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#young adult fiction
waydown95 · a year ago
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couldn’t stop thinking about these two after i finished awtwb. I can’t put into words how much I adore this series and it’s characters; Thankyou @rainbowrowell and everyone who made these books so magical <3
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headspace-hotel · a month ago
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I think that middle grade books tend to have more complexities to them first of all because there's less publisher focus on them, there was a YA boom not a middle grade boom so they're not as... squished into a money-making formula. And secondly because there's a lot less romantic plotlines "allowed" in middle-grade books, romantic subplots aren't inherently bad but they're a lot more likely to be forced into a book that doesn't need or want them because they "boost engagement" or be written by people who don't want to be writing because Love Triangles Sell. Middle grade books can't have the sort of "heaving muscles, sexy body, no/awful personality but I just Want Them" thing that can kind of absorb a book's interesting aspects and devour them, it's not safe for the kids!
Also middle grade worldbuilding might not always have pressure to make sense because it's "just for kids" but it's more likely to try and get exciting or weird or fantastical with it because it's For Kids, so people who have an interest in a world they're writing might have more freedom to do what they want with it leading to more novelty if not universally higher quality.
I think the romance thing is part of it.
I think this is evidence that the way romance is treated in "teen" novels has a ripple effect on every level of the web of character relationships and interactions in a YA novel.
In a "teen" novel, other characters the MC's age are almost always being courted by the narrative as potential love interests. This can starve the book of other character interactions through pure overcrowding.
"Love triangles" were common throughout the YA boom, and I'm convinced it's partly because it's a money-making strategy. Manufacturing a "ship war" is a way to get people to talk about your book even if there is really nothing there worth discussing. I've seen small fandoms have a sudden explosion in activity after a "love triangle" plot was introduced.
But a triangle needs three points, and a "love triangle" means you need to devote a lot of "page time" to the romantic subplots because...you have to develop at least two love interests. There are many YA novels that have the MC torn between more than two possible love interests.
This got even worse when multiple POV's became the norm in YA, because then multiple MC's needed to be "paired up." So you had books where the MC's were romantically involved with each other and also each had something going on with another character, or books where EVERY POV character was paired with another POV character.
For one thing, this crowds out other character interactions just because there's limited space in a book.
For another thing, it's almost always bad when every character in a book is either a POV, a love interest, or both, because mains and love interests are virtually always the least interesting characters in the story.
The protagonist has to be "relatable" above all else, and love interests in YA are unbearably generic and stripped of all unique qualities. Part of it is the "attractiveness" requirement; there is only one "attractive" body type (thin with muscles) from this point of view, and in general "hot" means such a narrow selection of things that all you can ultimately do is shuffle hair, eye and skin colors. And they rarely ever have distinct personalities. They're just kinda angry and broody but also protective but also angsty. Or they're just generically nice.
(You also almost always can't have them be nonhuman in any meaningful way, because, idk, that would be Weird I guess.)
So...you don't have enough characters that are fucked-up weird gremlins. When your story is dominated by a huge love polygon that somehow involves 5 people, none of those characters get to be ugly, and that can be devastating.
Middle grade characters have to be interesting, not so much attractive or relatable. So you have characters that are weird, gross and nasty. You can have things like sentient kitchen appliances or telepathic Pegasi as important characters because you don't have to spend so much story RAM on characters that are acceptably hot. You can have scrungly trolls and giants with hairy nostrils and warts. You can have all your characters be cats.
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nico-reads · 2 months ago
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you guys understand that YA itself is not inherently bad, right. It literally just means "young adult fiction" or fiction for a 13-18 year old audience. The only reason so much YA nowadays is shit is because of publishers who care more about making money than actually giving good books to teens, and therefore they publish books that are basically the exact same mediocre story 200 times a year
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ghostofreadingpresent · 2 months ago
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all I want in life is a solitaire film adaption where tori breaks the fourth wall fleabag style to make all of her scathing remarks. Is that really too much to ask?
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moonlit-sunflower-books · a year ago
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appreciating that a character is well-written does not mean agreeing with their actions or decisions.
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fixing-bad-posts · 5 months ago
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[Image description: A tumblr text post, edited blackout-poetry style to read, "YA authors are the shit."]
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YA authors are the shit.
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ekbelsher · a year ago
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I finally put text on this! I think I started this a year ago. I decided that I actually like it better barely coloured (mostly just pencil crayon) -- it looks kind of weightless, which works with the title. (and yes this is the third time I’ve posted a new version of this picture 😂)
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nemralam · 4 months ago
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Stephen Chbosky || The perks of being a wallflower
Originally published: February 1, 1999
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dearabsolutelynoone · 11 months ago
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YA Films I’m Obsessed With
Midnight Sun (2018)
Quote: “Because you said the best part was having someone to share your adventures with. So go talk to him tell him the truth he deserves that, and so do you.”
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Everything, Everything (2017)
Quote: “Dear mom, I know staying in this house keeps me alive, but this isn't living. I want to experience everything... everything!”
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The Sun is Also a Star (2019)
Quotes: “I believed it would take a lifetime to understand the human heart. In the end, all it took was a single day.”
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All the Bright Places (2020)
Quotes: “There are places that need to be seen. Maybe even the smallest of places can mean something. At the very least, maybe they can mean something to us.”
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If I Stay (2014)
Quotes: “Life's a big, fat, stinking mess, but that's the beauty of it too.”
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The Duff (2015)
Quote: “No matter what label is thrown your way, only you can define yourself.”
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To All the Boys I Loved Before (2018)
Quote: “I write a letter when I have a crush so intense that I don't know what else to do. Rereading my letters reminds me of how powerful my emotions can be, how all-consuming.”
