Hearts Unbroken: Writing Teen Love, Romance, Passion!

Inspirational HS relationship.

By Cynthia Leitich Smith
for Cynsations

The fourth in a series of four posts celebrating the Oct. 9 release of my realistic contemporary YA novel, Hearts Unbroken (Candlewick). Spoiler alert.

Let’s talk about teen love, romance, passion!

Which of course means talking about awkwardness, three-dimensionality, and emotional resonance.

My new YA novel, Hearts Unbroken (Candlewick, 2018), is partly a love story about two characters, Louise Wolfe and Joey Kairouz, who first connect as staff members of their high school newspaper.

The story is very loosely inspired by my own lived adolescent experiences. But, big picture, we’re talking straight-up fiction. Romantic fiction, though not genre romance per se.

Don’t get me wrong. I adore genre romance. I spent a year reading more than 300 genre romance novels in large part to study how the authors constructed central plots – middles, especially reversals. Nobody navigates reversals better than a genre romance novelist.

That said, while I’ve written YA novels with strong romantic elements, the main page-turning question isn’t: How will the romantic leads get together?

Sure, that plotline may hook certain readers. But some teens may be more interested in finding out who is behind the harassment of IPOC kids cast in the school musical, “The Wizard of Oz.” Some may wonder whether the protagonist’s little brother Hughie ever gets his moment in the spotlight. And I suspect many YA readers will be watching how my Native hero navigates daily life in a middle class suburban setting—both Indigenous readers who see themselves (to varying degrees) reflected and non-Indians newly considering that perspective through a first-person lens.

Regardless, my first chapter opens with a romantic conflict and the last chapter ends with an optimistic romantic reconciliation—form-wise, that’s pretty much textbook romance. Except that the protagonist has changed partners for the better.

Granted, early readers have categorized the novel as a “gender empowerment” or “culturally-driven” or even an “important” story. It takes on big themes like artistic speech and freedom of the press. But love stories can do all that. It’s all in how they’re framed.

Let’s reflect on writing romantic elements. Did every one of these considerations factor into Hearts Unbroken? No, but I’m a WCYA writing teacher and a big believer in the conversation of craft. Your manuscript may benefit from a strategy that didn’t apply to mine.

Teaching a writing workshop with Rita Williams-Garcia.

Does Your YA Novel Need Romance?

Not necessarily. If you are writing a YA mystery or fantastical quest or contemporary realism rooted in, say, family dynamics or a best friendship, please do not feel pressure to sprinkle, thread or shoehorn in romantic love. “YA lit” does not per se equal “romance.”

Honor what the individual story demands rather than compromising it to fit any misconception of market expectations. I personally would love to see more platonic friendship stories.

But if romance is right for your story….

Is It Love at First Sight?

Love at first sight also is known by informal critics as “instalove” and/or “instalust.” It’s sometimes dismissed as a trope, by folks who equate tropes with trite rather than tradition.

My theory is this: All storytelling builds on all previous storytelling. You can pull apart any story and trace the origins of its various components to previous stories. And a lot of them.

What matters is not whether love at first sight has been done before (or has been done frequently) but rather what you do with it and why.

Consider, for example, “Sleepless in Seattle,” a 1993 film, written by Nora Ephron. In the storyline, she introduces the idea of love at first touch.

Tom Hanks‘s character Sam Bloom says that, taking the hand of a woman to help her out of a car, he knew they were destined to be together. He calls it “magic.”

This concept, which is analogous to love at first sight, is reinforced throughout the story. The film concludes with Sam Bloom and Annie Reed, played by Meg Ryan, leaving the top of the Empire State Building, holding hands. First touch. Presumably happily ever after.

Granted, the audience is given sympathetic (in Sam’s case) and endearing (in Annie’s) glimpses into the daily lives of the romantic leads. We’re nudged to root for their destined connection.

Why does that work? Because the protagonist is Sam’s young son, Jonah (played by Ross Malinger), who’s been striving to bring his dad and Annie together. Jonah’s quest is to find a new wife for his widowed father and a new mom for himself. Jonah has driven the story arc and achieved his goal. We believe in his happy ending.

