I have a passion for children's literature. Young adult literature. I love it. I've always loved it.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
I don't think I ever intended specifically to write for the young adult market. It's just that when the idea for City of Bones came to me, I knew the main characters were teenagers. In my mind they were just very clearly the ages they were, which turned out to mean it was a YA novel.
I've published over 100 books - and that is divided about 50/50 adult and young adult. Lately, I have been writing more YA, which is such a great genre to write it. I don't have a favourite (I usually say it's the last book I've written), but certain books do stick in the mind. My very first YA novel, The Children of Lir, will always be special to me, and, of course The Alchemyst because it was a series I'd wanted to write for ages.
I published my first book in 1982 - a collection of Irish folklore called Irish Folk & Fairy Tales. It is still in print today. My first young adult book was published a couple of years later, and I've been writing in both genres ever since.
In a New York Post interview, Judy Blume, author of young-adult fiction, gave this advice on getting your kids to read: "Moms come up to me at book signings and describe how they're telling their daughters, 'These were my favorite books,'?" she says. "I say, 'Quit it! That's the biggest turnoff!'"You want to get them to read them, leave them around the house and every so often, say, 'You're not ready to read this yet.'
...a college education feeds an adolescent in one end and gets a young adult out the other. In the process of those four years that person has changed significantly, and you and I have been agents of that change.....what happens, in the course of what we do, is soul making.
Year Up for me is a year in which the young adults that we serve have an opportunity to move up in their lives and gain the access and opportunity they need to realize their potential.
My grandmother was also an active member of the tenants association and a staunch supporter of the Democratic Party, and both of my parents were extremely liberal, so I think I grew up in a household that was very politically conscious - we all watched the elections on TV, and we watched the debates. So it was an awareness that we were raised with, and as we grew into young adults, we just naturally became politically active. It was just understood that it was important, that it was our responsibility.
I want to keep working. I want to step away from young adult fiction. I want to do theater periodically - Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
I am trying to come up with some "adult" reads, but I mostly read young adult fiction (my job), which, by the way is excellent. I will post about some of my favorites that should appeal to adult readers
I know that I'll be writing for young adults for a long time. Mostly because I just love the readers and the teachers and librarians that I interact with.
Rousseau ranks among the great educational theorists of the modern era, even if he was the last man to put in charge of a classroom. Young adults, he thought, should be allowed to develop their capabilities in their distinctive way.
I believe in national service, I believe that every young adult citizen should do two years of national service. Not necessarily to be deployed, but to understand teamwork, responsibility and mixing with different people.
The distinction has blurred between young adult and adult books. Some of the teen books have become more sophisticated.
Universities used to prepare young adults for the real world. I dare say the graduates today go in without a clue and graduate without a clue. It's time to acknowledge the college degree is not worth what it was in the past. Times are changing, and so is the way we prepare our youth to survive in a competitive world.
There isn't a lot of poverty literature in the young-adult world. And I don't know why that is, but I think certainly I felt a gap.
Divorce in a young-adult novel means what being orphaned meant in a fairy tale: vulnerability, danger, unwanted independence.
The nature of human beings never changes; it is immutable. The present generation of children and the present generation of young adults from the age of thirteen to eighteen is, therefore, no different from that of their great-great-grandparents. Political fads come and go; theories rise and fall; the scientific 'truth' of today becomes the discarded error of tomorrow.
I avoid the young adult section altogether if possible, although it's sometimes fun to catch a girl lying on the floor, reading "Gossip Girl."
I thought I’d been condescended to as an Indian - that was nothing compared to the condescension for writing Y.A.
There was a time, from 1935-1946, when teenagers and young adults danced to jazz-orientated bands. When jazz orchestras dominated pop charts and when influential clarinettists were household names. This was the swing era.
If there is any one thing most needed in this time of tumult and frustration, when men and women and youth and young adults are desperately seeking for answers to the problems which afflict mankind, it is an "iron rod" as a safe guide along the straight path on the way to eternal life, amidst the strange and devious roadways that would eventually lead to destruction and to the ruin of all that is "virtuous, lovely, or of good report."
I see now that dismissing YA books because you're not a young adult is a little bit like refusing to watch thrillers on the grounds that you're not a policeman or a dangerous criminal, and as a consequence, I've discovered a previously ignored room at the back of the bookstore that's filled with masterpieces I've never heard of.
The movie, like the book before it, is an expertly built machine for the mass production of tears. Directed by Josh Boone 'Stuck in Love', with scrupulous respect for John Green's best-selling young-adult novel, the film sets out to make you weep - not just sniffle or choke up a little, but sob until your nose runs and your face turns blotchy. It succeeds.
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