I've gotten into a conversation with a couple of people, and it boils down to: what are the important elements of a YA novel now? Everyone agrees that what makes a story "young adult" is changing--and it's not just the inclusion of cuss words, or sex, both of which have appeared in Problem Novels going back to the late sixties, though they weren't
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Trying to find his or her own identity.
Trying to cope with relationships.
Puberty.
Parents.
Siblings.
Boy-girl relationships (or boy-boy or girl-girl relationships).
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Or, what disappoints you in a book that you expected to be a YA?
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I guess my own expectation would be a "good" ending, not necessarily Happy, but satisfactory for the protags. Not Lovecraftian horrors conquering known space and the heat death of the universe.
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"nodding*
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You've put your finger on a part of the problem: the wiggly definition. Books that appeal to the 18-21 reader can be vastly different from books that appeal to a sixteen year old, or a thirteen year old who has a giant vocabulary and reads passionately. . . but is still thirteen.
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I don't know what's changed in the decades since I was in the designated readership group for YA books, but I loathed the serious "message" books we were fed in school. The Pigman. A Separate Peace. I especially hated The Pigman because the opening chapter started promising a different kind of book. Yes, give me something funny, or something fantasy. It can be a serious fantasy as long as it's not pounding you over the head with Message. The Hobbit, my favorite novel from that era (I read it at 11), actually does have a message about maturity and responsibility, but it's not a Message book.
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