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Groupe A ( Ade Sarah, Violina et Mehdi)

We agree with this article because , many young adults are reading distopian literature and can take themselves to the universe in which the character lives and feels like they are in the story, maybe because the most of the readers are the same age or similar age to the protagonist of the story.
We also agree with the fact that distopian novels like Divergent can be compared to high school environment. The factions in Divergent can be compared to high school cliques .

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We disagree with this article because, on the one hand, not every teenagers are into those types of novels, films or televison shows as Joseph Campbell said. But on the other hand, we agree with him that it can hooked a teenager because in a hero's journey type of books and movies, every hero is the same hero but it can be a unique context of each culture.

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We agree with this article, because we think that these authors express the young adult fiction trought teenagers, it's a big step in the life, it is the path of the childhood to  adulthood, because the teenagers do much errors more than the adults at the sentimental level.

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This doesn't mean that I've never read a YA book that I enjoyed. Some of my favorite books fall under the YA genre. But to be honest, I don't typically like reading young adult novels.

Let me just say, this is NOT because I think YA isn't real literature. I think as a society, we have a tendency to automatically dismiss genres that women (especially young women) really enjoy. Romance and YA are often seen as not 'real' fiction, which is stupid, because women and teenage girls are obsessed with both. And if you're obsessed with something, that means it's a good book. In my humble opinion, teenage girls are the ultimate judges on culture, even though we're constantly shamed for our decisions and patronized by adults and teenage boys alike. (You can make fun of "White Girl" things all you want, but that does not change the fact that teenage girls of all races supported both the Beatles and Starbucks before anyone else did, and where would you be without your delicious coffee and Sgt. Pepper's Lonely Hearts Club Band?)

However, despite believing that YA is a genre worthy of literary awards and esteem, it's still not my favorite. There are a couple of reasons why.

1. For many, reading is an escape. I think a lot of adults love YA because they're well-written, and let them imagine being in a different stage of life. But I AM a teenager. I remember reading the Catcher In the Rye and feeling only great annoyance, because Holden reminded me a lot of boys in my school who didn't pull their weight in a group project. I think I might like YA more when I'm not surrounded by the characters.

2. I think that YA also misses some key things about teenagers. So when I'm not avoiding a book because it remind me a little too much of my classmates, it's because it completely captures teenagers wrongly. Again, I understand YA is fiction, and a story about how a teenager's every day life went would be pretty boring. There are certainly exceptions to the things that I list below. But here are some things that I think YA novels on a whole get wrong about teenagers, from a teenager.

(P.S. This post is a criticism of some aspects of the YA genre, but if you're a writer, you could also take this as YA writing advice from a teen.)

Everyone Listens To Them

This might be the biggest 'mistake' I see in YA fantasy, dystopian, crime, and even realistic novels.

Picture this. The teenage main character finds out a huge secret about the enemy fairy army / corrupt government / mysterious murder / sketchy biology teacher. They run to people with power. And then, just like that, they get to lead the resistance/investigation because obviously, they know what's going on.

Here's the truth about being a teenager: NO ONE ACTUALLY LISTENS TO YOU EVER.

Adults think you're too old to be making mistakes and too young to take over their jobs. No one would just hand power over to a sixteen year-old, no matter how cool their prophecy or magical birthmark is.

If your main character gets to be in charge, make sure it's not just because they're the 'chosen one,' or even just because they're the main character and that's what has to happen to make the plot work.

Make teenagers work for their power, and make sure the adults around them are skeptical at first. (Unless the adult is the Main Character's mom. My mom always believes in me. Thanks, Mom.) Make them prove themselves worthy of being heard.

You're Really Writing 20-Year-olds

A lot of YA books I read have main characters who read like they're in college already. They rarely rely on family, they smoke, and they go on crazy road trips.

I admit this is a really tricky one for writers to capture, because most teenagers THINK that they're twenty-somethings. Here's the trick to teenagers: All of us are trying to be older than we really are. As I've mentioned before, teenagers are weird creatures. You feel like you're too young to do anything of importance, so you try to act older. Because it's cool. Because it makes you feel like you have things under control.