The pesky details of the grownups’ romantic dynamic are, at best, fodder for a sequel, though I wouldn’t have recommended one and Ephron chose not to write it.

“Love Takes Time” or Does It?

Since we’re already drawing on the pop-culture models of the 1990s, let’s consider the 1990 Mariah Carey song “Love Takes Time.” She’s singing about the end of a relationship, healing a broken heart, but she could just as easily be talking about the beginning.

A slow-building, romantic relationship between two characters gives readers more of a chance to invest, to get to know each of leads as individuals before buying into the idea of the couple.

This is the approach I took with Louise and Joey. Although she’s the first-person protagonist, he gets several chapters of shared screen time before assuming the mantle of love interest.

Yes, there’s an initial attraction, but it’s at various points stalled or derailed by ghosts of past relationships, family drama and trauma, the idiosyncratic foils inherent in daily life as well as the characters’ respective insecurities and competeing interests.

What’s with All the Love Triangles?

The most common love triangles in YA literature involve two cis male characters and a cis female character.

As Carrie Ryan points out, “…a love triangle done right isn’t about a female character’s affections bouncing back and forth between two men, it’s about her internal struggle within herself as she figures out who she wants to be and what’s important to her.”

Most of the criticism of love triangles (and the typical less-than-compelling example of them) is rooted in a traditionally-gendered power dynamic.This concern comes from a long history of story in which girls and women are portrayed as prizes rather than people.

The key to transcending all that is to take Carrie’s advice and give the protagonist agency and three-dimensionality.

(In the eight years since Carrie’s post, the YA literature has begun opening up more to include a wider diversity of characters. We can extend her analysis of existing stories to apply to love triangles involving characters of all genders and orientations. That said, we need much more representation of terrific YA love stories reflecting the LGBTQIAP+ community.)

What Do They See in Each Other? Besides Looks.

I’m not suggesting that physical attributes are totally irrelevant to your writing. Describing them can help jump-start the reader’s theater of the mind. Depending on the conventionality of a given character’s attractiveness, we can often begin to extrapolate how the world responds to them, which in turn will impact their experiences and perspectives.

Moreover, a brushstroke or two detailing appearance—build, coloring, makeup, dress—can contribute to conveying a character’s personality, culture, heritage, race, etc.

But unless your story arc is centered on a character’s superficiality or bowing to peer expectations, simply categorizing a potential love interest as “hot” and then piling on the physical description isn’t likely to engage the reader’s heart.

In Hearts Unbroken, Louise is attracted to Joey’s raw energy, his focus on his photography and videography, his sense of humor, their shared rapport, and his devotion to his pet hedgehog. She empathizes with his marginalized identity, his struggle over his parents’ recent divorce, the fact that his ex-girlfriend cheated on him and that he’s the new kid in school. Does she find him physically attractive? Sure, but there’s more to it than that.

Are They Irresistibly Imperfect?

Renée Zellweger and Colin Firth

In the immortal words of Lady Gaga, “I love imperfections.”

The argument could be made that loving someone’s flaws proves the love is real. We understand, for better and worse, who someone is and we love them anyway.

Consider “Bridget Jones’s Diary” (2001). After a series of interpersonal misfires, in a pivotal scene, stuffy Mark Darcy lists Bridget’s endearing “faults” and then firmly declares that he likes her, just the way she is. There’s power in that. Staying power.

How Far Will They Go?

From holding hands to full-on sexy-fun time, there’s a wide range in the sensual and sexual nature of literary teen romances.

You can look at writing those scenes as a matter of conscience or a matter of craft.

We’ll consider both.

The key is to stay specific. What rings true to these particular characters, their relationship arc, situation and setting? (The more generic your scene is, the more likely it is to read clichéd and fall flat.) Frame the characters as complex people, not stereotypes rooted in gender or orientation.

Watch out for your own biases, avoid double standards, and be wary of judgmental-ness.

Consider the moral center. How will you frame the dynamic around consent—be it for a kiss on the lips or somewhere more intimate? Will faith-based beliefs play a role in decision making?

On a practical level, how will the text address the questions of birth control and protection from sexually-transmitted diseases?

