#a) read better adult fiction b) is much YA really optimistic or are we talking about anti standards of what 'positive' means

[frumfrumfroo]

"#also american franchises based on ya novels need some seriously enticing incentives for me to give them a chance" If you don't mind talking about it, I'd love to hear this explained more! I'm really curious about why this is and what about American YA franchise novels puts you off...? Also more generally, what makes these types of stories cowardly and how writers can avoid being cowards/making cowardly choices/examples of when they do? Like what is a cowardly choice and what is a brave one?

Well, it’s basically a pile up of red flags for me. First, that I don’t like YA. By which I mean the American publishing industry standard that constitutes the ‘genre’, not the concept of stories for young adults.

There’s an (enforced?) house style of basic, utilitarian prose I find extremely boring to read and YA novels are overall simplistic even when they engage with nuanced ideas. Obviously that’s by design because they’re meant to be really accessible, but for me it’s frustrating and unsatisfying. It’s possible to be simple and accessible while still offering a lot of thematic richness and subtext, but you don’t often get that. It’s possible to write beautiful prose for even small children, so there’s no excuse for how dry and beige and lacking colour the writing tends to be. 

I’ve made repeated exceptions because of an exciting premise or someone’s rec and it’s just... never been worth it. I prefer to read something unconstrained by those standards, both stylistically and regarding the content. I like complex prose and complex (or at least deeply resonant) characters. If I’m going to read something that’s pure formula or where I might have to look past weak prose, I’d rather read fanfiction and have it star characters I already care about.

And I’m just tired of the American cultural death cult and the attitudes to storytelling that go with it, so I’d rather have less of that in my life. There’s some writers/directors/actors I really like and will continue to follow, but I want to mostly take a break from US media. The relentless propaganda in their mainstream entertainment is also very... wearying.

I was kinda being facetious about writers being cowards, but I just mean doing a cautionary tale about a girl who stays with her NiceGuy childhood friend who’s afraid of her agency and gives up her power because actualising into an adult hero is scary and dangerous and sexual desire is scary and dangerous and making a human connection with the woobie villain is Bad... like, that’s a ‘safe’ choice that was passé for women’s fiction in the nineteenth century. It’s like Romanticism didn’t even happen for some people.

Courageous storytelling to me is actually challenging either your protagonist or your current cultural milieu. Interrogating the received wisdom you and your audience probably take for granted. Coming of age stories need to ask what adulthood actually means and whether the ‘expected’ choices are really the right ones; they have to show the person who is growing up wrestle with the discovery that their authority figures and foundational assumptions are fallible. That doesn’t mean you have to decide it was all wrong, maybe you reaffirm your original beliefs, but they should still be questioned and an adult understanding of them should be more nuanced. If your protagonist ends up back where they started, your story better have been about resolving why they weren’t content with that at the beginning and how it was their perspective that needed to change rather than their circumstances. Otherwise your message is just ‘give up and don’t hope for something better’.

So many stories now are ‘cowardly’ to me because they’re entirely unchallenging, even at the most basic level, and are about protagonists who never struggle or fail. Or they’re simply credulously cynical and complacent, which is just lazy imo. Standing for something, saying something, takes courage. Saying ‘pfft, it’s whatever, nothing matters’ as if a thin veneer of pseudo-nihilism makes you intelligent is juvenile. We’ve seen how often hacks will dismiss the entire concept of art as having meaning in order to deflect criticism (’themes are for eighth grade book reports’, ‘I don’t like to think about the meaning of anything I write’, etc.), as if only a pretentious snob could possibly care about this most essentially human activity of interpersonal communion through storytelling and searching for purpose. The truth is that these people are embarrassed by their incompetence and the fact that they’ve been caught totally uncritically regurgitating a shitty reactionary narrative without a hint of self-awareness so they pretend they ~weren’t even trying~ and never wanted to tell a real story in the first place.