What Was This Thorny Wildwood Intricate Whose Memory Reviews the First Dismay!

You've heard of Philippa Gregory, right? She's the British author of all-time-selling historical novels similar The Other Boleyn Girl, which is already out as a movie. Now Gregory is joining what'south starting to experience like a mad rush for authors of adult fiction to write Young Adult and sometimes even middle form books.

First it was celebrity authors, at present it's the crossover oversupply. Those of us who've been writing for younger readers all forth—well, information technology is for to sigh.

But onward. In an online article from USA Today, we read:

"Asked if she is 'genre-poaching,' Gregory says that 'the important thing—surely—is that young-developed readers should become the very all-time writing that might be bachelor to them so that they extend their reading into adult life.'"

I am tempted to dissect that argument, but volition limit myself to giving y'all a listing of other authors who've already done the crossover dance, forth with whatever insights I have about their relative success in making the switch. After which I volition freely offer some advice, i.e., rules, for other adult authors who are feeling inclined to write MG/YA fiction.

Meet the Cross overs

KELLEY ARMSTRONG (YA)—Known among adult paranormal fans for her Otherworld serial, she started her Darkest Powers YA books with The Summoning and has since finished that trilogy and moved on to a new group of books chosen Darkness Ascension, outset with Book 1: The Gathering.

How Skilful Is It?—With teens who accept magical powers trying to evade an evil organisation, Armstrong's work transitions easily to the YA format. Scroll downwards through my Scary YA Extravaganza for a review of The Aw akening (Darkest Powers, Volume 2). I liked The Gathering even more.

Adult Overlap—If you've read the adult series, you'll see the connections and run into the occasional familiar character. But you tin can read these books without knowing anything about Armstrong's adult paranormal writing, and so that'south a plus.

DAVE BARRY a nd RIDLEY PEARSON (MG)—Dave Barry is famous for his nonfiction sense of humor writing, which is truly funny stuff, while Ridley Pearson wrote adult thrillers in the 90s. When Pearson's girl asked him how Peter Pan met Captain Hook, a serial was born, get-go with Pet er and the Starcatchers. (Pearson is also known for writing the Kingdom Keepers, a series unabashedly ready at Disney World. I'll admit the in-your-confront commercial aspect of those books has kept me abroad.)

How Good Is It ?—I've only read the first book in the Starcatchers serial and was not thrilled out of my gourd. Then again, I wasn't particularly disappointed. From all accounts, i.due east., reviews, these two are doing a pretty darned good job. They're at present on Book Five, The Bridge to Never Land, which came out in August.

Developed Overlap—None.

CANDACE Motorcoach HNELL (YA)—The Carrie Diaries and Summer and the Urban center : A Carrie Diaries Novel, near a young Carrie Bradshaw. I'm sure you've heard of, if not watched, the TV series Sex in the City.

How Good Is It?—I haven't read these books, just the professional person reviews for Book 1 are quite positive.

Adult Overlap—Tons! According to reviewers, Bushnell is very successful at writing a teen Carrie who is turning into the person yous've seen in Bushnell's adult novels and in the goggle box series.

HARLAN COBEN (YA)—This author is well known for his mystery/suspense novels, particularly the ones featuring Myron Bolitar. His first volume for teens stars Myron's nephew, Mickey.

How Proficient Is It?—Here'south my recent review of She lt er. The sex trade plot premise is pretty harrowing, and overall you get a kind of Alex Rider feeling. It'southward not a bad take chances series get-go.

Adult Overlap—As mentioned above, the hero is the nephew of this author'due south well-known adult graphic symbol. Simply Mickey dominates the volume; he even distrusts and avoids Myron!

RICHARD PAUL EV ANS—Y'all will no doubt either be thrilled or dismayed to learn that this writer of maudlin, popular books similar The Christmas Box has merely had a teen superpowers novel published by none other than Glenn Beck. No, really! I read somewhere that RPE wanted to write a less violent heroic sci-fi/fantasy. The effect is Michael Vey: The Prisoner of Cell 25 wherein teens have electric powers and are pursued past an evil arrangement that wants to harness those powers for nefarious purposes. ('Twas ever thus.)

