What Makes Good Young Adult Fantasy?

The Hunger Games
by Suzanne Collins

Today, we wanted to explore what makes good Young Adult Fantasy. Sure, we all have our favorite stories, but what is it that hooks us, sucks us in, and pulls us along for the ride? The answer probably is different for everyone. We know we're drawn by strong characters. Characters who make us feel, so we want to root for them. That's what propels the story. For other readers, maybe the plot is more important. Who knows? Tell us in the comments below!
          First, we came across an article called "The 8 Habits of Highly Successful Young-Adult Fiction Authors." Most of the authors mentioned write contemporary fiction, but all of the points apply to fantasy, too. The first habit was, "Think like a Teen." Sound advice. In fact, we mentioned in last week's article, "Young Adult Fantasy vs. Adult Fantasy," that a key sign you're reading YA literature, is if the story is told through the perspective of a teen character. You have to put yourself in an adolescent's shoes.

The Coldest Girl in Coldtown
by Holly Black

          We won't go into too much detail about the other article, because you can read it for yourselves, but the other seven points are: "Find the 'Emotional Truth' of the Teenage Experience," include "Pop Culture" references, "Get Input from Real Teenagers," be careful of using slang words (since teens' use of language changes about every four years), "Keep it Moving," don't be afraid to touch on dark subjects, and "Find the 'Kernel of Hope.'" This is all great advice to create a specific character, in a specific setting, and not being afraid to address questions that teens face.
          Some may disagree with us on this point, but we believe it is crucial for every YA story to have a hopeful ending. There needs to be a hope, because teens are at a point in their lives where they're preparing to face The Future, and they need a spark to keep them going, even in fantasy settings. The darkest YA stories have hope. The Hunger Games trilogy, by Suzanne Collins, ends with Katniss recovering, ever-so-slowly, from her traumas and beginning a new life. In Holly Black's The Coldest Girl in Coldtown, Tana didn't become a vampire, and she managed to lock herself up securely so that she could fight through the illness that leads to vampirism if you don't lock yourself up. She saved her sister, and she can be human again, or at least the hope of being human again. See what we mean?

The Amulet of Samarkand
by Jonathan Stroud

          Now we can address the fantasy aspect. What makes good fantasy? An author who has used world-building tools often creates the best and strongest fantasy worlds. The reader needs to learn about the world, and there are a few ways to do that. In urban fantasy, a common way to learn about the world is through the main character being thrown into a supernatural situation he or she didn't previously know about, and then learning the ropes from others or experience. In a setting where the main character already lives in the fantasy world, the reader has to learn about the world through interactions. In rare cases, like Christopher Paolini's Eragon or The Bartimaeus Trilogy by Jonathan Stroud, some authors use footnotes or glossaries to expand upon the world.
   
      This might seem an odd requirement, but hear us out: your fantasy story needs to be believable. What this means is readers need to think the world is plausible, and can immerse themselves within it because it's relatable, and understandable. Readers need to be able to imagine the world. If your story has magic, there needs to be a system, and if it's a post-apocalyptic world, the event that began it needs to make sense, and humanity's reaction to it needs to make sense.

The Tough Guide to Fantasyland
by Diana Wynne Jones

          The Harry Potter series is a fantastic example of world-building. J. K. Rowling took a setting that everyone could identify with (school, and all the regular problems of meeting new people and making friends), and flipped it into fantasy (a school of magic), and her system has rules, like not being allowed to use magic outside of school until your seventeenth birthday. Another example is Blood and Chocolate, by Annette Curtis Klause, where the main character has to deal with typical teenage issues with family and school, but her family consists of werewolves. The rule? Don't get close to humans.
          Honestly, we could talk forever about world-building. There are so many tips and strategies, but we're here to discuss why it makes good YA. If you really want to go in depth about creating an awesome fantasy world, read The Tough Guide to Fantasyland: The Essential Guide to Fantasy Travel by Diana Wynne Jones. You won't regret it.
          The best, most successful, and enjoyable YA Fantasy has well-rounded characters firmly grounded in the teenage mindset, a fast-paced story, an ending with hope, and a believable fantasy world. If you think we left out anything, comment below with what you think makes spectacular YA Fantasy.

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