In my post-Birth Offering efforts, two novellas entitled Sweet Aswang and Dead Works, I found myself writing about teenage characters again. While it was intentional with Sweet Aswang, the appearance of a teenager as a main character in Dead Works came out of left field. He was meant to be on the periphery, but his narrative became so engrossing that he moved to center stage. I’ll be writing about these works in the future.
One anecdote from these two projects: when I showed my in-house editor (that is, my daughter – who was around 20 at the time) a draft for Sweet Aswang – which has two adolescents, a boy and a girl - the subsequent exchange went something like this:
Me: “So, what did you think?”
My daughter: “Not bad. But geez, dad, stick with boys. You couldn’t write from a girl’s point of view if your life depended on it.”
She is an honest reviewer; I can say that with certainty.
One anecdote from these two projects: when I showed my in-house editor (that is, my daughter – who was around 20 at the time) a draft for Sweet Aswang – which has two adolescents, a boy and a girl - the subsequent exchange went something like this:
Me: “So, what did you think?”
My daughter: “Not bad. But geez, dad, stick with boys. You couldn’t write from a girl’s point of view if your life depended on it.”
She is an honest reviewer; I can say that with certainty.
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