So in the abstract, it makes sense to write teenagers like you would write college students, because we act like we are. But it's not that simple. There are two major differences: Experience and security.

Teenagers aren't really secure with their identity, and they don't have enough experience to be convincingly written as adults. Most of my friends don't know how to do laundry. If you're going to write teenagers with an adult edge, make sure you're still making them vulnerable.

Generalizations

I am a nerd. There are not too many other ways to describe someone who recites Emily Dickinson facts, wears boots that resembles a witch's, and enjoys writing essays for school. But I have something to say that may shock an inexperienced YA writer:

I do not automatically and inexplicably hate any of my classmates. For some reason, 'preppy' girls and 'geeky' girls have been pitted against each other in fiction. Preppy girls think the goths/nerds/nonconformists are weird and all the other girls think the preppy girls are basic and boring and conforming to society's lackluster expectations.

This is stupid. Let's list some reasons why.

Someone's taste in music and clothes does not dictate their intelligence. Let that sink in for a minute.

In my school, most people like each other! We might not like the same brands or bands, but that doesn't mean we have a burning desire to watch those more traditional or popular fail. (That would be middle school.)

Unless you abandoned someone in a group project. Then, you are branded as scum.

It's actually sort of sexist to pit girls together like that...It's not a competition. Though many writers put 'popular/rich/pretty' girls against 'beautiful-but-she-doesn't-know-it/misunderstood/underdog' girls against each other in...a competition for a boy. PLEASE DON'T DO THIS. It's so boring. Just because someone wears makeup doesn't mean they're a bad person. Just because someone likes an indie band doesn't mean they deserve a boyfriend more than a girl who knows how to french braid. (Also, will someone teach me how to french braid??) I'm tired of girl/girl hate. There's not as much of it as you think among teenage girls! We support each other. We believe in each other. I want more YA books that show this!

Okay, here's another problem with generalizations: None of them are true. I know in the past couple of paragraphs, I called myself a nerd and used words like, 'preppy,″ goth,' and 'misunderstood.' These labels create an immediate image in your head, which is why writers use them. Stop. It's lazy.

When I called myself a nerd, I closed off the opportunity to be anything else. I didn't get to tell you that I love winged eyeliner, Taylor Swift, soccer, and flower crowns. Also, I like rap songs. (Closest thing to poetry in the music industry!) Teenagers have ~diverse~ interests, because we're people, not stereotypes. In fact, keep in mind that teenagers are actually still developing, so it's common to try out many interests to see what sticks.

Let your characters, even the secondary characters, even the characters your MC hates, be real people. Let them be interesting and unexpected. Think outside the box that previous fiction wrote.

Is this a cloud palace on top of Mount Olympus? Because everyone here is as beautiful as the Gods and Goddesses.

I am surrounded by teenagers five days of the week of over 75% of the year. (Yikes, I know.) I spend a lot of time looking at them. And let me just say, I have beautiful friends. And of course, everyone beautiful in their own way. But YA fiction often only gives us one type of beauty.

Being a teenager is sort of awkward. Say hello to braces, pimples, weird fashion trends, poorly dyed hair, and too much eyeliner. When YA novels describe their main character as someone who could win a Gigi Hadid look-a-like competition, I cringe, because they're missing a major chance to connect with their audience. Writers put a lot of effort into voice to make sure their narrator sounds like a teenager. Maybe they could try making them look like actual teens, too.

Give your main characters diverse body types, different styles, and create a new definition of perfect. (And I promise I won't blame you if the movie adaptation completely ruins all of your efforts.)

Love Triangles

Do I really have to explain this one? Love triangles are unrealistic and cliched. The only love triangle in a teenager's world is when two colleges are interested in them, and that triangle usually ends with which ever college offers the larger scholarship.

OMG, do y'all literally mean that slingin' around dank slang isn't on fleek?

