YA: How Young is Too Young?

In contrast to the dismal news coming out of the publishing industry as a whole these days, young adult fiction seems to buck the trend in a big way. Formerly a type of literature actually intended for the young, it is now being read by vast numbers of people long past their teens. Perhaps because of this dual audience, top-tier YA authors command advances and contracts other authors can only dream of.

Why does Apprentice Writer know this? She attended a seminar conducted by ultra author Kelley Armstrong, whose current paranormal YA series launched her up among that genre stratosphere - a place that should feel comfortable given she landed there before with her adult-oriented paranormal series.

Does this expanding popularity simply mean that stories intended for a youthful audience have wide-ranging appeal?

Could it be that the content of the stories is changing to accommodate more mature readers?

Or is it possible that Apprentice Writer is operating under a wrong assumption of the definition of YA fiction?

AW wants to know because she has started reading novels in which junior apprentice writer #1 is interested so as to have topics of discussion with him. At least, that was the reason to start with. It quickly was joined by another reason, which threatens to overshadow the first. It is called parental policing.

Because sometimes, the content of YA books can be eye-bulging. When she commented on this at the seminar, she learned that

"....A YA book is simply one which features a young protagonist."

Meaning: in terms of content, anything the market will bear goes. Therefore, caveat emptor.

Here's the problem: it is natural for young readers to choose books that feature protagonists who are similar, or slightly older, than themselves in age. But the content of books with a YA label at the library or on YA shelves at the store vary enormously. If it is hard for AW as a adult to figure out if a book may be too mature for a pre-teen or young teen, wouldn't it be hard for the kids to figure out also? Do they really have to get to a part of the book that is too much for them to decide it may not be the best choice (by which time, they may be so invested in the story that they plow on)?

Some examples: MODERATE - MAJOR SPOILERS! BEWARE!

Julie of the Wolves, Jean Craighead George (protagonist: age 13)
This is rightly considered a classic and AW read and enjoyed most of it while at school at a double-digit age. The parts that she didn't enjoy as much - and, more importantly, did not have an adult with whom to talk it through for reasons that are not pertinent to this post - were her first ever exposure to the issues of attempted sexual assault, fetal alcohol syndrome, and domestic violence, which form the catalyst for the protagonist to run away into the wilderness. The bulk of the story has to do with what happens there and how she decides whether to stay 'away' or return to life with people, provides much food for thought, and is in AW's view well worth reading (with her single big criticism being that recovery from sexual attack is depicted way too facile and simplistic a manner). That worthwhile reading, however, should be done by readers old enough to be able to process the stark elements.

She was therefore highly surprised to encounter it on a recommended reading list for junior apprentice #1 in Grade 3 (= age 7-8) . When AW inquired how this title had landed on the recommend list for such young readers without any warning to parents who might not be familiar with the content about the very serious themes, she was informed that it was based purely on evaluation of the difficulty of the vocabulary.


White Cat, Holly Black (protagonist: age 16?)
This is a recent, megapopular YA title that came highly recommended to AW from different sources. It fell into that group of books that results in split personality for her. As an aspiring writer she was impressed with the deceptive ease with which the author unfolded the story about the youngest member of a con-artist family in first-person, present tense mode, something which requires enormous skill and resulted in multiple points where the reader thinks, "Wow, I didn't see that coming.".

At the same time, she questioned whether she would directly encourage junior apprentice writer #1, aged 13, to immerse himself in a world where the protagonist supports himself by exploiting the desire of his classmates to gamble. She decided 'No' when she reached the part where the character's two older brothers beat him up on orders of someone else, and he figures out that not only is this is something they've done to him before but that they willfully manipulate his memory, and have been holding someone hostage in a cage for years. Too dark, too casually violent for AW to recommend it to a new teen, as opposed to him choosing it on his own or through peer word-of-mouth. In such a case, she would not try to discourage his reading it, but make sure to talk to him about it during.


Bleeding Violet, Dia Reeves (protagonist: age 16)
This is the title that AW feels most strongly about, perhaps because it had so much going for it at the outset: biracial heroine (as someone of mixed background herself, AW loves these kinds of stories), rejection issues, bipolar disorder (mental health deserves much more media/literary attention), and the big one: some really deft writing.

By the end of the book, AW had no ambivalent feelings (like with 'White Cat)'. She had problems both as a reader and a parent. Unlike others (to judge by GoodReads reactions), it was not the suicide attempt that gave her pause - since it seems to her that in a book where mental health is one of the central features, it can't really be surprising that suicide might come up. Nor the seriously dysfunctional relationship between mother and child. Though AW had a number of issues with the book, the dealbreaker was when the story crossed the line into full-on horror mode.

