As a writer, I am often asked what kind of audience I think I am writing for. “Who, Mickey, is going to read your silly fantasy stories?”
To be perfectly clear… I started out as a writer intending to be a YA novelist, writing for more mature middle school and high school readers, probably more female than male. But any good YA writer writes stories that appeal to the adult, even if it is only the adult part of teenagers. Books like To Kill a Mockingbird, The Giver, The Hunger Games, and Ender’s Game are well known because of the adult readers who read, love, and praise those stories. I’m not saying you can’t intentionally write for a young adult audience. But I am saying you can’t write down to those readers, or you will certainly offend and lose them before the end of your story. You have to understand that they are becoming adults.
But you can’t please all readers. Two readers who left devastating reviews on two of my books basically over-reacted to what I wrote, and let me have it with both barrels of their “Save-the-world-from-icky-Mickey” crusades. One thought Sing Sad Songs was reprehensible and evil because two of the characters, young Valerie, and Francois, the boy from France, experience sexual attraction to each other, and then both have to deal with the emotions it causes by talking about it with friends and families. The reviewer insisted that children should not talk or think about sex in a story. That was a moral violation according to her, even though no actual sex scene occurs in the story beyond a French kiss. The other lady reviewer objected to depictions of the nudist Cobble sisters in The Baby Werewolf. She claimed that the depiction of the girls, particularly Sherry, was entirely too “creepy” even though the book is a horror comedy and built on creepiness in the central conflict. Authors apparently have to have a thick skin, as every kook and prude is entitled to their own opinion.
On the positive side, though, I have gained a lot of readers who are nudists because of the Cobble Sisters and their status as at-home-on-the-farm nudists. Particularly in the companion book of The Baby Werewolf, Recipes for Gingerbread Children. The idea of nudist characters and naked people in a story makes many potential readers turn up their noses, assuming it is something perverted or pruriently sexual. I think, though, that I have successfully depicted nudists as they actually are, having been a part of the Texas nudist community, at least on the fringes. They are definitely not perverts and sex fiends, as the girls are routinely explaining to their non-nudist friends.
But I can basically describe my personal philosophy of writing for a target audience this way;
I write with an imaginary member of my target audience reading over my shoulder. Sometimes they sock me in the back of my head for things I have written. But I am not writing for him or her. I am writing for me, the things I want to write, like to write, have to write, and need to write to live.
Ah, irony again! It ends up being anything but simple. You can write in simple, adjective-and-adverb-free sentences as Hemingway did, and still manage to convey deeply complicated and thoughtful ideas. One might even suggest that you can create poetic ideas in mere prose, dripping with layers of emotion, conflict, theme, and deeper implied meaning. You can also write prose in the intensely descriptive and convoluted style of a Charles Dickens with many complex sentences and pages-long paragraphs of detail, using comic juxtapositions of things, artfully revealing character development, and idiosyncratic dialogue all for comedic effect. Prose is a powerful and infinitely variable tool for creating meaning in words. Even when it is in the form of Mickian purple paisley prose that employs extra-wiggly sentence structure, pretzel-twisted ideas, and hyperbolically big words.
Being Prosaic
I admit it. I am prosaic. I think in sentences. I speak in paragraphs. I write in 5-paragraph essays. I should stop with the repetition of forms and the parallel structures, because that could easily be seen as poetic and defeat my argument in this post. I write prose. Simple. Direct. Declarative. But those last three are sentence fragments. Does that fit the model of prose? How about asking a question in the middle of a paragraph full of statements? Is that all simple enough to be truly prosaic?
Prose is focused on the everyday tasks of writing. It seems like the world thinks that the mechanical delivery of information in words and sentences should be boring, should be functional, should be simple and easy to understand.
I don’t mean to be pulling your reader’s mind in two directions at once, however. I need to stop confusing you with my onslaught of sentences full of contradictory and complex ideas. I should be more clear, more direct, and more to the point.
So here is my thesis, finally clearly stated; The magic of writing prose, it turns out, makes you the opposite of prosaic.
Simply stated; I am a writer of prose. I am too dumb about what makes something poetry to really write anything but prose. But I do know how to make a word-pile like this one that might just accidentally make you think a little more deeply about your writing… that is, if you didn’t give up on reading this three paragraphs ago. I find it useful to examine in writing how I go about writing and what I can do with it. I try to push the boundaries in directions they haven’t been pushed before. And hopefully, I learn something from every new essay I write. What I learned here is that I am prosaic. And that is not always a bad thing.
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