In three years (or in two months) the above sentence will illegible. For some teens, all of the above words are already out of style. Slang is horrible for two reasons.

1. It dates your novel. Slang is intensely temporary. By using it, a book can easily become obsolete. It's the ultimate pop culture reference, but mentioning Oprah is a lot less 'dating' than slang. Oprah's been around for a while and she's going to be around for a while. Let's say the average 'writing a book and publishing it' process takes about two years. (It's usually a lot longer than that, but bear with me.) If you use slang in your novel, by time the two years are over and your novel is published, the teens have already moved onto a new meme.

2. Teenagers don't use slang in everyday language. Sure, we'll drop and 'OMG' every now and then, but 'lol' and 'fleek' is usually saved for text messages. Using slang in dialogue is a poor way to try to connect with teens. It's like ringing a massive bell and shouting, "I don't know how teens actually talk!" And slang is often used to describe 'valley girls.' Who we're supposed to automatically hate, because they wear UGGs, or something like that? See "Generalizations."

"Forever Love"

YA tends to treat teenage relationships like they're going to last forever. Many epilogues show the main character and their love interest happily married. But that's not how most teen relationships shake out. Long-term love just isn't something a lot of teenagers think is realistic at this point. Sure, some of my classmates will end up marrying their current boyfriend/girlfriend but most will breakup before or during college. And they know this.

Most teens are looking for someone to win them a stuffed animal at a carnival, not someone who is this spiritual and intellectual match. They're looking for someone who'd be a good prom date, not a good father. This doesn't mean that our feelings of love, confusion, and crushes are less serious, or that we don't need narratives about teenage relationships. But making every teenage love story a permanent installment shows a fundamental lack of understanding of teens. We fall in love and have relationships, but we're not naive. We might not want to envision breaking up with someone, but very few of us are looking for a true 'forever love.'

They've Got Their Lives Together

You know the character that I'm talking about. They know multiple languages, they kick butt on the battlefield, they have multiple people romantically interested in them, and they are ready to start and lead a revolution. Also, they're 16.

WHO IS THE MAGICAL PERSON. WHY DO THEY HAVE THEIR LIFE SO WELL PUT TOGETHER. I am 16 and I learned yesterday how to make an omelette. I wish I was joking. This is sort of an extension of the whole, "Don't make your characters sound like they're 20" thing, but to be honest, most twenty-year olds are a mess too. Let your characters have flaws. Really. You can have a 'strong female character' without having her be perfect. Most teenagers are a complete mess.

We're Not All That Sarcastic

I know, I hate to be the bearer of bad news. But not all teens are adorable, wise-cracking, defiant, sarcastic little squirts. Besides, when everyone in a novel is sarcastic, all the characters sound the same. Save the sarcasm for one character. Most of us teens are awkward and spend bus rides thinking up comebacks for arguments that we lost hours ago.

Happily Ever After

This is probably my biggest pet peeve with some YA novels. The book is almost over, and one by one, every plot issue is tied up with a bow and set to rest. Soon, everything is perfect, and everyone's living 'happily ever after.' But how can you live happily ever after when you're still a teenager? It's difficult to end a teenage narrative story, because by time you end your teens, you're still beginning your life.

I hate 'perfect' endings to YA novels. There's still so much that's unknown! How will our lives shake out? Will we ever live in Paris? Will we own a horse, or get married, or be a soccer coach for our kids' team one day?

Not every young adult book has to end with an existential crisis of all that's to come. But it would be nice if more could hint that just because it's the end of the story doesn't mean it's the end for the main character's adventures.

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I'm A Teenager And I Don't Like Young Adult Novels. Here's Why.

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This doesn't mean that I've never read a YA book that I enjoyed. Some of my favorite books fall under the YA genre. But to be honest, I don't typically like reading young adult novels. Let me just say, this is NOT because I think YA isn't real literature.