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Perks of Being a Wallflower (2012)
Quote: “I am very interested and fascinated how everyone loves each other, but no one really likes each other.”
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The Fault in Our Stars (2014)
Quote: “I fell in love the way you fall asleep. Slowly, then all at once”
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Before I Fall (2017)
Quote: “Maybe for you there's a tomorrow. Maybe for *you*, there's 1,000 or 3,000, or 10... So much time, you can bathe in it. So much time, you can waste it. But for some of us, there's only today, and what you do today matters.”
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msborkborkrevolution · 9 months ago
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so sorry, but I can’t help but judge books by their cover. i’ve picked up and read many a book I would not have glanced at twice if not for the cover. i have a deep love for illustration, illustration is half the battle of winning me over. you have a beautiful cover and your book is already in good standing for me
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glittertomb · 3 months ago
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Call me, my interests, my clothes, or my lifestyle “cringe” if you want, I’m having lots of fun 💁🏼‍♀️🌸✨
As long as you aren’t hurting anyone, who the hell cares 🐸
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beepfuckingbeeprichie · 5 months ago
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The more I scroll through booktok to see what people are saying ab wilder girls, the more I’m convinced no one actually understood this book
Marketing it as YA was a mistake, bc this is a horror book with young adult characters. The book ends the way it does bc this book isn’t fantasy, it’s science fiction, and we’ve been clearly told throughout the book that there is no help, these girls have been given up on.
There is no magical cure to save the day and to me, it seemed like Rory Power didn’t want to take that cheap deus ex machina. Her story is so grounded that it couldn’t have ended any other way. It’s all a very realistic depiction of life and teenage girls and trauma.
It is such a bleak depiction of the world and the realistic circumstances that we would face with an outbreak like the tox. But it’s not a hopeless book. The end inspires hope: hope they’ll make it the mainland, hope they can find a cure, hope that Byatt will be okay, no matter how unlikely.
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headspace-hotel · a year ago
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Hypothesis: the main characteristic that makes YA literature YA is the very high level of reader identification it promotes with its protagonists. This explains many, maybe most of the common qualities of YA books, and also many of the limitations of YA
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fixyourwritinghabits · a year ago
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idonotraisecain: that's all very true but who the fuck decided to call older teenagers "young adults" 
In terms of book marketing, young adult fiction is situation purely within the 13-18 age range, versus however else you might define the phrase ‘young adult’. It’s also very clearly marketed and labelled as such.
FYI this was done to distinguish it from Middle Grade fiction, targeting 8-12 readers. Though there is blur in the middle - kids usually read up - this was solidified in the late 1990s/early 2000s, for marketing reasons. (I may be wrong on that exact timeline, feel free to correct me if so.)
Young Adult is also very often focused on Coming of Age events, lifetime changes, and (of course) issues that would relate to teens, which is why while you will find YA books with college-age protagonists in them, they are still written for the perspective of mid-teen readers.
tl;dr you can read a marketing genre that’s not aimed at you but good god don’t expect it to conform to your demands when you are not the target audience.
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ghostofreadingpresent · 3 months ago
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piedrafundamental · 7 months ago
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Why I’m against Bree x Sel x Nick (Legendborn)
The pain that Nick, the Oath, and Lord Davis have inflicted upon Sel makes any healthy romantic relationship between Nick and Sel improbable. Selwyn says it himself: “There’s so much baggage between Nicholas and me, there was never going to be room for anything else to grow.”
Throughout the entirety of Legendborn, Nick never once shows any care or affection for Selwyn, the boy he was raised alongside. He punches him, alienates him in front of their friends, and takes advantage of the fact that Selwyn was forced to swear an Oath that Nick had the luxury of being able to walk away from. Instead of finding kinship with Sel, Nick just does his best to ignore him. 
I cannot think of a single instance in the entire book where Nick expresses care, concern, admiration or any positive emotion towards Selwyn. Can you?
Once Sel realizes that Bree isn’t Shadowborn, the two of them are able to develop a positive relationship. Bree has the empathy and wisdom to look past Sel’s previous cruel treatment of her and recognize it as a symptom of the terror and abuse he faces (Yes, the Oath Sel is under is abuse). 
Nick has none of that empathy towards Selwyn. He doesn’t have Bree’s wisdom to accept that Selwyn made a mistake when convinced she was a Shadowborn. Nick doesn’t accept the possibility that Selwyn could be a positive influence on anyone. 
“Did Sel get to you again?”
“Not like that”, I say vaguely. “He...gave me some combat tips yesterday.
“What?” Nick’s jaw clenches. I ordered him to stay away, not to look at you, not to talk to you--” 
“It’s fine.” I squeeze his arm. “It was good. He genuinely helped.”
He looks skeptical, but some of the tension leaves his shoulders. “Still, Rule Three is in full effect.”
It would be incredibly, incredibly toxic for a polyamorous relationship wherein Nick and Selwyn are coupled, not only because of the power imbalance, but because Nick has never given any indication that he loves or cares for Selwyn. It would be wrong to trap Sel in a relationship where he is not loved. And Sel doesn’t love Nick either. 
TL;DR for why a poly relationship for Nick, Bree and Sel won’t work: Nick’s never gonna stop wanting Bree to follow Rule Three. Nick can’t or won’t give Sel compassion or respect. And Sel knows he deserves better than that, too. 
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📚
This image/room belongs to the lovely @stampsandstamps ~ I really hope to have a space as lovely as the ones they create someday! I absolutely the beautiful vintage/cottage theme in their decor style!
✨💙
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