How will the awkwardness manifest itself? Because awkwardness is a given. You’re working with inexperienced characters impacted by personal stakes. Weigh each participant’s emotional maturity.

How About the Whole Heart?

Yes, love matters…as does romance…as do tender touches…as does sexy fun. For many teens, these are rites of passage, partially defining experiences. And for many, they’re not. That may be a matter of timing and/or orientation.

According to a CDC survey, the percentage of high-school students who say they’ve had sex has declined from 47.8% in 2007 to 39.5% in 2017. But those YA readers who don’t engage “all the way” may still experience desire and/or kissing and/or petting and/or be otherwise socially or emotionally affected by their peers’ sexual relationships and related expectations.

At the same time, sex is only one aspect of life and, again, it’s not for everyone. If you’re writing a love story, that overarching romantic arc probably can’t sustain the entire book all by itself.

You should probably ask yourself:

  1. What else is going on?
  2. What’s happening with your protagonist’s and love interest’s family, friends, community?
  3. What’s happening within their heart that’s not about their significant other?
  4. How do they feel about themselves?

Happily Ever After?

Consider the possibility that one’s first love usually isn’t one’s last.

YA writers, I’m looking at you. And in the mirror, too.

I fret that in our quest to frame the highest possible stakes we’ve massively oversold first-love, wish-fulfillment stories to the point that teens have gotten the message that they should stay in relationships well past their expiration date.

Even in cases where there are abusive or other unhealthy dynamics in play.

What’s more, there’s something more layered and compelling about risking one’s heart after having to first mend it.

Here’s to more stories of second loves (and beyond) in YA literature.

Are You a Romantic?

Yes or no, I hope these questions and reflections help you craft that novel.

In “Josh Has No Idea Where I Am!” from season one of “Crazy Ex-Girlfriend,” Rebecca’s therapist, Doctor Akopian, says to her that great, defining love can be a passion rather than a person.

As for me, I often think that writing is the great love of my life.

Cynsational Notes


★ “Absorbing….Blending teen romance with complex questions of identity, equality, and censorship, this is an excellent choice…”
— School Library Journal, starred review (see also Teen Librarian Toolbox: “a must-have for all collections.”) (see also Teen Librarian Toolbox: “a must-have for all collections.”)

“Highly recommended! There’s so much love and warmth and reality all through Hearts Unbroken. And so much hope! And some absolutely terrific ground-breaking moves!” — Debbie Reese at American Indians in Children’s Literature (read the whole review)

Q&A with Cynthia Leitich Smith from Book Q&As with Deborah Kalb. Peek: “The time wasn’t right for a story so unabashedly Native in politic or sensibility, and I wasn’t ready emotionally to write it yet either.”

Interview: Cynthia Leitich Smith by Crystal from Rich In Color. Peek: “As I drafted scenes, I was aware of exactly how they’d resonate with many Native teens and, to varying degrees, alienate many influential, non-Indian adults. I kept typing anyway.”

The Heart of Cynthia Leitich Smith by Amanda West Lewis from Wild Things: VCFA MFA in Writing for Children and Young Adults Blog. Peek: “I crafted a love story juxtaposed against microaggressions and their escalation. A story that’s infused with humor and community and lived experience as a middle class Native teen.”

Let’s Indigenize Our Bookshelves and Fully Welcome Native Kids as Readers by Cynthia Leitich Smith from Nerdy Book Club. Peek: “I understood from a very young age that the Native part of myself didn’t seem to belong in the world of readers. (Did we send that message to all Native kids? Do we still? At what cost to them and to their non-Indian friends…).”



In addition to the release of Hearts Unbroken, Cynthia is celebrating the new paperback edition of Feral Pride, the third book in the Feral trilogy and the final book set in the Tantalize series and Feral series universe.

Hearts Unbroken: Writing Well-Rounded Secondary Characters

Writing is rewriting.

By Cynthia Leitich Smith
for Cynsations

The third in a series of four posts celebrating the Oct. 9 release of my realistic contemporary YA novel, Hearts Unbroken (Candlewick).

We’re all the heroes of our own stories.

The same is true of our fictional friends and foes.

