Teenage Dreams, the second in a series of articles dealing with age-specific stories, follows on from last week’s piece on childhood themes, drawn from Linda Seger’s Advanced Screenwriting.
Seger asserts that almost all teenage stories deal with the notion of identity, since our teens and early twenties are driven by our need to discover ourselves – who are we, what do we want to do, or be, when we grow up.
A teen-orientated story typically explores the themes of sexual identity (Risky Business, Boys Don’t Cry), discovering love (Titanic), finding one’s creative self in a conformist society, securing one’s individuality in a culture that often prescribes who you are or might become (Room with a View, The Cinder House Rules).
In my award winning novel, The Land Below, for example, Paulie, the book’s protagonist, who is nearing the end of his teens, refuses to accept the dictates of the Governor and Senators who insist that life on the surface of the world is unlivable and that one should not, under any circumstances, spread rumors to the contrary.
Fighting against these dictates, Paulie rejects his social status as a lowly orphan when he develops feelings for the Governor’s daughter and ends up becoming the leader of a band of teenagers seeking to escape the suffocating confines of the Land Below.
Paulie, in effect, redefines his place in society. But in doing so he threatens the Governor’s grip on the closely controlled subterranean world. It is this conflict between the freedom to choose and the impulse to control, rooted in the opposing needs of the protagonist (Paulie) and antagonist (Governor, et al.) that creates the plot of the story.
Importantly, then, the theme in any story steers the plot, turning it this way and that, as the protagonist continues to explore and test it until the end of the tale.
Teenage themes cluster around questions of who are we, what do we want to do, or be, when we grow up.