality in the Roastery

Young Adult fantasy fiction tends towards the extreme – it evokes the young adult experience by creating worlds as new, vibrant and intense as the teenage inner life. Individuals with extraordinarysecrets and special identities fight against monolithic, repressive establishments and demon adults. The Hunger Games, one of the most popular young adult books in the world, features a young woman fighting against a world literally engineered to destroy her. The three authors who made up thediscussion panel at the Writers Fest event “Twisted Reality: Hiding in Plain Sight” write about teenagerswho must hide their supernatural abilities from a corrupt government, are abused and self-harming,stalked by inner demons and real adults, and are caught up in a complicated plot of identity theft.


When I walked into the Bridgehead Roastery on Saturday night, however, it was difficult to access thatsense of the world as a dangerous place. The authors sitting in front of a standing-room only audienceof 40 – 50 people just seemed really … nice. I was late, and could feel that a warm rapport had alreadydeveloped between the alert and interested panellists and the audience.


The moderator began with some questions about the degree to which the writers considered theiraudience while writing – did new technology or decrease in attention spans impact the authors? GaryBlackwood, who writes historical fiction such as “Stealing Shakespeare,” argued that teens need linearstories. Charles de Lint, whose newest series “The Wildlings” is about teens developing supernatural powers, pointed out that he thought that young adult fiction was gaining in popularity because of the enduring appeal of great stories “with action and resolution.” All the writers agreed that they did notwrite with their audience or its particular technological proficiencies in mind, but explored ideas and emotions they are passionate about and felt are authentic. Cheryl Rainfield noted that she feels veryvulnerable when she thinks about how much of herself is in her tales of troubled childhoods and abuse.


The moderator tried a different tack to expose the ever-mysterious creative process, by asking if writingwas directed toward some kind of pre-planned goal. The authors engaged deeply with the question:“I really feel I am trying to make a difference through my books… I am trying to increase compassion,”said Rainfield. She revealed later that she feels that writing about abuse saved her life. De Lint noddedenthusiastically. “I write about outsiders a lot – I’m trying to get people to see inside.” He laughed,“Sometimes I feel as if I’m beating people over the head with my themes.” Blackwood shifted in his chair, uncomfortable with the idea of “message”… “Well, I certainly don’t begin with a message,” hesaid, “But of course, I end up writing about what is really important.”


The discussion turned from the authors’ work to their writing processes. The audience began to askmore questions during this portion, asking for help with their writing or with teaching their studentsto write. “How do you corral your ideas?” asked one woman, “I just have so many!” de Lint answeredwith three words he said no one would want to hear: “Just. Keep. Writing.” He said he frequentlyhits a point in every book where “I just want to write: ‘And everyone died. The End.”” Like an athlete, however, you have to push through: “Practice your finish muscle.” de Lint answered many of the questions about writing practice with snappy bon mots such as “Writing is like reading a book really slowly” - clearly all fired up for his workshop the next day. After some discussion of their various writing habits (every morning, everywhere, binge-writing and recovery periods), I reflected on how much dedication, work and discipline writing for a living involves. It is not, as I believe I pictured when I was a young adult, hanging around in an artistic and emotional ferment for the majority of the time.


When I read young adult books, I sink gratefully into the familiar trope of besieged specialness. Halfway through the evening, I caught myself thinking about how the best of the genre accesses that particularly teenage feeling but also widens the perspective to allow for insights into the universality of the human experience – caring for others as well as protecting yourself. Charles de Lint, Cheryl Rainfield, and Gary Blackwood were open, friendly and supremely ready to chat about their craft and body of work.They seemed to genuinely care not only about the impact of their work but also about whether or not everyone at Bridgehead got what they wanted out of the evening. I reflected that teenagers with these three leading them through their different worlds had very solid guides.