Intensity

If there’s anything all YA books have in common, it’s that the writing is intense. When you’re in the headspace of a teenager, your hormones and emotions are racing, and that adds an extra weight to the events of the story. Every moment feels like it has this endless sense of possibility where anything could happen. As a YA writer, it’s your job to capture those feelings and write about them in a genuine way.

Romance

Even in a non-romance book, YA readers want some element of romance to be present. If your YA book isn’t strictly in the romance genre, then this element will be in the background of the story as the plot and character development unfolds around it. But just because it’s happening in the background doesn’t mean you can get away with a generic or stereotypical romance. Even if this isn’t the reason readers are picking up your book, YA readers live for those ‘swoon-worthy’ moments where your character’s love interest brushes against her arm or touches her cheek. Make sure you’re creating two specific characters and giving them unique moments to fall in love.

Escapism

Since YA books have both a young adult and adult following, you have to write in a way that satisfies both age groups. And one thing that applies to both groups? They go to YA novels for an escape. Adult readers enjoy escaping into YA books because it’s such a vastly different, and arguably simpler, lifestyle than the one they currently lead. No bills or student loans or job applications; the largest problems in YA novels are emotion-based ones. And young adults themselves like to escape from their own lives and into the life of someone they can relate to and learn from. It’s like they’re going to a new school and reinventing themselves, if only for an hour a night.

Mature Characters

We can’t stress this enough: no one wants to read a book about a whiny teenage stereotype. Both the YA and adult audience of young adult books finds these characters annoying and offensive. Emotions should be heightened in YA books, but young adults themselves have mature feelings about real problems. Adult readers want to be able to empathize with the protagonist’s struggles, even though they may be more self-contained than their own. And teens want to read about a character they can relate to, empathize with, look up to, and learn from.

Diversity

Modern YA books are some of the most diverse reads, so make sure when you’re going into writing your YA books you include diverse characters. Even if your book isn’t about the issues or plights of diverse characters, make sure you’re still making a place for them in your book. Take the series To All The Boys I’ve Loved Before: the protagonist of the series is an Asian-American teen. The series has very little to do with being Asian American, it’s primarily about a teenage girl. Though it’s not about racism, it’s still such a positive source of diversity in YA books because it normalizes the teenage experience for Asian American girls.

Complex Themes

Again, since a wide range of ages reads YA books, you don’t want to dumb down your content or themes. YA readers want complex and relatable themes that they can learn from, regardless of their current age. They want to see themes like self-discovery, family conflict, coming of age, morality–themes that you’d often find in adult lit, just in a more self-contained environment with young adult triggers. So, for example, maybe your character comes home every day and has to overhear her parents fighting. This is the trigger that leads him/her to examine what they want in a relationship and what they think their parents are doing wrong it theirs.

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Maggie Stiefvater, The Raven Cycle

“The biggest piece of advice that I can give you is that if you’re going to be in any creative profession, you should turn all of the no’s that you’ll hear – and you’ll get a lot of them – into ‘not yet,’ instead… if you assume that those ‘no’s’ mean ‘not yet,’ that means you just have to try harder and look more impressive the next time…”

Being in any type of creative field can involve a lot of rejection. Our books are like our babies, so putting your baby out there into the world and having it rejected can be a truly depressing process. Stiefvater encourages writers to put a positive spin on the rejections they receive and to use them as learning opportunities instead of fuel for a weekend-long Netflix and ice cream binge.

Victoria Schwab, This Savage Song

“Just to be brave. I think the first thing you have to realize is that you have to put yourself out there, and rejection is part of the process and it’s kind of a part that you should embrace because it never goes away.”

Everything about novel writing is about putting yourself out there. Not only are you putting yourself out there in terms of representation, but any good novel is incredibly personal and close to home. Don’t let the fear of rejection keep you from digging deep when it comes to writing your book and, equally as important, don’t let the personal nature of your novel keep you from putting it out into the world.

Kiran Millwood-Hargrave, The Girl of Ink and Stars

“Just keep going, keep that initial inspiration that you had in your head, and just write until you get to the end— then make it better!”

As we’ve said before, one of the toughest things about writing is to push through and avoid critiquing yourself as you write. Millwood-Hargrave’s advice is to push through until the end and ignore that voice in your head telling you to make changes. Once you have it all down on paper, then go back and make the improvements your book needs.

E. Lockhart, We Were Liars

“You know that old piece of advice: ‘Write what you know’? It doesn’t mean write about a young person who likes to write. It doesn’t mean write about your school, or your neighborhood, or your community. It means: write what you know is emotionally true. You can write about Mars. You can write about werewolves. You can write about medieval knights. You just have to understand the emotional truths of your story.”

As Lockhart states, the phrase ‘write what you know’ doesn’t mean you have to have gone through everything your protagonist is going through in order to write about it. Instead, it simply means you have to be able to understand how it would feel for someone like your protagonist to go through the events of your story.

Veronica Roth, Divergent

“I think everyone’s got a little teenager inside of them still, and you just have to work to help yourself access that teenager…Every now and then I find myself having a character make a decision that feels very adult without having them earn it, and I have to go back and make sure I’m letting the characters make mistakes they would in real life at that age, like a parent.”