AW anticipated this book to be a paranormal story about a mid-range teenager dealing with difficult health and childhood issues (all of this info being plainly available in the back cover blurb). She did not anticipate a teenaged character being not only tortured but made to appear ridiculous as it took place due to inclusion of a sexual element while the protagonist looks idly on, nor that same character being killed in horrific fashion that left body parts dumped at the front door of a family, nor a preschool aged character learning of this.

So why did AW finish the book, the Gentle Reader may ask?

Because she hoped that the story resolution would show some parts having been influenced by the protagonist's altered perception of reality, given her bipolar condition.

Didn't happen.

THE BIG PICTURE:

Does AW think young readers shouldn't read stories with mature themes?

On the contrary. She very much thinks they should. Here's the big IF: They should read them when

a) they have the opportunity to discuss those themes with someone trusted and older, who can guide them past potential nightmares, anxiety, and personal triggers (all of which are very real risks as AW is aware through personal experience and observation), and

b) they have reached a minimum level of developmental maturity for how explicitly those themes are handled in the book. This can vary, depending on the individual parent's views (and given the Grade 3 reading list example, she'd rather go with parent views than teacher views) .

AW's rule of thumb is that it is probably good for the reader to be the same, or very close to, the protagonist's age.

Blanket Labelling of all Books featuring young protagonist with generic YA label = Insanity

Bookstore and library books featuring adult protagonists are not all slapped with a generic A label. They are subdivided into historical, fantasy, science fiction, etc. etc.

Why in the world isn't this done with YA books? If 'Bleeding Violet' had had a horror label attached, AW could have simply left it on the shelf for afficionados of that genre, and everyone would have been happy.

Alternatively, if the front cover and back blurb were more careful to include clues as to content, readers would be better able to sort out which are good personal options and which they should steer clear of.

Is that so hard?

RITA - or, the Oscar of Romance

This past weekend in San Francisco, a few thousand published and aspiring writers gathered to learn, schmooze, and celebrate all things romantic. The gathering culminated in awards presented to published and not-yet creators of works in many different categories (in the latter, called 'Golden Heart' rather than 'Rita').

Apprentice Writer doesn't know who the original Rita was, nor was she in attendance at the gala (though some of her IRL and cyberfriends were, and seem to have had a blast, one and all). Of the works that made the finalist lists she has only read a few, and regarding these, it seems that her views diverge from those of the romance-judging powers that be.

Mine Till Midnight by Lisa Kleypas finalled in the HISTORICAL category. Ms. Kleypas is a Big Name in the industry, all of her titles arriving with much buzz and storms of reviews. Of her previous work, AW read and greatly enjoyed Devil in Winter due to a fantastic hero and unexpected but well-matched herioine. In MTM, the hero is likewise a compelling character, not least due to his Gypsy, or Roma, heritage. AW welcomed such an unusual hero choice, and felt the author did a great job in providing background about a culture usuallly mentioned only in passing and usually derision (in accordance with the then-prevailing view) in much historical fiction. So strongly was the character written, though, that the pendulum began to swing too far in the other direction for this reader. Cam Rohan is not only goodlooking, smart to near-genius level, wildly competent, insanely wealthy, etc. etc. but solves every single problem that comes the heroine's way to the point that the heroine seemed bland and ineffective. It never seemed clear to AW what drew this unique man to a more or less average heroine. Not only did she not stand out to this reader, but at the beginning of the book St. Vincent, Cam's employer and said hero of the delicious 'Devil in Winter' goes so far as to recommend to him that if he is tired of sophisticated fare (referring to his romantic interests) he should try something 'plain' for a change. MTM did not win in its category, but to this reader it seemed odd that of all the titles available, this was considered one of the best historicals. The winning title was 'Lessons of Desire' by Madeline Hunter, which AW has not read.

In the REGENCY category (which is the only time period to get such special treatment), The Secret Diaries of Miss Miranda Cheever by Julia Quinn, another Big Name, not only finalled but won. Gentle Readers of this space will know that AW disliked this novel so intensely she did not finish it. In her view, it had the opposite problem of MTM: likeable heroine, unattractive hero. Yet here it is, decorated with a Rita.

What does it all mean?

That people inclined to lay bets on the outcome next year should ignore AW's predictions?
Probably.

That AW is a strange and unpredictable creature?
Definitely.

That AW should not pay attention to the finalist lists at all?
Well, no, she would not go that far. The precise details of who gets included or left off as a finalist will always be a matter of debate, but it has not yet happened that she found no interesting titles to add to her TBR list.

This year, the ones that looked most promising included

Silent in the Grave by Deanna Raybourne (Winner, Novel with Strong Romantic Elements)

Wicked Lovely by Melissa Marr (Winner, Young Adult)

Untouched by Anna Campbell (Finalist, Regency)

and the work of my lovely blogger buddy Julia's cousin -

Surrender to a Scoundrel by Julianne MacLean


What about you, Gentle Reader - what did you think of this year's awards?