In responding to my new YA novel, Hearts Unbroken, an early manuscript reader mentioned that all the significant characters—except Karishma—had their own story arc.

Not that they all had fully flushed-out stories within the novel—that would’ve diluted focus. But, for each cast member, an individual narrative was hinted at through beats and brushstrokes. A whisper of an internal and external journey. The implication that they were living real lives on- and off-stage.

You may be wondering: Who’s Karishma?

Let’s back up. The protagonist is a teen reporter, Louise, who’s partnered with a teen videographer, Joey, on a story for their high school newspaper. They’re covering the controversy surrounding the diverse and inclusive casting of the school musical, “The Wizard of Oz.”

Karishma is their editor-in-chief.

My early reader suggested that perhaps Karishma was a little more two-dimensional than the rest of the cast because she is a standard bearer. A sort of moral compass and symbolic of the best qualities of student journalism.

Such characters can work well for structure and thematic purposes. Their stability and predictability help illuminate and give measure to the growth of their more dynamic companions.

In fact, sidekick characters often are standard bearers. So are mentors, especially elders.

This is particularly the case in short forms like picture books and early readers.

But we’re talking novels. In such cases, we might ask:

(a) whether that standard-bearer approach is necessary or…

(b) whether readers might benefit from a more three-dimensional rendering, which can be especially critical when…

  1. the standard bearer is from a marginalized community, and…
  2. the protagonist is not.

Second-character Karishma is Indian American, our hero Louise is Native (Muscogee), and Louise’s love interest, Joey, is Arab American (Lebanese).

So, this wasn’t one of those frequent cases of a character of color existing as a prop for a white hero(es). Still, I wasn’t yet writing Karishma to her full potential.

What to do if we find our secondary character development insufficient?

Questions to consider:

Questions apply to short story protagonists as well!

  1. Is there an inkling that this character has an external and internal journey?
  2. What are the hints?
  3. Could they be further developed?
  4. Do we have a sense of what’s happening when that character is off-stage?
  5. What’s their backstory?
  6. What future do we imagine for them after the story concludes?

Once we have a full draft, the answers to most writing quandaries are already hinted in the text, and this is more the case with each revision. Our subconscious mind often knows first and tries to tell us.

Rereading with heightened attention to Karishma, I saw her narrative more clearly. She was the only returning staff member after the high-school newspaper had been targeted by a hostile parent group the year before. She and the Journalism teacher had persevered to rebuild the staff. She was the teen most emotionally connected to the teacher and most aware of that history. Plus, as editor, she was already driving a lot of the external plot.

Reevaluating led to my retooling a couple of scenes. Showing more emotion here, adding dialogue there, along with a narrative observation or two.

We’re talking about tweaks. But tiny changes can round out a secondary character, more fully evoke her humanity. That’s why we revise to improve our drafts. It’s why we seek early feedback, ask ourselves thoughtful questions and reimagine as needed.

Are you rethinking your secondary characters now?

Cynsational Notes


★ “Absorbing….Blending teen romance with complex questions of identity, equality, and censorship, this is an excellent choice…”
— School Library Journal, starred review (see also Teen Librarian Toolbox: “a must-have for all collections.”)

“Highly recommended! There’s so much love and warmth and reality all through Hearts Unbroken. And so much hope! And some absolutely terrific ground-breaking moves!”
— Debbie Reese at American Indians in Children’s Literature (read the whole review)

Q&A with Cynthia Leitich Smith from Book Q&As with Deborah Kalb. Peek: “The time wasn’t right for a story so unabashedly Native in politic or sensibility, and I wasn’t ready emotionally to write it yet either.”

Interview: Cynthia Leitich Smith by Crystal from Rich In Color. Peek: “As I drafted scenes, I was aware of exactly how they’d resonate with many Native teens and, to varying degrees, alienate many influential, non-Indian adults. I kept typing anyway.”

The Heart of Cynthia Leitich Smith by Amanda West Lewis from Wild Things: VCFA MFA in Writing for Children and Young Adults Blog. Peek: “I crafted a love story juxtaposed against microaggressions and their escalation. A story that’s infused with humor and community and lived experience as a middle class Native teen.”