As an adult writing YA literature, it can often be difficult to put yourself back into the mindset of being a teenager. As Roth suggests, you have to access your inner teen and allow your protagonist to be a teen- with all of the mistakes, emotional insecurity, and turmoil that comes with it.

David Levithan, Every Day

“The defining characteristic of YA literature is emotional truth…Even if we’re not the same as the characters we read, they are all dealing with things—issues of who they are, who they should be, what they should and shouldn’t do—that we all deal with, in their own ways. With The Hunger Games, even if we will never be in Katniss’s shoes, the decisions she makes make emotional sense to us—even when she makes the wrong ones.”

As with all literature, the backbone of YA lit is emotional truth. No one wants to read a book about teens that you’ve written as whiny and annoying- especially teens themselves. You need to be able to look back on the younger generation, their level of maturity, and give them believable emotional struggles that truly matter. Your reader should be looking at these characters thinking ‘that’s something I struggle with’ or ‘I remember when I struggled with that’ not ‘this character is stupid for worrying about [insert stereotypical problem here]’.

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1) Don’t Dumb Down Your Writing

People often make the mistake of assuming YA books need to be dumbed down for a younger audience. But, in reality, all YA really means is that you have a teenage protagonist. Of course, there are a few restrictions on cursing and any explicit/sexual content, but aside from that, it’s like writing any other novel. And, because of the growing popularity of YA books in the adult community, you want to appeal to a wide age range amongst your readers. Therefore, when you’re going into writing, don’t worry about dumbing yourself down or editing your language (unless you have a potty mouth).

2) POV

The trickiest part of YA writing is putting yourself in the mind of a teenager. When choosing a POV, for example, if you choose the third person past tense you can’t write from the perspective of an adult looking back on the naivety of their teenage years. Although that would likely be much easier, that’s not a perspective that will appeal to teenage readers. They don’t want to read about an adult who’s already developmentally light years ahead of them; they want to read about someone who has characteristics they recognize and struggles/insecurities which they can relate to. And the adults who read this genre want to feel like they’re putting themselves back into that mindset as well.

3) Write Like a Teenager, Not Like a Stereotype

Along those same lines, one of the biggest mistakes you could make as a YA writer is making your teenage character a reflection of how you now feel about teenagers. Typically, once we’ve all passed that phase in our lives, we look back and think of our teenage selves as naive, foolish, or even downright annoying. And that feeling may even extend to modern teens in general. But, at the time of your teenage years, the experiences that you have and the mistakes you make are real, emotionally charged, and important to you. You have to put yourself back in that mindset, the one where a boy you like saying hi to you is the most important thing that happened to you that day. The one where someone making fun of the shoes you wore made you question your worth as a person. Because if you write a protagonist who is just yelling at people, being moody, and making stupid decisions that the much smarter adults warn her against…approximately 0% of teenagers will relate to that character.

4) Avoid Tropes and/or Put a Unique Spin On Them

For those unfamiliar with the genre, here are a few YA tropes that are very common among all facets of the genre (YA sci-fi, YA fantasy, YA contemporary, etc). The first is Insta-love, which is when your protagonist sees their love interest for the first time and gravity shifts and the world turns differently and everything changes in that single moment and…blah, blah, more gushy stuff. This is a trope you should avoid at all costs. While it may seem romantic initially, it’s also incredibly unrealistic and won’t align with anything a reader could relate to. Love is something that happens over time–use scenes throughout the book to build it up. Another common trope, especially among YA dystopian books, is the reluctant hero/chosen one. The protagonist is the only one who can save everyone, but he/she just wants to be a normal high school student… There are several other tropes you’ll find throughout YA (enemies to lovers, love triangle, dead/missing parents, etc). We’re not suggesting you avoid these tropes completely, but if you’re going to use them at least give them their own spin so readers don’t find them so predictable. Except for Insta-love–avoid that like the plague.

5) Avoid Archetypes

Another common mistake among YA writers is creating archetypical characters instead of unique individuals. We’ll say it again for the people in the back: teens are not stupid. They’re intelligent with growing minds. Making your characters simple and stereotypical isn’t going to make them easier to relate to. People aren’t as simple as ‘the bully’, ‘the nerd’, ‘the tough girl’, ‘the jock’, ‘the popular girl’- and teens are more aware of that now than ever. They, as well as adult readers, want to see authentic, three-dimensional, complicated characters because that’s what people are actually like in the real world (and in high school too).

6) Avoid Slang

Another thing teens can smell from a mile away? Pandering. The most obvious sign of pandering in teen/YA writing is if you try to use slang that you feel like they’ll understand. Don’t say that party was LIT, or those tacos were FIRE because, very quickly, teens will start to feel like they’re reading a book meant to mock them rather than relate to them. You need to adapt your voice to that of a teenager but remember: teens don’t speak an entirely different language.

7) Learn by Reading

As with any genre, one of the best tools for perfecting your writing is to look to other writers as examples. Checking out successful writers of Teen/YA books will help you learn what you’re doing right, what you’re doing wrong, and even what your book may be missing. To help you get started, we’ve compiled a list of some of the top Teen/YA books from different decades throughout history. How many have you read?

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