How Adept Is Information technology ?—Evans and maybe Beck fans are giving this book a lot of love on Amazon. I personally oasis't read it, but information technology sounds like another solid teen take a chance. One reviewer did mention the ethical/moral dilemmas Michael faces, which makes me hope it isn't also messagey.

Developed Overlap—None, except perchance for the feel-good factor that characterizes Evans' adult work. Of class, this may work just fine in a good vs. evil sci-fi story!

JASPER FFOR DE (MG)—The author of The Eyre Matter and other Thursday Next literary fantasy novels turns his hand to middle grade fiction. The Last Dragonslayer is already out in the Uk, so I expect information technology to hitting the U.Southward. next year.

How Skilful Is It?—This book has gotten a number of glowing reviews in the UK, and the plot sounds like a lot of fun: In a contemporary-type world in which magic has been fading away, a daughter named Jennifer Foreign runs an employment agency for washed-upwardly wizards. But now something big is happening, and Jennifer's right smack in the middle of information technology.

Developed Overlap—None, but I predict you'll enjoy Fforde's way equally applied to a new genre.

JOHN GRISH A Thou (MG)—2 books then far, Theo dore Boone: Kid Lawyer and Theodore Boone: Abduction. (Trust me, Encyclopedia Chocolate-brown is rolling over in his grave.)

How Adept Is Information technology?—Where do I begin? Perhaps with a quote from Leila Roy of Bookshelves of Doom, who remarked of Book 1, "As you've probably already predicted, I want to punch this book in the face." Hither are her succinctly scathing reviews of the first and second books, forth with my lightly damning review of Book 1 and two more reviews from Monica Edinger and Kim Werker, respectively. I'll but point out that Grisham breaks rules ane-3, 5-7, and nearly definitely dominion ix repeatedly. (Come across below.) Per Leila, he also throw in things I don't even touch on in my list, such equally sexism, ethnic stereotyping, and trying to plow a supposedly gimmicky boondocks into some kind of lawyer-loving Mayberry. Too bad—I like the guy's developed fiction.

Adult Overlap—Technically none, except that Grisham never actually leaves the state of adults when writing these books. If but Theo were half as cool as xi-year-former Marker Sway from The Client!

KIM HARRISON (YA)—Known for her urban fantasy series almost Rachel Morgan, she launched a young developed series with Once Expressionless, Twice Shy, virtually a girl named Madison Avery who dies, virtually, and winds up defenseless between life and death, dealing with light and dark reapers, guardian angels, and more. In that location is the requisite teen love triangle, of course. The third book in the trilogy came out in May 2011.

How Adept Is It?—Book i was a chip of a muddle as it tried to set things upwards, but Madison is a pretty appealing character. I oasis't read the other two books; nonetheless, the pro reviewers gave Volume 2 mixed marks and felt that Harrison really hit her step with Book 3.

Adult Overlap—None. Harrison has built a unlike earth from her adult fiction. It will remind yous of a lot of the other YA paranormal out there, though.

SHARON LEE and S TEVE MILLER (YA)—Fledgling, Saltation, and Ghost Transport take this husband-and-married woman author duo's Liaden universe to the teen reader with heroine Theo Waitley, who is considered a "nexus of violence" at school but a potential spaceship pilot by her mysterious begetter and the powerful clan he left behind.

How Skillful Is It?—I'one thousand a existent fan of space opera and Theo Waitley is a very fun character. Merely if y'all haven't read the adult series, you might get lost at times.

Adult Overlap—Lee and Miller clearly continue the story they've been telling in their developed novels about Clan Korval with the Theo books, including scenes driven past adult characters. I like these YA novels very much, merely then, I take read the adult series. The new books may be a lilliputian hard unless your teen is an avid sci-fi fan and a fairly sophisticated reader.