Laughter Reviews, #14

Time for another book review with the focus: FUNNY OR NOT?

I CAPTURE THE CASTLE
by Dodie Smith
Young Adult

Premise
Teen living in a crumbling castle with her impoverished family ponders life and love.

What Works
Cassandra is a smart, charming, refreshing heroine, making the best of a difficult life. She has left school (it is not clear whether this is for financial reasons or if her education is considered complete) and spends her days recording her observations of the people living in the derelict castle with her. All are intriguing, either from the start or as the story develops. Older sister Rose is described as beautiful and bitter at being forced to be poor, younger brother Thomas mostly is at school or doing homework, stepmother Topaz is an artist's model prone to communing naked with nature and devoted to her husband and his children despite all taking her for granted to some degree, son of a deceased servant Stephen is Hollywood handsome and quietly in love with Cassandra, and finally, the grandiose character around whom the entire family and novel revolve, father Mortmain.

Years ago, Mortmain wrote a book so brilliant and revolutionary that he became a literary superstar on both sides of the Atlantic. Decades later, he has yet to follow up with another book, suffering from writer's block so crippling it is slowly strangling his family (If Apprentice Writer's rusty French is correct, this is an effective wordplay: 'mort' = death, 'main' = hand). The royalties have dried up, anything of value in the castle has been sold, all are perpetually hungry and poorly clothed. Yet they continue to live in daily hope that some spark will cause him to write again, and everyone tries to shield his genius from their stark situation while he spends his days in a remote (and to others, off-limits) part of the castle, solving crossword puzzles and reading detective stories personally delivered from the library by his adoring fan, the local schoolteacher. The only sources of income left are meagre model fees occasionally contributed by Topaz, and wages earned by Stephen who willingly labours as a farmhard to support them all.

Then a bomb drops into their lives in the form of two brothers from America. They just inherited the nearby Scoatney estate, of which Belmotte Castle (another wordplay: 'belle' = beautiful, 'mot' = word) is a part. As landlords, the brothers pay a visit, and become fascinated with Mortmain. He feels invigorated by the renewed literary discussions and by gaining access to Scoatney's library and invitations to stay at a flat in London. The rest of the family is thrown into a tizzy of hope that a relationship with the brothers may be a (literal) lifeline for them; how the bonds between the two families intertwine, and with what economic, emotional, and bookish results, forms the rest of the story.

From her perspective as middle child, Cassandra is ruthlessly honest about events, feelings, amd motivations - including her own. Her candour, determination to take the right rather than easy path, and her creativity in ultimately curing for her father's writer's block make her memorable.

The structure of the novel also works well, subdivided into three escalating parts as symbolized by the journals in which she writes. The first (setting the stage) is a cheap six-penny book and gift from the village vicar; the second (when relationships are developing) is a shilling book purchased from the village store just as fortunes begin to change; and the last (when everything comes to a head) is a beautiful leather two-guinea book, a gift from the brother for whom she is developing feelings. The end of the story coincides with the last page of the book, and Cassandra writes "....I don't intend to go on with this journal; I have grown out of wanting to write about myself. I only began today (because) I felt I ought to finish Rose's story off tidily. I seem to have finished my own off, too, which I didn't quite bargain for..." In her own eyes, she has left youth behind and become an adult.

Cassandra speaks in the first person, as many a more modern young adult or chicklit heroine; the sense one gets at the end of her story, however, is that she has reached a level of insight and maturity that not all her literary peers achieve.

What Doesn't
The story takes place in preWWII Britain, and as such is marked by turns of phrase and social conventions that may not be so easy for modern readers to relate to. The extreme way the household caters to the male figurehead, for example, the distinct class separations, or how frequently 17-year-old Cassandra is referred to by non-family members in a deliberately patronizing manner as 'child'. The fully character-driven story also lacks anything in the way of physical encounters, action adventure, intrigue, or paranormal elements that seem to make up much of current commercial fiction. For readers used to such types of fare, the pace may be slow. But for readers willing to delve into a previous age, the results are rewarding.

Overall
Besides this youth-oriented tale, Dodie Smith also wrote theatre for adults as well as the timeless children's classic, "The 101 Dalmatians". She is that rare author who appeals across age groups and generations.

But is it funny? YES - in an understated way
Save for one scene where Rose is mistaken for a bear, there is no slapstick or physical humor. The funny bits lie more in the unique way that Cassandra describes things. It is a wry, quiet sort of humor, but no less effective than more obvious types. Readers who appreciate understated wit will treasure this classic.