What I have been known to harp on in the writing classes I teach, is to build story worlds where something is at risk for well-developed, authentic characters. I don’t necessarily recommend that writers set out to write a novel with appeal to adult and young adult readers. And regardless of when you came to experience it, who among us isn’t still fascinated by the timeless Lewis Carroll novel written for children, Alice in Wonderland? When I was coming into my own as a young adult reader, I loved (and still do) The Count of Monte Cristo by Alexandre Dumas and Rebecca by Daphne Du Maurier, both novels written for adults. Many classic stories can be described as having crossed over either way. Two things about book discoverability are indisputable: readers are always on the look out for good stories and writers are increasingly desperate to find their people. Others-mostly in the fields of public relations and marketing-consider a novel “crossover” when it is written for adults but young adults read and spread the word about it. Some within publishing deem a novel “crossover” when it is written for children or young adults but attracts a healthy adult audience. While the definition of crossover fiction within the industry is debatable-on this readers, writers, agents, editors, and publishers can agree-everyone wins when a novel has ageless appeal. The magic pixie dust for how to reach lots and lots of readers may be elusive, but two things about book discoverability are indisputable: readers are always on the look out for good stories and writers are increasingly desperate to find their people.
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