6 Answers2025-06-10
I’d like to give a shoutout to H.G. Wells for laying the groundwork for dystopian fiction before Zamyatin nailed it. The Eloi and the Morlocks in The Time Machine (1895) create a pretty dim social dystopia based on class division that’s been horrifically taken to the extreme end. But it’s not a “society is a prison” story for the most part. The future is bleak and hopelessness is the theme. His other work, When the Sleeper Wakes (1899), is a full-on dystopia featuring a plutocratic oligarchy, brainwashing by mass media, and a population too apathetic to care about anything. It reads surprisingly modern. While Wells may not have created totalitarian futures, he did explore what the end of capitalism and social hierarchy might look like, and is definitely worthy of recognition for his influence before Zamyatin wrote.
4 Answers2025-06-10
Most YA fantasy novels fall in the range of 70,000 to 90,000 words. That can vary from the debut novel to longer novels in a series. In general, however, every chapter must earn its place in the novel. The plot must be tight and well-written. My book, Classic Faery Tales Rewritten For Adults Only, takes familiar elements of fantasy stories and rewrites them for adults only. This novel presents the same archetypes in a darker and more mature setting, focusing on the same political intrigue and moral conflicts that are presented in classic faery tales but are glossed over in children’s stories.
7 Answers2025-05-22
I have always believed that when it comes to novels for teenagers, one can never be too careful when it comes to controlling the content access standards. Most teenagers and young people have not yet developed sufficient discernment, they cannot clearly judge whether the content they come across while scrolling on their phones or open up to read in a book is actually suitable for their age, nor can they assess whether that content will bring any negative impacts to themselves, and they end up engaging with it in a muddled state.
5 Answers2026-02-02
I read somewhere that the sweet spot for debut YA is around 75k. Its long enough to feel like a real novel but short enough that publishers arent scared off by printing costs.
11 Answers2025-05-13
There’s a tremendous amount of love for humor as a genre driver. A book that makes people laugh has a devout and persisitent reader base, often from crossover audiences (fans of The Hitchhiker’s Guide to the Galaxy, for example). Humor can also be witty and winning, especially in books with lots of dialogue in the romantic comedy genre and beyond. And even when humor is used to explore tough, serious topics, popular and successful YA authors like David Yoon and Mary HK Choi and Phil Stamper use humor to fantastic end in their work.
I believe a funny YA book can rise above the rest in a crowded field of books because most people seek out authentic experiences of joy and are willing to spread the word to others when they encounter something humorous. This can be a very difficult talent to master above the typical plot device, so it makes the books that are laughing their way to the top all the more impressive.
9 Answers2026-07-27
I consider Leo to be the main protagonist of the book but he has a wonderful co-protagonist in Lyra. The book is told from the two of their viewpoints and I tried to alternate between the two after the first three chapters or so. The main antagonist from the outside is Kael and then there is Mara who helps Leo (most of the time reluctantly). There is also a short but powerful appearance from an older AI in the network that Lyra talks to throughout the book. That AI is sort of a mentor to her. So there are five main characters in the book: Leo, Lyra, Kael, Mara and the Network AI. The rest are just extras in this very dark and very dystopian world.
6 Answers2026-07-14
I have an alternative idea that is quite whimsical yet substantive. It is “The Ogress and the Orphans” by Kelly Barnhill, a fable that explores a town where no one is very kind. There is an ogress who secretly leaves gifts about, a group of orphans and a child who has gone missing. The magic in this novel is largely subtle and folkloric and the “real-life issues” explored in this very unusual and quite quirky story are those of community, of misinformation, of scapegoating, and of the power of generosity to counteract selfishness. It is a story to be read by people of all ages, using fantasy to highlight the very real poison of divisiveness and the simple yet magical cure of neighborly love.
3 Answers2026-06-06
I read The Prison Healer in one sitting and my summary of it is that it’s YA with adult teeth. While Kiva’s journey to learn to trust the right people and fight for justice is typical coming-of-age fare, the horrors of the prison where she has to heal her new hostage after he’s beaten to a pulp in order to save his life are most certainly not. It reads like very early Suzanne Collins. And it’s not clear cut moralism – it has a lot of the same grey areas that Orange Is the New Black explores. I’d recommend it to mature teens and adults who read a lot of fantasy and are looking for something with a little more substance than usual, like Graceling. But don’t expect a light read.
6 Answers2026-07-27
Of course, there are other massive children’s book publishers like Scholastic (so extensively entrenched in schools and book fairs that it’s sort of surreal). But in terms of prestige and literary distinction, I’d rank Penguin Random House (Knopf Books for Young Readers, G.P. Putnam’s Sons Books for Young Readers, etc.) above the rest. And then there’s HarperCollins Children’s Books, with its enormous backlist. But really, Macmillan and Simon & Schuster are the two other big players in the traditional publishing world. But again, this is corporate, publishing-bigwigs stuff. The actual YA publishing world is a bunch of passionate, idiosyncratic individual editors who happen to work for these various companies. The logos on the spines of the published books are pretty irrelevant.
8 Answers2025-08-15
THE BEAUTIFUL by Renée Ahdieh is a historical vampire romance that takes place in New Orleans and follows Celine, a young girl, and her relationship with both Sébastien, a dark and brooding vampire, and Bastien, a handsome young tailor. The setting is so beautifully described with all of the costumes and grittiness of the time, it almost becomes another character. But it’s so hard to tell what anyone is really like in this book. Are they good? Are they bad? Could they possibly be something in between? It’s slow, it’s sensual, and it’s full of suspense that will keep you guessing until the very end. The classic paranormal love triangle is elevated by the dark and gothic atmosphere of this book.