I never thought a deep love of New Orleans, Voodoo, and Marie Laveau would become my inspiration for a paper. A novel on the other hand, I knew would happen eventually. I just needed a little nudge in the right direction- thanks Ms. Paris. After four years of research, and countless scrapped manuscripts (ok, I was counting- eight!) I’ve decided it’s time to give this novel thing a go. Besides, I have all summer to finish this before I have to get serious about school again. A hefty task, you say? Nah, not really. I’m halfway there. With a little elbow grease, I’ll have this thing done in no time. Riiiggghhht!
Ok, enough grandstanding. If I want to have this book written, spit-and-polished, agent-ready by August, I’ve seriously got my work cut out for me. Of course, all true Voodooiennes know that nothing good happens in August. So maybe I’ll let the story settle a while before querying… But, first things first! I need a story before I can query, and at this point, mine has a few key issues in need of addressing.
First and foremost, Johnny LeBoeuf, or is it LeBeau? The pronunciation is almost identical, the F barely audible. That is, of course, if you speak Cajun. But since that’s a dying dialect, I’m afraid that brings me to problem numero uno. He’s been Johnny LeBoeuf since day one and I’m reluctant to change it now, but I don’t want my readers to think his name is LeBoeuFFFF! What to do? What to do? I think that question deserves a little more pondering. And ponder I shall.
Problem number two is a little less problematic- as far as plot problems are concerned. The question being- is Mama Nonie really a creole? Now, that question may leave you wondering two things- (a) Who's Mama Nonie? And (b) What’s a creole? Let’s start with the easy question. Mama Nonie is a supporting, non-plot-pivotal character in my story. She’s the Abshire’s housekeeper, my MC’s confident, and local Voodoo expert. Her part in the story is important, necessary even, but whether or not she’s creole doesn’t really matter in the grand scheme of things. Which brings me to question two. Creole, what? Well, the answer is… well… there is no answer. No true, definitive, end all be all answer. That’s right, the verdict is still out on what actually makes a person a creole. Even in New Orleans, where the term originated, people can’t agree on what it means to be a true creole. However, the most commonly accepted and widely known definition of creole is: a native-born descendant of
early French, Spanish, Haitian, and Portuguese settlers in the southern United States.
So does Mama Nonie fall into this category? Yes. Does it matter? Not really. I’m afraid my story is already loaded with things that need to be explained. I mean, gris-gris, anyone? I don’t have time or word count to spare on a character who isn’t driving the narrative. Does she need to be fully developed to be a good supporting character? Absolutely. But that doesn’t mean I need to devote several chapters to explain a lengthy back story. Bits and pieces, I’m sure, will filter in as I write… so I’ll just take it from there.
On to number three: This is a topic that probably deserves a blog of its own (and may possibly get one at a later time.) Is language a barrier in YA lit? After posing this question on AQ, I received several firm, yet contradicting, responses. Although it’s been done, successfully, I might add, several times, it’s apparently frowned upon among my fellow YA writers. Why? Apparently because many writers think readers are too lazy, and/or too ADD to use a language reference, even if one is provided in the back of the book. I, as a reader, don’t mind it… but I’m not the reader in this instance. I’m the writer, and if this issue could prevent me from publication/sales/readership/fan-base, then I don’t want to risk it. Which, I think is a real shame. Cajun-French is so much fun, and so culturally rich- not to mention one of my MCs speak it- I’d hate to leave it out of the story. I really think it would be a disservice to New Orleanais who’ve struggled to keep this dying language alive, So, I have but two options. Leave it out, or leave it in with minimal usage and superb in-text references. Obviously I’m leaning toward option number two. I just don’t think I could do Johnny or the book justice without it.
Finally, at least as far as this blog is concerned, does Marie II need/deserve a POV all her own? I suppose that’s not the right question at all though, is it? Does the story need an antagonistic POV or can Shay handle things all by herself? I’ve been back and forth on this issue and I’ve come to the conclusion that that’s a question I’m not yet ready to answer. Hopefully the answer will present itself as I write. But, as for now, I have a literary Jazz Funeral to attend in the AM, so I’d better get some sleep.
Until next time. Bonne lecture et bonne nuit.
PK Dawning
4 comments:
I am not your typical YA reader but I think you should keep the local language in. It's important to the depth, feel and context of your characters. Can you imagine the conversation without the velvety smooth patois in the right scene? And as for description of characters... ever think of the old style used for writing plays? Little character bios at the beginning with the hint of mysterious questions included. BTW.. you go girl!! I can't wait to read it.
Thanks massagegirl. I wasn’t a big YA reader either until I started plotting the idea for this story. My MC came fully formed as a 15 year old would be debutant who grew up on the wrong side of the Mississippi. As I outlined the story, I realized there was no other way for it to work. The market is there, so that’s a huge plus!
Thanks for reading!
Glad you got this thing up and running again! I’ll address each question in turn.
As far as Johnny’s surname is concerned, I say go follow your heart. Names are important, and you want to be comfortable with what you are calling your character as you write.
Mama Nonie sounds like quite the woman. I think it’s a smart idea to sprinkle in bits of her story as you write. Don’t over do it. So long as you stay focused on moving the plot forward, I think you’re ok on this topic.
On the subject of Cajun dialect, I agree with massagegirl. Use it! Not only is it part of your characters development, but it’s such an easy way to get the feel of the culture. So many novelists who chose to write about Southern Louisiana completely dismiss the language, and it’s such a shame. Don’t follow suit just for an easy way out.
Antagonist POV can be tricky to pull off, but when it’s done right, it can really make a manuscript sing. Just be careful here. Again, you want to make sure the story is moving forward.
Thanks for the adive, Alex. Very helpful.
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