The Age of Miracles by Karen Thompson Walker
No one predicted the slowing of the Earth’s rotation. For Julia, the weight of the consequences are felt in hindsight as she reflects on her sixth grade year, that first year of “the slowing”. Some people adapted better than others. While the days grow longer, communities crumble like sugar, and relationships shift, life goes on. But for how long?
It’s funny how in the midst of catastrophe, some parts of life plod on unimpeded. Like the ups and down of being eleven, or having a crush, or realizing adults don’t have all the answers either. It’s a rough transition, even without environmental disaster. Walker beautifully captures a classic coming-of-age story against a tragic backdrop. Her imagery is sharp, her points subtle, and her protagonist relatable to anyone who remembers (or is currently experiencing) the unstable years of upper adolescence. Definitely not a light-hearted summer read, but one I recommend YA readers add to their lists.
*Shout-out to my cousin, Zachary, who recommended the book.
Kids are funnier, more creative, and more astute than they are sometimes given credit for. As an adult it can be hard to remember how to think like a kid, making it harder to get inside the mind of a child character. So how do we improve the way we represent children in fiction?
Spend Time with Them
The best way to get to know someone is to spend time with them, right? Even if you’re not “a kid person”, spending some time with them can do wonders for getting those writer wheels turning. Take notes on the conversations you have. Who are more creative and honest than people too young for a verbal filter? I’ve heard some of the funniest, saddest, and purest one-liners while babysitting, and have been able to spin them into great dialogue, in some cases dialogue that isn’t even between children. Those little buggers can be wise.
Know the Vernacular
With child characters, this means being able to distinguish the dialogue of a five year old from a ten year old, etc. I have read stories that underestimate the difference in children’s vernacular as they develop, and the result is unrealistic dialogue or inconsistent/flat characters. Again, exposure can be a huge help. And while we often want to believe in the innocence of children’s language, the truth is that by upper elementary a kid probably has a more colorful vocabulary than some parents might want or expect. In writing this is often used for humor, but if it fits someone’s environment or personality it can also be reflective of realistic characterization (think Stranger Things or the “Bleep” episode of the TV show Arthur).
Recognize Their Impact
Child characters are often used to empathetic ends. We see this when they are used as foils for jaded or angry adults. Their innocence and black-and-white view can diffuse tense situations, likes Scout Finch in To Kill a Mockingbird, or increase tension by obliviously wandering in on an already taut scene. However, child characters can also reveal the darker parts of human nature, like in Lord of the Flies. Either way, they can provide a lot of insight into what it means to be human. But they should also be understood as more than just a literary symbol. They need to be well-rounded characters and relevant to the story. I think Laura from the movie Logan is a great (if slightly intense) example. If kids shouldn’t be talked down to then as characters they shouldn’t be “written” down to either. Let’s give credit where credit it due.
Question of the week: What was your favorite children’s book/series growing up?