On Monday, while discussing young adult literature, I utilized a ‘bedroom’ dark metaphor. The argument being that you can see in the dark if there is some light trickling in.
In my opinion, all young adult literature – all good young adult literature – has that little bit of light trickling in, even if it’s not obvious at first.
There is another kind of darkness though: total darkness. The darkness that makes people go blind after too long in an underground cave. There is no hope in this darkness. There is no light for your eye to catch and your pupils can dilate forever, but they’ll never grow large enough to pull light where there is none.
Rest easy. This kind of darkness doesn’t exist in kids literature at all. Editors just won’t let it happen. No way are you going to subject a kid to rape, torture, war, drugs, and murder without some kind of redemption in there.
However, let’s say that you’re writing a kids book, you’ve got some super-dark themes going on, and you’re concerned that the reason no one is picking up the book is because it’s Cave Dark.
For the Answer to Avoiding Being Too Dark, we shall look to our mentor, Neil Gaiman and The Graveyard Book for some pointers:
1. Humor helps. And not just humor, but where you position the humor. For example, in The Graveyard Book, you’ve got the man Jack creeping all through the house with a knife in his hand. You’ve got three dead bodies. DARK. Then, as you read the next couple pages, you discover that there’s a mischievous baby (Bod) who has jumped his crib, lost his diaper, and is gleefully crawling up the street naked. Not so dark. You realize that this little kid (who probably gave his parents several sleepless nights) is going to be the undoing of the man Jack…just because of his absolute nerve, even so young.
2. Explain the rules of the darker world. As Bod grows up he is exposed to ghouls, Hounds of God, vampires, and ghosts. For starters. These are the embodiments of most horror stories from the Dark Ages on up to now. DARK. Gaiman negates the spooky power by explaining how things work on the other side. There are still ‘town meetings’, there are days where you have to clean your crypt, there are children playing…but they’re all stuck to the graveyard. They can see in the dark. They can haunt. The problem with being dead, as it’s explained to Bod is that they can’t affect anything anymore. The ‘names have been written.’ Their potential is gone. Once the reader is exposed to the hows and whys of the place, there’s nothing left to be scared of.
3. Make your main character tough enough to handle the problems. No one likes a wimp. No one wants to read a book about a little boy whose parents died and now he’s all alone and being raised by ghosts and all he does is cry at the headstones all the dang day. When Silas – Bod’s guardian – explains what happened to Bod’s parents (they were brutally murdered = DARK), Bod flinches, but he doesn’t break. He gets angry. He wants justice. He may have suffered at this man Jack’s hands, but he is not his victim. That is a very hard distinction to make, and your characters will have to show their toughness in their own ways, but make sure they have some kind of tough.
Those are just a few ways to let the light in. So remember, if you have rape, war, murder, drugs, torture, and teen dating all in your book-cave…you really need to let some light in or your readers will go blind – they might even pluck their own eyes out in despair. That would be bad.
Jenny writes dark fiction that her mother hates. Her stories and essays have appeared in Across the Margin, Pantheon, Shimmer, Black Denim Lit, Skive, and others. When she’s not writing her own stuff, she’s reading mysteries for Criminal Element. When she’s not writing fiction or reviews, she’s writing/directing/performing/designing plays at Springs Ensemble Theatre.