Cory Doctorow
Today, YA book group spoke with Cory Doctorow, author of Little Brother. The conversation actually ended up being as much about politics as books, but if you’re read Little Brother, that probably won’t come as much of a surprise. Below, some selected quotes from the conversation (thanks to Cory for allowing me to re-print them; I have done minimal editing for the sake of comprehension and flow):
On reading and writing YA:
“My favorite author has always been Daniel Pinkwater, whose Alan Mendelsohn, the Boy from Mars may just be the perfect YA novel (though he also has a YA novel called Young Adult Novel that gives it a run for its money). However, I started writing YA after some of my writer pals got into it and showed me how much fun it could be — and how cool it was to have young readers, who engage with text in a way that adults rarely do, using it as both a guide to how the world works and something to argue with when it doesn’t match their views and experiences. The first one to help me see this was Kathe Koja, whom I got to know when she was writing “splatterpunk” graphic horror novels like THE CIPHER. She gave it up to write YA — actually let the horror books all go out of print, which I think is a real shame — and had nothing but good things to say about the experience (plus her fiction kicked 11 kinds of ass). Then my friends Justine Larbalastier and Scott Westerfeld (they’re married) started writing YA too, and they were clearly having a high old time at it — we stayed with them in Australia while I was passing through on a lecture tour on our way to Tokyo just as Justine was finishing up her second or third book, and we had all these great talks about what made YA fic work and how it was different from writing for adults.”
When we asked how writing YA is different than writing for adults, he linked to a recent essay he wrote for Locus Magazine (very good, definitely worth reading), and quoted from it:
“Writing for young people is really exciting. As one YA writer told me, “Adolescence is a series of brave, irreversible decisions.” One day, you’re someone who’s never told a lie of consequence; the next day you have, and you can never go back. One day, you’re someone who’s never done anything noble for a friend, the next day you have, and you can never go back. Is it any wonder that young people experience a camaraderie as intense as combat-buddies? Is it any wonder that the parts of our brain that govern risk-assessment don’t fully develop until adulthood? Who would take such brave chances, such existential risks, if she or he had a fully functional risk-assessment system? So young people live in a world characterized by intense drama, by choices wise and foolish and always brave. This is a book-plotter’s dream. Once you realize that your characters are living in this state of heightened consequence, every plot-point acquires moment and import that keeps the pages turning.
And also:
“Risk-taking behavior — including ill-advised social, sexual, and substance adventures — are characteristic of youth itself, so it’s natural that anything that co-occurs with youth, like SF or TV or video games, will carry the blame for them. However, the frightened and easily offended are doing a better job than they ever have of collapsing the horizons of young people, denying them the pleasures of gathering in public or online for fear of meteor-strike-rare lurid pedophile bogeymen, or on the pretense of fighting gangs or school shootings or some other tabloid horror. Literature may be the last escape available to young people today. It’s an honor to be writing for them.”
This is a long conversation, so I’ve posted the rest of it after the jump. Read on for his thoughts on Obama, American politics, and the three crucial things teens need to do if they still want to have rights when they become adults: Read more »
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