KATHY REI CH S—The creator of a series of adult novels about forensic anthropologist Temperance Brennan and the related Tv series Bones has come up out with 2 books about Temperance's teenage niece, Tory: Virals and next week'south Seizures.

How Expert Is It?—I haven't read these, but the reviews are pretty positive. Reichs is a seasoned author who, like Harlan Coben, brings a knowledge of pacing and thrills to her new teen books.

Adult Overlap—Prequels about the adult series' heroine as a teen.

DAVID WEBER—A Beautiful Friendship is a prequel to the author'southward developed novels about Honor Harrington; hither nosotros meet his heroine's antecedent, Stephanie, at ages 12 and 13. See my review.

How Good Is It?—Keen, though he does wax pedantic and political in spots (as he does in his developed books, frankly!).

Adult Overlap—Prequel near an ancestor of the developed series' heroine.

PAUL WILSON—Another author who turns back the clock on the hero of his adult series, Repairman Jack, with Hugger-mugger Circles and Clandestine Histories. Have a wait at my review of Undercover Circles.

How Good Is It?—The books read like an amped-up version of the Hardy Boys. Pretty good, but not great, especially as compared to the adult books. Wilson does bargain with an intriguing moral dilemma in Book 2.

Adult Overlap—Prequels about the adult series' hero as a teen.

A Few Thoughts and Questions

Of these crossovers, how many are publisher initiated? Or market impelled?

Is the line between YA and developed fiction blurring to the betoken of disappearing? The audiences have certainly been mixing, but what about the books themselves? What continues to differentiate the ii genres?

Compare as well adult fiction about teens to YA books, which are always about teens... E.g., The Lovely Bones by Alice Sebold vs. Thirteen Reasons Why by Jay Asher.

Books about an adult series writer'southward main character as a teen are a special bunch—they generally seem to work, just exercise they have more appeal to people already reading the adult books than they do to the teens they supposedly target?

When adult authors start fresh, are the books more successful than when there's articulate overlap?

And now...

Tips for Adult Authors Writing for Kids or Tee ns

Rule #1—Exercise NOT talk downwardly to young readers.

Rule #2—Do Non talk downwardly to young readers.

Rule #3—Do NOT talk down to young readers.

Rule #2, for Real—Okay, I'll become a grip and requite you a few more pointers. This may seem like the flip side of Rule #1, but delight try to separate them: Do non blithely ramble into adult concerns or become all caught up in telling u.s.a. near your adult characters because they're what yous know and non-so-secretly like best.

Rule #three—Closely related to Rule #2 and fifty-fifty more important: The young main character should not only dominate, but drive the plot. Peculiarly when it comes to solving the major plot problem. Though minor ones, too, of course. (Are you listening, John Grisham?)

Rule #4—Ease up on the setting descriptions. Lay it in, and then move on. Kids don't want endless vistas; they'll feel like they've been dragged on one of those educational vacations in the family unit auto by their parents: "Look at the beautiful scenery, my kid!"/"Uh, right. How is this different from the beautiful scenery we saw five minutes ago?"

Dominion #five—Spotter out for anachronisms. No, today's kids really don't listen to the music or watch the TV shows that were popular when their parents were young.

Dominion #6—Make sure you don't misrepresent children for their age group. I stunning John Grisham instance was proverb that 13-year-old boys take no interest in girls. You should be able to pinpoint the earlier "girls have cooties" stage, let lonely know that heart school boys do take girlfriends, particularly (for better or for worse) in the 21st century.

Dominion #7—If you're writing any kind of action-adventure or sci-fi/fantasy, make the peril sufficiently perilous. And no thing what you're writing, challenge your main character! Children's or teen fiction does non equal tame. If this bothers yous, keep in mind that kids know fiction is meant to provide experiences that are unlikely in real life. (The aforementioned reason adults read the Jason Bourne books or watch the movies.) Kids also scout a lot of Television, merely similar you. This should give you some inkling as to why characters in MG/YA books are able to sneak effectually and take some truly scary experiences without their parents noticing. For that affair, information technology's why the mothers in fairy tales are usually dead!