Let’s Indigenize Our Bookshelves and Fully Welcome Native Kids as Readers by Cynthia Leitich Smith from Nerdy Book Club. Peek: “I understood from a very young age that the Native part of myself didn’t seem to belong in the world of readers. (Did we send that message to all Native kids? Do we still? At what cost to them and to their non-Indian friends…).”

In addition to the release of Hearts Unbroken, Cynthia is celebrating the new paperback edition of Feral Pride, the third book in the Feral trilogy and the final book set in the Tantalize series and Feral series universe.

Hearts Unbroken: Writing (Sort Of) Timeless Contemporary Realistic Fiction

Learn more about Cynthia Leitich Smith.

By Cynthia Leitich Smith
for Cynsations

The second in a series of four posts celebrating the Oct. 9 release of my realistic contemporary YA novel, Hearts Unbroken (Candlewick).

We’re all living in the past, present and future.

Perhaps that’s never so true as on the page.

My 2018 YA novel, Hearts Unbroken, is set about a year after the ending of my 2001 debut tween novel, Rain Is Not My Indian Name (HarperCollins). The protagonists, Louise and Rain, are cousins. Rain’s story largely takes place the summer she’s going into ninth grade, but in Louise’s story, Rain is only a sophomore.

Both books are contemporary realistic fiction. An early manuscript reader of both commented that, despite the 17 years between publication dates, there was no jarring evidence of the time jump on the page. I’m hopeful that she’s right and interested in reflecting on how that happened.

Truth is, I’m skeptical of “timeless” realistic contemporary fiction. We should take care not to mute too much of the detail needed to form a setting that’s a credible springboard for disbelief.

I also don’t know that we can fully anticipate changes to come. For example, Macy’s once seemed like an invincible, mid-tier retail store. Then in 2016, corporate announced that 100 stores would be closed, and that process is ongoing. The survivors are being retooled to compete with T.J. Maxx for bargain shoppers.

George Seton wrote the script for “Miracle on 34th Street” (1947). Would the classic film have resonated in the same way if it had been set anywhere but Macy’s? Maybe. Could Seaton have constructed a similar, fictional setting? Sure. Should he have? The question is a slippery one.

Sometimes writing deep into the now is necessary.

We’re in the midst of a rise in political literature (#politilit) for young readers, books that respond to current events and persistent societal issues. Though it’s also a romance and family story, Hearts Unbroken arguably falls into that category.

Kids and teens need all kinds of books, including those that speak to today’s burning challenges.

That said, to the extent Rain Is Not My Indian Name still reads as contemporary (rather than as a near history), some of my success was strategic and some of it was luck.

Consider these strategies:

1) Select and frame pop-culture references thoughtfully.

I’m a geek and I tend to write geeks. In Rain Is Not My Indian Name, my protagonist, Rain Berghoff, and her big brother Fynn are sci-fi fans. Rain’s dog is named “Chewie” after Chewbacca from “Star Wars,” Fynn has a “Star Trek” mug, and Rain writes fan fiction inspired by “The X-Files.”

One of the many fine qualities of geeks is that we tend to commit comprehensively to our fandoms. It’s entirely plausible that a contemporary kid would’ve seen and even studied the 1977 “Star Wars” movie, although she might refer to it as “old school.”

Those fandom choices were iconic in American pop culture and well traveled across borders. “The X-Files” was the biggest risk. If I had to choose again, I might double down on “Star Wars” or “Star Trek” instead. However, there was a recent resurgence of the franchise. The truth really is out there.

2) Use broad strokes to sketch the tech.

I went light on the specifics, even though Rain Is Not My Indian Name was one of the first children’s-YA novels to significantly incorporate the Internet in the story. Rain’s brother owns a small web-design business, and Rain creates an online memorial in honor of her friend Galen.

That said, unlike Hearts Unbroken, cell phones are not integrated in Rain Is Not My Indian Name.

According to a Kaiser Family Foundation survey, 85% of teens from age 14 to 17 have a mobile phone. Today, it’s plausible that a fictional teen doesn’t own a phone. She could be in that other 15%. But at least some other teens in their life would have phones. I would’ve at least acknowledged prevalant cell phone use with a brushstroke or two…if only I could’ve foreseen it.

