Writing Young Adult (YA) Books: Insights and Challenges

Writing Young Adult (YA) Books: Insights and Challenges

(Guest Blog By Nalini Ramachandran)

Jumpstart, ‘India’s only annual congress for children’s content creators’—which is organised by German Book Office—celebrated its 10th year in November 2018 through a two-day event at the Goethe Institut in Mumbai.

‘A Brave New World’, a panel discussion at the event, delved into the need for and contents of young adult (YA) books. The panel comprised Australian children’s books author Meredith Costain, Marathi children’s books author Madhuri Purandare, novelist and poet Sampurna Chattarji, and young author Zuni Chopra.

Children’s books author Sowmya Rajendran, who moderated the session, touched upon five key aspects which throw light on the evolution of this genre. For authors who wish to dabble in writing for this readership, here’s an overview:

YA books act as a bridge

The emotional journey of young adults is distinct from that of children and adults, hence the need for YA literature as a bridge genre.

                                                             

Chattarji noted that YA books allow for conversations across generations. Purandare added that this category enables young adults to understand the life of grown-ups better. Costain said that the anxieties/concerns of this age group must be reflected in books created for them, so that they are able to identify with the characters easily.

Social messages in YA books

Narratives of YA books frequently focus on important issues and advice.

For authors, Costain said, not all books begin with issue-based ideas; some begin with a plot, some with characters, and others with just a setting. In case social issues form the core, Purandare said that the trick lies in conveying something, but not in a preachy manner.

Chattarji shared an insightful experience: When her research showed that hardly any Indian YA books on the subject of adoption were available, she decided to write her novel Ela—initially, from the viewpoint of a grown-up. But, when it didn’t read right, she instinctively rewrote the book from a 13-year-old’s perspective.

Chopra closed the thought by observing that authors cannot think of what they want to say before they actually start saying it.

Being relevant to YA readers
                                      

While Costain confessed that she observes young adults, listens in on conversations, and keeps track on social media to understand their world, Purandare expressed a differing, yet amusing, view—she felt that she managed to stay relevant to her readers perhaps because she stayed away from children.

Chattarji admitted that authors have a tendency to mimic speech patterns of young adults when creating their book’s characters; however, the need was to be emotionally relevant—language may change, but trauma and darkness don’t, she added.

Author inputs on book covers

While authors are consulted at the design stage, the final decision on book covers rests with the publisher. This is because design is an integral part of marketing, and decisions in this regard rely on publishers’ trade wisdom.

Chopra said that authors should voice their opinion because book covers are something they are attached to.

Chattarji pointed out that poetry doesn’t sell the way other books do. To overcome this challenge, she was once requested to include the word ‘funny’ in the title of her book. She came up with The Fried Frog and Other Funny Freaky Foodie Feisty Poems!

On the other hand, Costain revealed a grave facet of publishing—since boys aren’t perceived as readers, and because boys tend to pick up books written by male authors, women writers end up masking their gender identity by mentioning only their initials on the book cover. Which means, in such a case, her name would appear as ‘M. Costain’ on the cover.

YA books and censorship

In a technology-driven, fast-paced world, in terms of age-appropriate reading, it is difficult to monitor what and how young adults read. Sandhya Taksale (Senior Editor – Pratham Books), who was in the audience, rightly noted, more than the young readers, it is the parents and teachers who expect sanitised content.

As a young adult and an author herself, Chopra’s observation was bang on: There are many taboos in India, but if a child or young adult wants to find some information, s/he will definitely go ahead and find it.

Purandare, who writes as well as illustrates her books, said that she has never self-censored her text or art. But she stressed on the importance of context and creative responsibility.

As the session ended, the primary takeaway for writers in the audience was that YA books constitute a rather nuanced genre. And, if dealt with in a skilled manner, it can open new doors for both authors and readers. Possibly, to a brave, new world!

Nalini Ramachandran is the author of the non-fiction children’s book Lore of the Land: Storytelling Traditions of India and the graphic–novel biography APJ Abdul Kalam: One Man, Many Missions.