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Young-adult fiction, commonly called "YA fiction," has exploded over the past decade or so: The number of YA titles published grew more than 120 percent between 2002 and 2012, and other estimates say that between 1997 and 2009, that figure was closer to 900 percent. Ask a handful of young-adult fiction writers what exactly makes a YA novel, though, and you'll get a handful of conflicting answers.

At their core, YA books are for and about teenagers and pre-teens, usually between 12 and 18 years old, but sometimes as young as 10. Yet more than half of all YA novels sold are bought by older adults 18 or older, and certain titles published in the U.S. as YA are considered mainstream fiction for adults in other countries. Some authors believe the intent to write for young readers is a prerequisite of YA fiction; others don't even realize their books will be labeled as YA until after they finish writing.

The YA Experts

Rainbow Rowell is the author of Attachments, Eleanor & Park, Fangirl, and the forthcoming Landline.

Veronica Roth is the author of the Divergent trilogy, whose final installment, Allegiant, is out now.

Rachel Cohn is the author of Gingerbread, Beta, and Nick and Norah's Infinite Playlist, which she co-wrote with David Levithan.

John Green is the author of The Fault in Our Stars, Looking for Alaska, Will Grayson, Will Grayson (co-written with David Levithan), and others.

David Levithan is Scholastic's editorial director and the author of Every Day, Boy Meets Boy, and others.

Kristen Pettit is an executive editor at HarperCollins.

Jodi Picoult is the author of 23 books, including The Storyteller, My Sister's Keeper, and The Pact.

Kathryn Reiss is the author of 15 YA books and teaches YA fiction-writing at Mills College in Oakland, Calif.

Many successful authors say there's no secret to writing for teenagers. Good writing is good writing; believable characters and compelling plots are crucial regardless of who's picking up the book. But many YA authors will also tell you there's something particularly fulfilling and rewarding about writing for teenagers, who often respond to stories they identify with more intensely and gratefully than adult readers do. I asked eight writers and editors how they create characters and stories that feel real to teenagers, even when their world-and the world of the YA books they read-can feel like another planet. Below are eight of their most successful strategies.

Think Like a Teen
Rainbow Rowell never set out to be a YA author. Her first book, Attachments, was for and about adults, and though Eleanor & Park is a teenage love story set in 1986, her approach to writing younger characters was the same. It was only after the novel was finished that she learned it would be YA, and even then, the decision was debated. Because Rowell got her start writing for adults-and because the story's relatability defied many adults' expectations of what a "book for teens" was-some readers and reviewers questioned whether the YA label was applicable.

But what clearly makes Eleanor & Park a YA book, a fellow author told Rowell, wasn't just that the main characters were teens. It was that the novel actually saw the world through their eyes. "The perspective was so firmly rooted inside of these teenagers," Rowell says. "You're not looking back or looking down. The narrator is not observing things the people themselves are not." It's the same quality-a lack of narrative distance-that's led many writers to call J.D. Salinger's The Catcher in the Rye the seminal YA text: Readers experience Holden Caulfield's version of events solely through his jaded, smart-alecky point of view.

"I think everyone's got a little teenager inside of them still, and you just have to work to help yourself access that teenager," says Veronica Roth, the author of the Divergent trilogy, whose final installment, Allegiant, is out now. "Every now and then I find myself having a character make a decision that feels very adult without having them earn it, and I have to go back and make sure I'm letting the characters make mistakes they would in real life at that age, like a parent."

When the adult perspective creeps its way into a YA book, readers notice, too. "It's a huge red flag," says Rachel Cohn, the author of the acclaimed Gingerbread series, who says she's vigilant about editing out the grown-up voice in early drafts of her writing. Cohn, who is often asked to review other YA books, calls this distance one of her biggest pet peeves.

"The books I turn away are when the dialogue reads false to me," Cohn says. "It's not that the words are wrong, because that's subjective, but the feelings are wrong to me. It's like an adult observing something."

