Oh My Word!

Make Morality Mainstream Again The adultification of teen fiction has intentionally Frankensteined books for teens into cesspools of ideological normalization. A while ago, I met a mother and her daughter, the latter of whom I hadn't seen in several years. On the cusp of turning twelve, she'd obviously grown in the time since, and, her mother proudly informed me, had become quite the reader. Indeed, the girl held quite a thick book in her hand. Which was it? The girl showed me the cover. I turned to the mother. “Do you know what your daughter is reading?” She'd figured telling her eleven-year-old she could read whatever was marked 14+ was a safe enough guardrail for appropriate content. As reading is an experience between book and reader, the mother wouldn't have seen what her daughter was taking in. She couldn't either know that her daughter's book was familiar not because it was something I'd read but because it was something I wouldn't. Worse, she thought she could trust the institution. THE READING DILEMMA Parents want kids to read, but as most can't keep up with their reading habits, they don't fully realize what's being allowed, even promoted, in books for young readers. As with other once vaunted institutions, the publishing world has morphed in ways many aren't fully aware of. Over a decade ago, I signed my first contract for Young Adult (YA) fiction. Before and since, I've watched the genre boom through the stages of audience demographic to viable business. Throughout, YA has expanded from books for teens to a genre unto itself, attracting talented writers, lucrative contracts, and the golden goose of Hollywood adaptations. YA is officially for readers 14-18 years (and up). However, as it's after Middle Grade (8-12 years), tweens are frequent readers, plus many eleven-year-olds reading up. There is “lower” and “upper” YA, but they're unofficial categories for libraries or writers specific about their target audience. Most retailers and publishers categorize all teen books under the general YA umbrella. NA, New Adult, mainly written for college-aged readers into their early twenties, is often sheltered under the YA umbrella too. Alongside the wider publishing industry, YA has changed significantly over the years, reflecting broader shifts in society. What follows isn't an analysis on talent or quality but content, as something about words in a book makes what's written more real, valid, romantic, admirable, aspirational. Thus, the intent is to shed light on some of the many topic and imagery that are included in books for young readers. At risk that this won't earn me any friends in publishing (at best), here's some of what I've seen: DEVOLUTION OF YA FICTION Growth of the YA audience/genre is an objective benefit, logical as it is to increase methods for targeting potential customers. As YA has increased in business and position, its morphing into genre unto itself has attracted many adults readers. As a YA author, I read mainly within my market and see the appeal for adult readers considering how well the genre's developed. The migration of older readers to YA is certainly one of the many reasons it's been so adultified. Other factors include the poisonous stranglehold ideological tentacles have on many aspects of culture, entertainment, and education. The shifts adults have finally caught onto in adult fiction and film have infected literature for younger audiences, picture books through YA. A quick example, originally, romantic comedies centered on a man and woman who clashed at the outset, then eventually found their way to each other at the end. The story would build to some romantic declaration, then a kiss. Anyone who's been watching knows that there's now a whole lot of touching that happens before any romantic declaration occurs. Longer, more frequent kisses are only second to scenes of the pair sleeping together before deciding how they really feel about each other. All this is becoming commonplace in YA. What was once cutesy stories about a high school girl chasing a crush has now become stories featuring a whole lot of other firsts, even seconds, and then some. The devolution of YA is a result of purposeful normalization and reshaping of societal norms through manipulatively emotional appeals by writers, agents, and editors. On average, books from larger publishing houses take roughly eighteen months to two years to evolve from contract to product on the shelf. To say, story trends are set in motion well before their rise in popularity. Whatever the view on agents as gatekeepers to the larger houses, publishers only publish so many books in a year, an amount significantly less than all the people who want to be published. Hence, agents act as preliminary filters for editors, whittling down potential authors to relatively more manageable numbers. An agent must really believe in a writer and project to nab one of those few spots. Like most creative fields, writing is highly subjective, so in addition to general quality, each agent and editor has preferences for stories they want to work with. They're also usually pretty clear about what they're looking for, so part of the progression of change can be traced back to what's being requested. CHARACTER INCLUSION CHECKLISTS When I first entered the “querying trenches,” wish lists from agents mainly specified genres and their various offshoots. Although ideologies make a home in all genres, most were subtler, more akin to a light sprinkling than the deluge of today. Within a few short years, wish lists changed. Unofficial “checklists” appeared in the now familiar cancerous categories of equity, representation, marginalization, and other socialist pseudonyms. Nonfiction for teens is dominated by activism, coming out, and adaptations of left-wing figures' biographies. Rather than prioritize quality, potential, uniqueness, the new gatekeeping is often focused on the inclusion of certain ideologies. For the first while, emphasis was on strong