Map by Mark G. Mitchell of fictional Hannesburg, Kansas, which appears in both novels.

3) Add more fiction to your realism.

I strategically made up some names as part of the world building.

Rain’s hometown of Hannesburg, Kansas, is fictional. Locally-owned businesses are more plausible in small towns than, say, suburbs or urban areas commonly overrun by national chains.

So, the names of various fictional small-town restaurants, Oma Dottie’s B&B, Garden of Roses Cemetery and Blue Heaven Trailer Park all sprang from my imagination. They’re not going out of business until I say so. The same is true of the fictional Kickapoo Blues Band, “Not Your Wild West Show,” a web client of Rain’s brother.

Seventeen years in real life.

A little over one year on the page.

How did this approach inform the writing of Hearts Unbroken?

Some of the characters (and their fandoms) repeated.

New pop-culture nods include (a) J.R.R. Tolkien‘s Lord of the Rings and The Hobbit, which have enjoyed a resurgence due to the relatively recent film adaptations, and (b) superheroes from the D.C. Universe (e.g., Wonder Woman) who have arguably risen to mythological status.

I took a risk in mentioning a national chain restaurant, The Cracker Barrel, but also peppered in a few new, fictional small businesses.

I also dared to reference email, but made sure to specify that it’s outdated tech, the default of grownups. In fact, it’s inherent in a plot point that teens generally don’t use email.

Looking back, you may regret a judgment call or two. But these tips should help hedge your bets in writing “contemporary” realistic fiction that doesn’t skew historical too soon.

Cynsational Notes

★ “Absorbing….Blending teen romance with complex questions of identity, equality, and censorship, this is an excellent choice…”
— School Library Journal, starred review (see also Teen Librarian Toolbox: “a must-have for all collections.”)

“Highly recommended! There’s so much love and warmth and reality all through Hearts Unbroken. And so much hope! And some absolutely terrific ground-breaking moves!”
— Debbie Reese at American Indians in Children’s Literature (read the whole review)

In addition to the release of Hearts Unbroken, Cynthia is celebrating the new paperback edition of Feral Pride, the third book in the Feral trilogy and the final book set in the Tantalize series and Feral series universe.

Hearts Unbroken: Writing Stories “Loosely Inspired By” Your Real Life

On our way out to a high school winter dance.

By Cynthia Leitich Smith
for Cynsations

The first in a series of four posts celebrating the Oct. 9 release of my realistic contemporary YA novel, Hearts Unbroken (Candlewick).

My senior year of high school, “Back to the Future” was a hot new release, Duran Duran was ruling the radio waves, and I said the worst possible thing with the best possible intentions to my high school boyfriend. It did not go over well at the time.

Not to fret. We recovered. We even dated again. And a third time after that. But the mistake lingered in my mind.

Where there is regret, there is a story.

I’m not my protagonist, Louise. He’s not her love interest, Joey. But we have a few things in common with them—the northeast Kansas suburbs of our adolescence, our respective heritages. We were both student journalists, and so are they. But his dad wasn’t a commerical pilot and mine wasn’t a dentist. His mom didn’t work for Hallmark and mine didn’t earn an MA/JD. I didn’t have a little brother, and he didn’t drive a Jeep. Unlike Louise and Joey, we didn’t live in a post-9/11 world or during the Trump administration.

What’s more, Louise and Joey’s contemporary Kansas suburbs are different than they were for us back in 1980s. In certain ways, it might be tougher for us to have grown up there today.

That said, I have a few things in common with all my protagonists—even the guardian angels, vampires and werecats from my Tantalize-Feral series universe. All authors share a bit of ourselves with every character. Not just our protagonists—our villains, our less nefarious antagonists, our sidekicks, our red-herrings—you name it. That doesn’t mean those characters are especially like us, but we had to draw on some insight, at least a flash of sensibility, to create them.

The fedora? My Laura Holt of “Remington Steele” phase.

Hearts Unbroken wasn’t the first time a real-life incident was a springboard for one of my stories, so I’ve done some thinking about all that.

Here are a few suggestions for those trying to do the same.

