I’m honestly 
at this whole tweet, but the idea that SFF *in particular* doesn’t need to be YA is just, like... what??https://twitter.com/hannahnpbowman/status/1134534824310390784 …
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That is part of what I’m saying, though: I think it’s useful to interrogate why the story is the thing it is, and to consider if it could be something else. You learn things about the story that way. It helps it find its true form, so to speak.
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Granted, yes, but from a writer’s perspective, if this is a first response to *all* YA stories, it comes across less as a reaction to that story’s potential specifically and more as a particular agent’s reluctance to work with that genre/demographic.
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Which, sidebar, I do think there needs to be a better conversation or clearer consensus at least about what fundamentally *defines* YA in a pitching sense. Given how many teens read adult works and adults read teen works, it’s not purity of audience - so what, then?
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Right, I have feelings about what elements make something more/less YA but there’s also complexity around the ways houses buy and market it. It is a conversation to have.
End of conversation
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