female characters, an odd request considering the YA market is dominated by female writers and readers. Previous character portrayal thus had little to do with some imagined patriarchal oppression. Now, female characters are “fierce”, projections of feminist fantasies celebrating girl bosses who are objectively pushy, uncooperative, obnoxious, self-righteous, and/or highly unrealistic. Somehow, they capture the most desirable love interest, a magical combination of masculinity and emotional vulnerability, who is inexplicably un-neutered by support of her domineering principles. Frequently, the girl makes the first move. Worse than overbearing feminism is unrealistic portrayals of a girl's physical abilities accompanied by most unsavory rage and wrath and anger. Supposedly, these traits aren't anathema to the gorgeous guys (when it is a guy) these girls miraculously attract. Unless there's a moth to flame metaphor here, it's a lie to pretend wrath is a healthy attraction. This well reflects the move away from what's become so-last-century stories featuring underdogs who searched deep for courage and heart to overcome challenges, raising up others alongside themselves. A time when character development focused on, well, character. More wholesome stories have been replaced with a self-proclaimed oppressed burning with self-righteous rage and violence. Such characters have seeped into fantasy for adults as well, most notably in armies featuring female combat soldiers and warriors without special powers, who somehow go toe-to-toe if not best male counterparts. Often this sort of matchup is shown as some cunning of smallness, agility, and destruction of arrogant male condescension. Never mind that such fighting is highly unrealistic, and any male is rightly confident if paired against a woman in physical combat. No amount of small body darting or ingenuity will save a girl from the full force of one landed male punch. The unquestioned portrayal of women able to best men in physical combat is worrying considering the real possibility of a reader confusing fact with fiction. Besides, a country which sends its women to war will no longer exist, as it's a country with males but not men. The current not-so-secret of major houses is that a book doesn't have a high chance of getting published if it doesn't check certain markers, especially for midlist and debut authors, though A-listers are not immune. A Caucasian is hardly allowed to write a story featuring a so-called BIPOC, but a straight author must somehow include the ever-expanding gay-bcs, and it must be in a positive light. Some authors were always writing these characters, which at least reflects acting of their own volition. For the rest, many didn't start until required. Because of the careful wording around these ideologies, many don't speak out against these practices so as not to appear hateful and bigoted. The mandated appearance of so-called marginalized and under-represented in stories lest the author risk erasing…someone, somehow also operates along these lines. Although, apparently, only very specific groups are at risk of disappearing. These standards are ridiculous in their least damaging iterations. How many so-anointed BIPOC were consulted over their standard portrayals? How can every individual of every minority be consulted for approval, and who chooses which faction decides? How many Latinos, speakers of gendered language, agreed to Latinx and Latine? Christian characters in mainstream publishing are rarely portrayed as steadfast believers or even rebels rediscovering faith. Jewish stories usually feature a character who's “lived experience” is assimilation, so the character is of a religion but doesn't represent it. A real portrayal of the true beliefs these characters come from would not align with the world mainstream publishing wants to shape. Even more ludicrous is that “disabled” and “neurodivergent” are considered identities, as if a physical or medical condition is cause for new labeling. The approach used to be that you are still you, worthy of respect and consideration, despite these conditions. In the glorified world of the self-hyphenate, the world of we-are-our-self-declared-identity, it's the foremost feature mentioned, with accompanying expectation of praise and exaltation, regardless of an individual's character or behavior. Don't confuse the argument against the labeling with the individuals, because they are separable. Worse than the tokenism is the reduction of individuals to secondary characteristics. Is this really the first thing you have to say about yourself, the most essential thing to know? When did it become norm to turn skin color or medical condition or physical ability into a character trait, the very notion of which says that anyone in this group must be viewed primarily through this lens, as if each is exactly the same? How myopic. How belittling. Following the cue set by movies, books for teens also morphed from cutesy rom-coms to ideological showcases. Unsurprisingly, there's been the introduction of the stereotypical gay best friend. Then storylines focusing on coming out or discovering someone close was gay, with accompanying template for writing them. The one coming out is always the strong one, the resilient one, though much language must be banned lest they be offended or erased, so their strength is dependent upon a carefully constructed bubble. Not only is inclusion necessary but happiness is the only possible, deliberately portrayed reaction. Never mind if some or all of it runs counter to a writer's religious beliefs. Moreover, “I'm not sure how I feel about this, but I'll still treat you with respect” was never an acceptable response. And it is an acceptable response in all manner of situations, unless you exorcise it in efforts to forcibly shape a particular worldview. Additionally, the attitude is that since you can't tell me who to love, and loving this person makes me happy, you must not only ally