After writing the historical novel which became Price of Passage and was published in August by DX Varos Publishing, my next project was a tale of life in the Fabulous Fifties. This is a subject I happen to know something about.
But all I really know about life in the Fifties is from the viewpoint of a child—which I was at the time. So the protagonist of my Fifties novel is a twelve-year-old boy, Izzy Mahler. The story is told exclusively in Izzy’s voice. It is a coming-of-age story or—as we literati say in order to mystify everybody else—a bildungsroman.
In this kind of story, a young central character goes through trials that may leave him or her somewhat disillusioned, perhaps a bit sad or even embittered, but better prepared for adult life. The hero emerges with a more realistic idea of the world and his or her place in it. Robert McGee, in his excellent book Story, calls this kind of thing, in movie terms, an “education plot.” It usually has an “up” ending: No matter what has gone before, the hero is now in a position to meet the future with hope and enhanced confidence.
Because my character, Izzy, is so young, the book inevitably will be sold as a book for children even younger. It is a middle grades book, and it has that kind of title: Izzy Strikes Gold! This doesn’t mean adults would not enjoy it. Adults my age will love it, because it reprises their own childhood. But as a middle grades book, it matters what young people think of it.
I was delighted when Matt Fielder, my grandson’s fifth grade teacher at Winnequah Middle School, gave me an opportunity to read the book—all 41,000 words, in installments—to his class. That gives me more than twenty well-qualified beta readers.
It’s been a lovely experience so far. The kids are attentive and ask perceptive questions. Soon, as the book winds to its conclusion, we’ll discuss themes. Mr. Fiedler has been teaching the kids about themes in stories.
Now, here’s the thing: Some writers quite deliberately embed certain themes in their stories. I do not. I find it hard enough just to work out a story that moves along, keeps people interested, and comes to a satisfactory conclusion. I can’t be bothered with deeper meanings. But amazingly, once I have written a story, themes are there. They have snuck in by magic.
We write from some place deep within ourselves. The things that matter in life have a way of showing up on the page, even when the author is solely focused on devising plot twists and employing the language in a way that makes things clear rather than confusing. Themes do emerge anyhow.
I have a few thoughts about prominent themes in Izzy Strikes Out! But the writer only contributes half of the book. The reader, or the hearer, brings the other half, the reception of the story. So I’ll be interested to hear what themes my twenty beta readers talk about.
It could be that they take out of the book many things I never dreamed I was putting into it.
I can hardly wait to find out.
Larry F. Sommers
Your New Favorite Writer