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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Replying to @fozmeadows
I think my follow-up thread tonight might help explain? I think there’s a strong market for crossover books at adult SFF publishers, so considering whether a book might fit there instead can be a sound strategic choice
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Replying to @hannahnpbowman
That makes sense to me, but the wording in the first tweet suggests something very different. Also struck me as odd given the knowledge that many YA readers are adults themselves, so the crossover market is already there, just going in the opposite direction.
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Replying to @fozmeadows
Right, and I’m focused on selling to publishers not readers. I advise clients to push crossover titles towards adult pubs because I’ve found it’s harder to sell to YA pubs. But my original tweet was obviously unclear and I’m sorry for that.
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Replying to @hannahnpbowman @fozmeadows
My point was to encourage discernment about whether your book fits better in the YA or adult markets. I see “does this need to be YA?” as one way of asking that question, especially because in my experience YA can be harder to sell.
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Replying to @hannahnpbowman
I think what confused me most about the original tweet is that word, “need.” I can see what you’re saying about the pitching context, but viewed in terms of story content, it almost felt like asking, “Does this story need to be what it is? Why isn’t it something else?”
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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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Replying to @fozmeadows
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.
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