but champion me. Why is it offensive to present different acceptable, respectful reactions to teens? Who exactly is erased if this character isn't presented at all? As before, don't confuse the argument against mandate with the individuals. The contention isn't about love, but about religion protecting the sanctity of romantic relationships and marriage, a religious practice since the dawn of time, as seen across centuries and civilizations. Marriage is described as sanctified and holy, because it's Divine in nature, and thereby under the domain of the religious. If it's just a contract, then of course any government can regulate it. It’s disingenuous to deny that such enforcement clashes with the very nature of what writing is about. It shuts down discussion, then subverts it entirely by pretending there's nothing to debate. That shouldn't be a source of pride for publishing, but deepest shame. In their efforts to supposedly widen the window of story matter, they've narrowed the frames and tinted the panes to exclude suddenly unacceptable voices entirely. PORNOGRAPHY AND CONSENT Compounded upon all this, most books are no longer relatively clean romances building to a single kiss, as every stage of the relationship has become more explicit. Some scenes are akin to manuals, containing the sort of imagery once the sole province of steamy romances. When efforts are rightly made to remove these books from shelves, screeches of censorship! erasure! representation! resound. We wouldn't, and shouldn't, tolerate any adult approaching a kid on the street and telling stories with such description, nor should we allow it from close friends or family. Authors do not hold special status in this, no matter what the screechers screech. Taking such books off shelves isn't an indication of bigotry, intolerance, hatred, or erasure, but moral obligation. The counterargument from writers, agents, and editors is that explicit detail is necessary because of something to do with “lived experiences” and consent. First, if kids are doing it anyway, then adults definitely needn't assist. Second, consent is not quite the magical word society would have us believe. Third, “everyone has different experiences” is not a reason for writing graphic content, and the replacement of “intimacy” with “experience” is largely responsible for why relationships are in the gutter and leaving people unfulfilled. Intimacy is something private between two individuals; experience is a vague euphemism to pass off what should matter as transitory, despite irrevocable effects. It's difficult to imagine in an age when phones, cameras, and microphones track a person everywhere, but there was once an ideal called privacy, and the intimate was part of it. Pushback also leads to defenses of “sexuality,” another way of saying adults want to teach kids all kinds of ways to pursue these “experiences”. Changing the wording doesn't alter the nature but does allow immoral actors to force celebration of their fantasies and fetishes. The wrongness is incontestable, though not surprising from those who promote polyamory for teens and romantic relationships between humans and demons or other ungodly creatures. The feeble argument for writing scenes of teens sleeping together is they must see what consent looks like. Again, authors do not hold special status or exemption. There is no strong enough argument for writing scenes for teens in which one character undresses another and verbally asks permission every step of the way. Especially because the new trend seems to be the girl not only “consenting”, but also a burning I want this. If she wants, this wording implies, then she must have, abandoning all reason and morality. Consent has become an excuse for all sorts of undesirable, immoral, even illegal behavior, but mutual agreement is supposed to make it okay. This isn't the behavior we should be promoting for teens; we should be giving them better things, bigger ideas to think about. Worst of all, why is any adult writing about two sixteen-year-olds sleeping together? A teenager, no matter how mature, is still developing and while smart and clever not really old enough to fully understand what she's “consenting” to, and is probably being taken advantage of. We treat eighteen with the same magical power as consent, as if any age should be sleeping around, even if legalese only extends so far. Teen pregnancy, abortion overall, would hardly be an issue if everyone stopped sleeping with people they shouldn't. Any adherent to morality knows this, though morality is just another thing scuttled from teen fiction. G-dless ideology is the new morality; immoral, manmade gods have replaced G-d; lust is the new love; sexuality excuse for pornography; perceived racism and misogyny validation for violence and rage. Many are we who did not consent to this. These scenes are in teen films as well, though how many parents know this in an age of individual devices? Adults pretending to be teens take each other's clothes off before a camera for real tweens, teens, and/or adults to watch. Please explain in clear and simple language why this is not a form of pornography. What absolutely vital role does this scene have in advancing the story? Consent is not enough. Wanting is not enough. We're encouraging teens to turn their bodies into used cars, dented, scraped, scarred, and baggage laden, for what? Why is this hollowing out of self and morality good? This serves no benefit for teens and the overall state of relationships. Consent has become an excuse for all sorts of undesirable, immoral, even illegal behavior, but we're supposed to think that everyone agreeing makes whatever they agree to okay. It's incredibly obvious that feminism and the sexual revolution didn't free women, but chain them in a prison of animalistic, unsatisfying desire, dooming them to jadedness, frustration, and loneliness. But they're so responsible! So mature! By such logic, a responsible sixteen-year-old should be able