Young adult (YA) fiction: either you love it or you hate it. Whatever side of the issue you’re on, there’s no denying that young adult fiction is a big part of mainstream society today. But what exactly is the issue with YA books and movies? Are they too trope-y? Boring? And if they are, so what?
Well, one of the main problems with young adult fiction is stagnation. Rather than being a large selection of varied literature with only the age of the intended audience in common, it has fallen rather unfortunately into the realm of genre-writing. Not all YA books are like this, but many are. And for the most part, any YA piece that makes it big in the movie industry falls under these familiar tropes.
This can cause problems not only in the world of literature, but in the world of acting as well. One of YA fiction’s best contributions to our society is that it opens up positions to actors that are often unavailable to them otherwise. Women are cast in the roles of the action hero, and because of the intended audience, younger, less-seasoned actors are called for.
However, this rarely promotes the kind of societal value shift that we might hope for. Female characters in YA fiction typically look strikingly similar to one another, which fails to counteract the underrepresentation of women in literature and film. Younger actors are disregarded in favor of older actors who have the ability to look young, promoting the idea that puberty isn’t real in Hollywood and the “awkward phase” shouldn’t actually exist. Cultural and ethnic diversity is often overlooked. And to be honest, male characters tend to be rather flat as well.
At a time in their lives when young teenagers are trying to figure out who they really are, when they’re focused heavily on wanting to be wanted, YA literature is failing them. Rather than promoting diversity of character and plot, inspiring them and asking them to think about the world in new ways, these books and movies recycle old plots and tropes based on their marketability.
So what message is this actually sending? Dystopian futures hold a lot of literary potential and can theoretically promote a focus on societal issues. However, when this trope is used as a backdrop to a “juicier” conflict — namely, a love triangle or other romantic entanglement — any message is often distorted or ignored.
Now don’t get me wrong; I’m not against romantic subplots. As part of a generation that grew up on Disney movies, it’s almost assumed that we have a deep-seated love for romance books and movies. However, let’s take a closer look at what YA fiction is actually giving us.
First of all, you have your female lead. She’s a “strong” character — that is, she knows (or is able to learn) lots of physical fighting strategies. “Strong” equals physically strong, or at least emotionally strong. She’s often sullen at first, or at least quiet. She’s often a reluctant leader of revolution. (This helps market her as a “strong” character!)
The male lead is mysterious and charming. He is able to deliver a series of one-liners that catch the girl’s interest. However, the two will inevitably hate each other for a while before falling in love. After he realizes that he loves her, he will open up about his dark past. They change each other for the better. After overcoming several obstacles, they will end up together, and the book or series will end.
This narrative is obviously an interesting one in our society, as it’s a formula for a blockbuster or best seller. However, it’s teaching young adults several things: women and men have one single set of characteristics that are desirable; “falling in love” is supposed to look one certain way; and the story ends when the characters get together.
At a time when young adults are beginning to struggle with starting and maintaining romantic relationships in their own lives, they are shown that love should only exist in one Hollywood-style way: when you meet the love of your life (who is often the first person you ever fall in love with), the story ends. This doesn’t let young adults know that they may fall in love many times before meeting the right person, or that after they meet them, their relationship is still going to be a lot of work. In a very crucial time of development, these stories are falling short of doing what they’re supposed to do: make their audience see the world more clearly. These messages are getting lost as the entertainment-factor is getting pushed.
Strong characters aren’t characters who act tough. Strong characters are those who are realistic. Don’t make every fictional teenager into an action hero. Show them as they really are — flaws and all. If YA fiction starts to challenge young adults to think differently about the world around them, it could start to bring a real, important impact to the shaping of a generation.