Rule #8—YA fiction tin have sexual practice and violence, merely it is less likely to go into detail. (For examples of sex activity scenes that don't accept pages and pages, see Melina Marchetta'due south Jellicoe Road or Simone Elkeles' Perfect Chemical science.)

Dominion #nine—PLEASE, Delight: Read extensively in the genre before you try information technology! For YA contemporary realism, start with Speak by Laurie Halse Anderson, Thirteen Reasons Why past Jay Asher, Looking for Alaska past John Green, Jellicoe Road by Melina Marchetta, Monster past Walter Dean Myers, and Dash and Lily's Book of Dares by Rachel Cohn and David Levithan, likewise Sarah Dessen's novels (eastward.one thousand., The Truth near Forever and Along for the Ride). For YA paranormal, you manifestly need to read Stephenie Meyer'due south Twilight, but should also try Holly Black's Tithe, Maggie Steifvater's Shiver, Becca Fitzpatrick's Hush, Hush, and many more than. For YA dystopian, read Suzanne Collins' The Hunger Games, Uglies by Scott Westerfeld, Mortal Engines past Philip Reeve, and The Maze Runner by James Dashner. For YA fantasy, endeavor Franny Billingsley'south Chime, Cassandra Clare's Urban center of Bones, Garth Naught's Sabriel, Erin Bow'southward Plain Kate, Terry Pratchett's Nation, Libba Bray's A Great and Terrible Beauty, and Tamora Pierce's Terrier, among others.

For MG, I hardly know where to begin. Encounter my postal service about 110 years' worth of great eye grade fiction over in the correct margin for starters. Just my Top v if you're utterly clueless about MG novels would probably be Charlotte's Web past Due east.B. White, Charlie and the Chocolate Manufactory past Roald Dahl, Holes by Louis Sachar, Maniac Magee by Jerry Spinelli, and Harriet the Spy past Louise Fitzhugh. Okay, top half-dozen: add When You lot Reach Me by Rebecca Stead. But there are soooo many more! (Adult to YA is less of a jump, which is probably why more people practice information technology.)

Dominion #ten—YA fiction is about the overwhelming feeling of beingness on the cusp; not a child anymore, just not quite an adult. There's joy and in that location'due south darkness, uncertainty tempered by dizzying hope. Things hit hard when you lot're a teenager. Yous intendance with every ounce of your being nearly things grown-ups might belittle at—uncomprehending, boring fools that they are. Most important, you do Not think of yourself every bit a child. And e'er: your friends are more existent and dimensional than anyone else on the planet.

MG characters aren't quite as cocky-absorbed as teen characters, simply they are too relatively uninterested in developed concerns. They desire to be up and doing! So let them out the door and into the bright, pending world.

What most adult authors bring to the MG/YA earth is professionalism and a solid noesis of storytelling. Every bit long every bit they don't condescend to their young audition and aren't completely driven by commercial motives, I think they accept something to add to the genre. (Are you lot listening, Philippa Gregory?)

Note: I'thousand certain I've missed some authors, and so feel free to add together suggestions in the comments. I would only ask that y'all stick to post-2000 examples. Additions from the Comments —Amy of Amy's Library of Rock brings up James Patterson and Terry Pratchett, who strike me equally representing the depths and heights of crossover work. I began reading Patterson'southward (or, as Amy implies, his ghostwriter'due south—looks like that would exist Michael Ledwidge, who eventually gets credit as co-author) first Daniel Ten volume and couldn't become through more than a couple of capacity because it was so blatantly created for commercial reasons following a market-driven template. If the later books improved, feel gratis to share! Equally for Terry Pratchett, I'd like to think that he honed his craft past writing the adult Discworld books before trying MG/YA fantasy in the class of The Astonishing Maurice and His Educated Rodents, award winner Nation, and the wonderful Tiffany Aching books.

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Source: http://bookaunt.blogspot.com/2011/10/

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