to buy guns, alcohol, and drugs. But identity! No, identity doesn't mandate a book with graphic imagery, nor is it “sexuality” or “feeling seen” or any other term you hide behind. Witness the tattered remains of social morality that writers do not balk at writing this for teens. They should balk at writing this for anyone. Once we recognized that betterment came through battling temptations. It is not difficult to see how the enforced normalization of all this was also an effective ridding of undesirable shame. Not only have we banished feeling bad, we've enforced celebration of what shame once kept in line. But they'll never be prepared! How did any of us get here if none of this existed for millennia? But look at the sales! Many people also bought rock pets. Deviants and defenders will attempt to claim that (a) this sort of stuff always existed, which isn't really a reason for its continuance, and (b) previous generations were undoubtedly stifled in their inability to express their true selves. Perhaps. And yet, previous generations built civilization, with significantly less medical prescriptions too. Previous generations were better at family and community, meaning and purpose. We have “experiences.” But this is what married people do! Some writers introduce a faux or rushed marriage into the plot, perhaps because their weakening moral compass prevents writing an explicit scene between unmarried characters. Marrying the characters and making them eighteen doesn't magically okay writing this for teens. Everyone does it—indeed there are many common bodily functions which shouldn't be demonstrated in public—isn't either reason enough. Pressures to include these scenes is evidenced by authors long regarded as “clean” storytellers, authors who won't swear or indulge in graphic or gratuitous content, authors who clearly express Christian beliefs in their acknowledgements, writing them too. Would they give this book to their priest? To a young church member? Would they read the scene aloud for family or friends or the very teens they write for? If even the professed religious authors do not have the fortitude to oppose this, if even they can be convinced of the supposed validity, then gone is the bulwark protecting children from the psychological and moral damage resulting from these scenes. But inclusivity! We must reflect the world around them! Considering what's in these books, all should pray teens aren't seeing this around them. Either way, that doesn't excuse writing about it. Moreover, cries for inclusivity from those shutting down differing opinions are inherently without substance. True inclusivity is achieved when stories focus on universal truths and laudatory values shared by all. The fundamental argument is that “could” is not “should”, and the only reliable arbiter between the two is Divinely-based morality. Current permissiveness is only possible in a society which worked for decades to expunge religion from its vital foundational position and influence. The demonization piled atop its degradation was simple insurance that the moral truths of religion wouldn't interfere with the newly established secular order. We can still be good people, they claimed. Witness the tattered remains. Allowing, championing, this sort of writing has not made us better, and instead of listening to concerns, activists and proponents double down. Need you any proof of the separation between ethics and morality and elitism and academia, scroll through an article or two in defense of these scenes. The more “educated” the individual, the twisted the pretzel of rationalization. Rational lies, all of them. These lies are prominently center of the new crusade against so-called “book banning,” although the books are still available at retailers and publishers. Fueled by self-righteous hysteria, activists take great pride in influencing state legislatures to enact decrees against book bans in protection of “lived experiences,” representation, and the like. If a teen doesn't see two boys or girls or more sleeping together, so the thinking goes, then they face imminent, unspecified harm, never mind that their sacred voice has been quashed. They claim BIPOC and queer authors are specifically targeted, failing to mention it's the content not the author rejected. Somehow the bigots are the ones who don't want kids reduced to “sexuality”, while the tolerant are the ones who do. Need anyone ask if these protections extend to writers who don't align or even disagree with their worldview? I'd say these books are better suited for adults, but adults are despairing of the unreadability of books in their categories too. And that aside from the targeted “decolonization” of books and authors that adults, especially men, enjoyed reading. From the myriad of books extant, no plot was ever turned, no story ever dependent upon an explicit scene, in the bedroom or elsewhere. Neither does such render the work art or literature, but rather indecent and abhorrent. Parents struggle to encourage their kids to read when such are the books available. ELIMINATING THE WEST For some time, agents have specifically requested non-western narratives, histories, and legends. Atop the deteriorating state of the current education system, teens aren't being presented with a fictionalized character in history, which may thereby spark interest and curiosity in real history. No wonder they know so little of the past when they're not offered history at all. What does make it in represents very select time periods. Other permitted historical fiction is alternative histories where the past is magicked or reimagined, almost always in some gender swapped way. While alternative histories can be creative, the lack of regular historical fiction seems to indicate the only permitted history is a remade one. Otherwise, most of western history isn't on shelves because no one wants to represent it. Which means no one's fighting for it to be published. Which means young readers aren't