1) Ask permission. I wrote to my high school boyfriend, told him what I had in mind and asked if he was okay with it. If he wasn’t, I wouldn’t have moved forward with the story.

I know that not everyone will agree that this is a necessary step (at least if they’re changing the names). But each of us owns our own life story. For me, asking was about courtesy, respect.

2) Don’t be otherwise restricted by what really happened (unless it’s memoir).

The only remnant of real-life dialogue that survived my experience was a couple of incredibly awkward, babbly, and inappropriate lines uttered by me and even those have been wholly revised.

Think of your personal experience as a springboard, not a roadmap.

3) Let yourself be healed. If the incident was sufficient to launch a trade YA novel, it’s probably fraught with conflict. Writing it out, changing the narrative for the better or to throw out a life preserver to readers can help you process and move on.

During my early adulthood, I deeply disliked Cindy Lou AKA Teen Me. She skipped too much of what would’ve made her happy to do what was expected by The Powers That Be.

I see her differently now.

She was sensitive and tenderhearted. Ambitious and hardworking. She loved to read and preferred heart-to-heart talks (and walks) with her best friends and cousins over cheering on the sidelines or making the weekend social scene. She spent a lot of time going through motions, being a good girl and people pleaser.

However, Cindy Lou didn’t have a fully formed brain or a whole lot of influence in her world. The pressures put on her—coupled with a lack of societal/institutional validation and support—might’ve broken another kid. It did break some kids. And none of that was their fault. Or hers.

It took decades to get here, but in part because of writing Hearts Unbroken, I’m proud of Cindy Lou. She’s the one who decided to study journalism at The University of Kansas, which led me to Michigan Law School and a career as a published author.

And all of that makes me happy. I’m grateful.

So, I encourage you to write the stories of your lived experience, the ones only you can write. Do so with thoughtful consideration for those good folks who played a role in reality, including yourself.

Cynsational Notes

★ “Absorbing….Blending teen romance with complex questions of identity, equality, and censorship, this is an excellent choice…”
— School Library Journal, starred review (see also Teen Librarian Toolbox: “a must-have for all collections.”)

“Highly recommended! There’s so much love and warmth and reality all through Hearts Unbroken. And so much hope! And some absolutely terrific ground-breaking moves!”
— Debbie Reese at American Indians in Children’s Literature (read the whole review).



In addition to the release of Hearts Unbroken, Cynthia is celebrating the new paperback edition of Feral Pride, the third book in the Feral trilogy and the final book set in the Tantalize series and Feral series universe.

Full Cover & Author Quotes (Blurbs) for Hearts Unbroken by Cynthia Leitich Smith

By Cynthia Leitich Smith
for Cynsations

click image to enlarge

My deepest thanks to distinguished authors An Na, Joseph Bruchac and Guadalupe Garcia McCall for sharing their thoughts about my forthcoming contemporary realistic novel, Hearts Unbroken (Candlewick, Oct. 2018).

Here’s what they had to say:

“I loved her irreverent, hilarious, and subversive dismantling of stereotypes. Cyn’s trademark, spot-on dialogue captures the teen spirit perfectly. I want Lou to be my best friend!” —An Na, author of A Step from Heaven, winner of the Michael L. Printz Award and a National Book Award finalist

Learn more about my books.

Hearts Unbroken is a rare blend of teenage romance and social consciousness that never insults the intelligence of its readers. Truly shows what life is like for a contemporary American Indian teeenager trying to fit into the larger context of American society.” —Joseph Bruchac (Abenaki), author of Code Talker

“Smart, quirky, and slightly flawed, Louise Wolfe is like a lot of teenage girls in America. Cynthia Leitich Smith has crafted a heartfelt book with an important message about loyalty, intepersonal connections, and the power of love to tear down barriers. This story will dissolve boundaries and knock down walls.” —Guadalupe Garcia McCall, Pura Belpré Author Award Winner for Under the Mesquite

Cynsational Notes

Pre-order Hearts Unbroken by Cynthia Leitich Smith from Indiebound or another book retailer such as your local independent bookstore like BookPeople in Austin.

Order more of Cyn’s published books – list and links via SCBWI.