Find the "Emotional Truth" of the Teenage Experience
John Green's hilarious and heartbreaking The Fault in Our Stars is not a post-apocalyptic, dystopian novel like Divergent or The Hunger Games. But the lives of its protagonists, Hazel and Gus, hardly mirror the lives of their readers, who probably don't have cancer and generally don't fly to Amsterdam to track down reclusive, alcoholic authors. And yet, the book has been a New York Times bestseller for 46 weeks. "I get emails every day from people who are like, 'I'm just like Hazel, except I don't have cancer, I'm not 16, I'm not white, and I'm not female,'" Green says. "I'm like, 'Well, you're not just like Hazel.'"

Readers also probably don't directly identify with A, the main character of David Levithan's Every Day, who wakes up each morning in someone else's body and is defined only by the thoughts in his head.

But they don't need to. "The defining characteristic of YA literature is emotional truth," Levithan writes in an email. "Even if we're not the same as the characters we read, they are all dealing with things-issues of who they are, who they should be, what they should and shouldn't do-that we all deal with, in their own ways. With The Hunger Games, even if we will never be in Katniss's shoes, the decisions she makes make emotional sense to us-even when she makes the wrong ones."

That might be why readers find themselves so drawn to Hazel and Gus, whose relationship and health struggles offer avenues for teenagers to examine the bigger ideas they're grappling with in their own lives. "Maybe some of what's universal is the intensity of the experience, the intensity of falling in love for the first time, the intensity of asking questions about mortality and meaning for the first time," Green says.

But even if YA books aren't tackling issues of life and death, the best among them still capture the gravity of the teenage and pre-teen experience, whether it's the sparks of a first crush or lunchroom gossip and bullying. "When you're in that time in your life, the trials and tribulations of friendships, romantic relationships, it's all very crucial and vital," says Kristen Pettit, an executive editor at HarperCollins. "That is one way the author presents themselves as authentic to the YA community, by nailing that keenness of feeling and emotion and high-stakes nature of the interactions they have with people every day."

Related Story

How John Green Wrote a Cancer Book but Not a 'Bullshit Cancer Book'
A Good Pop-Culture Reference Goes a Long Way
One reason The Fault in Our Stars' Hazel feels so familiar to YA readers is the fact that she, like so many of her peers, is a sucker for America's Next Top Model marathons. But Green didn't include multiple mentions of Tyra Bank's long-running reality show just for fun-the references teach us a lot about Hazel as a character and as a teenager. In the book, she's obsessed with An Imperial Affliction, a made-up, highbrow novel very loosely based on David Foster Wallace's Infinite Jest, yet her taste in TV shows is anything but sophisticated.

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The 8 Habits of Highly Successful Young-Adult Fiction Authors

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Young-adult fiction, commonly called "YA fiction," has exploded over the past decade or so: The number of YA titles published grew more than 120 percent between 2002 and 2012, and other estimates say that between 1997 and 2009, that figure was closer to 900 percent.

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Use engaging videos on TED-Ed to create customized lessons. You can use, tweak, or completely redo any lesson featured on TED-Ed, or create lessons from scratch based on any video from YouTube.

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The rising popularity of dystopian fiction

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THE HUNGER GAMES is directed by Gary Ross, with a screenplay by Gary Ross and Suzanne Collins and Billy Ray, and produced by Nina Jacobson's Color Force in tandem with producer Jon Kilik. Suzanne Collins' best-selling novel, the first in a trilogy published by Scholastic that has over 23.5 million copies in print in the United States alone, has developed a massive global following.

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The Hero's journey - NPR Radio show introducing and discussing Campbell's blueprint

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The Hero's journey - NPR Radio show introducing and discussing Campbell's blueprint

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From the Odyssey, to Robinson Crusoe, to Star Wars - why are we drawn to stories about heroes? And what do they tell us about ourselves? This hour, TED speakers explore what makes a hero's journey.

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Hero's Journey: Divergent Beatrice Prior is a member of the faction Abnegation whose purpose is to live selflessly and serve others. She feels out of place and feels as if she doesn't belong. Ordinary World Beatrice is of the age where she must decide her fate at the Choosing Ceremony.