The books we read when we’re young have a special sort of power: they can inspire us to be brave and resilient (Matilda by Roald Dahi), take us on thrilling adventures (Divergent by Veronica Roth) and even introduce us to tragedy (The Bridge to Terabithia by Katherine Paterson). They’re as formative as anything else in our young lives, and sometimes they’re the first place we encounter larger-than-life ideas. Consider the lasting cultural import of To Kill a Mockingbird or even the urgency of a newer best seller like I’ll Give You the Sun, Jandy Nelson’s 2014 novel centering on a contradictory issue. In The Magic Words, Cheryl B. Klein, an executive editor at Scholastic whose projects include the last two Harry Potter books, sets out to inform would-be writers on how great novels for young readers work.
The market for YA novels is booming: sales in the children’s and YA sector have been neck and neck with those of adult books in recent years, and adult authors, including Meg Wolitzer (Belzhar) and Carl Hiaasen (Razor Girl), are getting in on the phenomenon. Magic Words aims tobe a master class. If you think it sounds silly, it isn’t. In the era of elevated self-help sensations like Marie Kondo and Breníé Brown, The Magic Words is of a piece.
Klein deconstructs the seemingly obvious (clear plotlines, sympathetic characters) to reveal the technical intricacies of some beloved classics. L. M. Montgomery surely didn’t whip up Anne of Green Gables as a cash-in endeavor. But for those who want to capitalize, Anne is instructive: what’s timeless and broadly appealing about Anne-her teenage heart and impulses-is what to examine. Once you understand that. Klein encourages you to get personal:What makes you ideal to write your story? And what does it mean to the reader?
On the latter question, The Magic Words is more than a handbook. It is also a timely social commentary on the responsibility YA writers have to young adults. Those who write to a younger demographic must start with an awareness of their readers-not only their age but also how they might connect with the issues, both the mu ndane (bullies) and the cultural (tolerance) that characters face. The narratives we tell young readers can influence how they understand and value the world around them. The magic isn’t in the words: it’s in how the words come together to reflect and affirm the realities of a diverse young-adult experience.
According to the first paragraph, it can be learned that _.
A. The Bridge to Terabithia can inspire us to be brave and resilient
B. Matilda by Roald Dahi can take us on thrilling adventures
C. Diverge nt by Veronica Roth even introduce us to tragedy
D. To Kill a Mockingbird has lasting cultural significance答案:D Which of the following is NOT true about YA novels?
A. Anne is a master in the field YA novels.
B. Sales in the children’s and YA sector have been neck and neck.
C. Adult authors are getting in the field of YA novels.
D. The market for YA novels is booming.答案:A According to the text, the Magic Words is _?
A. full of absurd plots and complex narrative structure
B. one of the masterpieces of Klein
C. not only a handbook but also a timely social commentary
D. a novel composed of many letters答案:C According to the last paragraph, those writers who write to a younger should _.
A. find someone to sponsor their writing B. fully understand their readership first
C. develop a strategy to meet the market D. copy the works of historical masters答案:B