given glimpses into the past that made this present and will highly influence the future. And this from those who claim large swaths of the population don't properly teach history. The same who pushed the fabricated and widely debunked lie that slavery was unique to the west, the only culture who actively sought to end it. The same who have yet to consider the absolute necessity of mandating schools to teach the true horrors of communism done right. The same who have a monochrome view of colonization and chameleon approach to the faux oppressed-oppressor narrative. A rather high volume of Asian-based stories, histories, and mythologies fill the market instead. The proliferation of Asian and other eastern fiction isn't objectively concerning, but it's deliberate increase alongside western stories' deliberate decrease is. It's less an expansion of viewpoints and more a supplanting of anything west. I grew up reading historical fiction, but there's a dearth on shelves for teen readers, who must see where we come from through the eyes of characters resembling our ancestors. Instead of walking through time in their shoes and understanding their struggles in the context of when they lived, we project modern ideologies upon the one protagonist somehow vastly ahead of her time. It's deliberately false and disconnects readers from the world that created the one we live in. Whatever your opinion of our world, it was formed in those histories, and we cannot appreciate the present without understanding the world that made it. MENTAL HEALTH Another major trend in teen fiction is the focus on the broad category of mental health, its emergence unsurprising considering the uptick in modern society. Whatever the viewpoint on diagnoses, the truth is that the ones calling for greater awareness have much to do with having caused the issues. Teens living in the most prosperous, free society that ever was should not have such measures of mental health struggles, yet they do. Skim the messaging of the last several decades and it's no wonder why. Teens are raised on a bombardment of lies and damaging viewpoints resulting in a precarious Jenga structure at their foundation. For decades they've been told they can sleep around without lasting consequence, negating the need to build deep, lasting, exclusive relationships. Families, a fundamental source of meaning and grounding, have been shoved aside for the faux glory of sleeping with whomever, whenever, and the new solution of “found family”. Just because a pill supposedly prevents biological consequences doesn't mean a different sort of toll hasn't been exacted. And that follows the perpetual degradation of dress, reducing the entirety of an individual to a form as valued or devalued as any other physical object. Added to the disrespect of the body is the incessant, unfounded claim that “climate change” is going to destroy the planet by…well, soon. Never mind that we're doing better than before, and all predictions have been proven wrong. Imagine what continual doom and gloom does to the mental state of a teenager already grappling with ping-ponging hormones, who should be presented with optimism for the future they're about old enough to create. Well, we have a pill for that too. Teens have been told the American dream is gone by those who set out to destroy it, that American greatness isn't worth dreaming about by those who recolored it a nightmare. Hobbies and collected skills, the work of their own hands, have been shunted for social media trends and unfettered internet access. Phones are given to younger and younger kids, so they don't grow up in the tangible, real world but an algorithmic, digital one. Inevitably, the worst of that world affects them. They're told that they're hated, feared for the way they were born. They're told they're not even who they've been since birth, basic facts purposely turned into issues and doubts to shake the foundation of self. Those most adamant about the contrived need for teens to discover identity are the most diligent at axing their very roots. The response to the mental health crisis, the jadedness, the internal turmoil they've helped facilitate by destroying the enduring, reliable fabric of society is to encourage more of the same empty, hollowing behaviors. Atop all this is never-ending rage, rage, rage. At the base is the deliberate removal of religion. No matter an individual's choice of observance, religion undeniably provides what liberal society and decadence cannot; meaning. Eternal, enduring meaning. The knowing that you're more than a clump of cells passing through this timespan, because you are an integral link in a chain reaching back millennia. Your ancestors didn't endure hardships or fight to build civilization so you could be the end of the line, but so you could gratefully take your place in it. You and your actions matter. Not because you're a political vote or celebrated community, but because you were made in the image of G-d Who woke you today as there's something only you can do in His world. What effect would the proliferation of this messaging in literature have on the mental state of the youth? And for those pontificating about diversity and inclusion, who in truth only want different skin colors espousing the same beliefs, there is no greater unifier than religion. Belief in a higher power unites individuals of different backgrounds, colors, and, most valuably, opinions, in ways no mandate or ideology ever can. While lengthy, the above in no way encompasses all the changes, reasons, and effects pertaining to the devolution of teen fiction. And, as the focus is not on talent but content, it can be shifted as easily as it was before. You may disagree with everything I've written. You may accuse me of jealousy, hatred, bigotry, racism, misogyny, xenophobia, erasure, et al. I only encourage you to look for yourself. Peruse bookstore aisles; click through new releases; check who's getting awards. What do your eyes see?

