The Weight of Guilt
by Jon Ripslinger
Genre: Young Adult Mystery/Romance
Publisher: Red Adept Publishing
Publisher: Red Adept Publishing
Release Date: February 24, 2015
Three Best Pieces of Advice
If you read enough how-to-write-fiction books, especially books aimed at the young adult writer, you find that lots of pieces of advice are offered over and over. You eventually think to yourself, "Hell, I already know that. I've read it a million times." But as a writer of teen fiction, I'm discovering there are a few pieces of advice that should never be ignored.
1. Teen fiction readers don't want a sermon masquerading as fiction. They don't want a book that tells them how to live their lives. But theme is important. It's your novel's central life force, its heartbeat, its meaning, and it rises from your lead's actions, reactions, and change. In fact, the key to a strong theme is strong character progression and change, which flow naturally from your story's plot.
2. Don't write to cash in on trends or try to imitate the current rage. If you're not into young adult novels centered on wizards, vampires, werewolves, and futuristic dystopias don't write about them. Why not? Because the best novels are written by authors who are passionate about their subject matter. If you're not passionate about your characters, plot, and theme, your story will lack passion. It'll turn out flat. Unanimously, agents and editors say they can spot every time a writer who is targeting the latest trendy topic in hopes of making a quick sale.
3. Your novel needs to feature the very best of the best story-telling qualities: A strong but vulnerable protagonist with a compelling and distinctive voice. A captivating beginning that hooks the reader on page one. A middle that dramatizes conflict and disaster for the protagonist. A high-impact ending that suggest a theme and leaves the reader satisfied, perhaps thinking to himself, Wow! This is not what I expected, but I see now this is the only way the story could have ended.
Competition in the YA market is fierce these days. Many new YA authors are self-publishing. Established YA authors and working harder than ever. Adult writers are jumping onto the YA bandwagon. Seems as though everyone is trying to cash in on the YA market. All of this means publishers are being exceptionally choosy about what titles they take on. Manuscripts must be outstanding, and publishers will only consider the very best of the outstanding. Though probably everyone believes rules are made to be broken—even writing rules—I'd like to suggest that the novice young adult writer, if he really wants to see his masterpiece in print, should always keep these thoughts in mind: Don't preach. Be passionate. And write well.
Driving home from a bonfire party, eighteen-year-old John Hawk crashes, killing his girlfriend, Riley. Bullied and tormented at school, and crushed by his guilty conscience, John transfers to a school on the banks of the Mississippi River, where he attracts the eye of the principal’s daughter, Megan. Though he’s reluctant, she convinces him to be her prom date. The morning after prom, Principal Jones reports Megan missing. Four days later, her body is recovered from the river, and John becomes the prime suspect in her death.
Charley Cotton, Megan’s best friend, knows that Megan had a secret, but she doesn’t trust John because of his past. John is desperate to avoid adding to the shame he carries for Riley’s death, though—it’s destroying his life. With Charley’s help, he learns that others in Megan’s life had a motive to keep her quiet. But every effort they make to uncover the truth edges them closer to a desperate murderer with everything to lose.
THE WEIGHT OF GUILT
Riley's drunk, and it's all my fault. Swaying near the blazing bonfire with a dozen other kids, she's guzzling beer from a red Solo cup. They laugh, jostle, and slop beer over themselves.
Damn! I should have been paying more attention to her. I should have kept better track of time. You idiot, John! I need to get her home and tuck her into bed—now—or we'll both be in deep crap. I step up behind her in the brilliant firelight. The heat feels good on my face and arms, but the smoke curls into my nostrils, and I cough. Someone must have piled wet logs onto the blaze.
I touch Riley's shoulder. "We better go."
She whirls. "Where have you been?"
"Checking out Brian's weightlifting equipment. I forgot the time. Sorry."
Flames leap and crackle into the crisp night air, casting flickering shadows across Riley's face. Her eyes glitter like stars in the inferno. A few kids rotate, trying to keep all sides warm. Earlier, we roasted hot dogs, bratwurst, and marshmallows over the oak blaze.
"What time is it?" she asks, her words slurred a little.
"Midnight." I’d promised her folks I'd have her home already. I don't need them yelling at me again. Or breaking us up. That thought jars me. I'd rather lose an arm and a leg than lose Riley. She's the only thing good in my life, except wrestling.
"They never come home before two or three," she says and gulps her beer.
"Let's throw that away. You've had enough to drink."
She smiles, her mouth crooked. "Look who's talking."
"I haven't had a sip." True statement. I never drink the night before a wrestling tournament. I dump Riley's beer but hang on to the cup—I don't litter. I also help little old ladies cross the street. "I can do without your folks being pissed at me. They already don't trust me."
"Yes, they do." Riley grabs my free hand and squeezes.
After planting a kiss on her forehead, I say, "C'mon, pretty lady. Home we go." I guide her by the elbow away from the fire.
The party was a spring break bash at Brian Holdorf's parents' farm pond. Dense woods block out half the sky, and a breeze ripples the treetops. My arm around her waist, I guide Riley across the pasture to my car, which is parked by the farmhouse. A squatty barn and a tall silo loom close by. Brilliant stars and a huge moon light our way. Laughter drifts up from the pond, and the scent of pigs floats in the air.
Opening the car's passenger door, I toss Riley's cup in the back. Then I slip her into the seat and close the door. After I climb in, I close my door and poke the lock button to make sure we're secured. "Buckle up."
Rather than take Interstate 80, I drive a ribbon of country blacktop that twists through hilly farmland. I think I can drive the blacktop faster than the highway—hardly any traffic and less chance of the cops picking me up for speeding. I don't need another face-off with them.
"I'll bet my parents aren't home," Riley says after we've been on the road a minute or two. She leans over and kisses my cheek. "Let's park somewhere. This road's dark." Her hair smells of wood smoke, her breath of stale beer.
I smile. I wouldn't mind parking for an hour or so and making out. "We need to get you home and into bed."
Wisps of fog curl in my headlights. I'm zooming downhill toward the Des Moines River, and the curtain of fog thickens quickly. I cut my speed from seventy to fifty, then to thirty. I don't want to be going too fast if a deer darts into the road. Fifteen…
The fog turns dense—a gray, billowing wall that reflects the glow of my headlights back into my eyes. I squint and dim the car lights. I swallow and slow the vehicle to a crawl: ten miles per hour. I glue my eyes to the yellow center line and guide the car's left fender along the line.
"Why are you slowing down?" Riley asks.
"Can't you see how soupy it is out there?"
I'm not sure when I cross the bridge over the river. The fog is too thick to see even the side rails. But when I head uphill, my grip on the wheel eases. I fill my lungs and exhale slowly. I've escaped the danger. The moment I can see ahead of me though—still going ten miles an hour—I spot headlights racing toward me. They blind me. I barely have time to swear.
This can't be!
Even Riley sees the headlights. She screams, and the next sound is the wail of my horn and the hideous grinding shriek of brakes as I try to swerve and evade the headlights.