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BONUS! Episode featuring screenwriter, author, and podcaster Geoffrey D. Calhoun! Geoffrey shares about becoming a screenwriter on a bet, writing an accessible book on screenwriting, weaving in subplots, and more!...

Some trends are self-made, some trends are manufactured, but however they come about, trends affect culture and culture affects trends. As part of an ongoing, multi-episode series, we're taking a...

BONUS! Episode featuring author Erik Bean! Erik speaks about finding bias in media, learning to assess information, how these techniques may benefit fiction writers, and more! Find out more about...

Lyrical and wonderfully written, The Girl Who Drank the Moon weaves a story relatively good to our pearls, although there are certain descriptions and themes that may not be well-suited...

BONUS! Episode featuring author Angela Ruth Strong! Angela shares about writing romance…right after her husband left, writing clean romance, adaptations, and more! Find out more about Angela Ruth Strong at...

Hairspray, here to have a good time or musical with a message? Are bright colors and upbeat songs enough to make a good musical, or does there need to be...

BONUS! Episode featuring author Syd Blue! Syd talks about writing, flying, writing about flying, adaptations, and more! Find out more about Syd Blue at https://sydblue.com Listen on App/Subscribe to Oh...

The World Between Blinks is a middle grade adventure which lands well on our pearl scales, and gets extra points for bringing in historical fiction! However, a sense of rushed...

BONUS! Episode featuring voice actor Ray Buffer! Ray talks about voice acting, recording bears, collecting golden age comic books, and more! Find out more about Ray Buffer at https://raybuffer.wixsite.com/raybuffer Listen...

Game of Thrones is a highly lauded TV adaptation of a book series of the same name, which developed a very rapt, devoted fan base. Somehow, this international hit wasn't...