Celebrity Authors in YA Literature

With relatively few exceptions, for years, authors of YA literature have labored in an amorphous obscurity. Although several canonical authors including J.D. Salinger, whose Catcher in the Rye can fairly be identified as the prototype of the modern YA novel, and Ray Bradbury, whose Dandelion Wine remains my personal favorite, dabbled in the young adult market, until recently the genre remained under the consciousness radar of most “serious” readers. However, due to the continuing strong sales and library lending of YA titles, the genre is suddenly “hot.” According to the annual library survey conducted by the Chartered Institute of Public Finance and Accountancy for 2008-9 – the National Year of Reading, “Children’s fiction showed a 6.1% rise in lending over the year . . . Meanwhile the number of children’s books bought was up 8.8% (“Children’s library lending jumps in latest CIPFA stats,” by Benedicte Page at http://www.thebookseller.com). As usual, notice has followed the money to such an extent that celebrities such as Lauren Conrad, Hillary Duff, and Tyra Banks have laid claim to the fast-diminishing real estate available in YA-land, signed book deals with major publishers for significant advances, and in Conrad’s case, already released bestselling novels.

Like many other YA authors who have devoted years of their lives in pursuit of agency representation and mainstream publication, my initial reaction to what appears to be literary carpet bagging was consternation. I mean, how dare they? However, although I’m still empathetic to that response, I have gotten past the futility and shortsightedness of such reasoning. Whether we schlubs like it or not, these “stars” possess a built-in platform and fan base that will take us years to build. Their celebrity status alone justifies a large initial print run and all-but-guarantees a large return in sales. Is any of this fair? Of course not, but only a child expects or demands fairness. Celebrity authorship is a reality that will only continue to grow in a publishing environment that is growing increasingly reluctant to take chances on anything less than a slam dunk title and author. Can you blame them?

The only consolation we have as YA’s grunts is that these celebrity titles fill the coffers of publishers, who, in turn, can take the occasional risk and absorb a few losses on a few of the rest of us as we attempt to build careers. It is also unfair to dismiss these celebrities offhandedly. If their writing talents are lacking, the market place will soon render them irrelevant, but, perhaps, not before they draw a few more newcomers to the young adult section of the bookstore or library. I know what you’re thinking: “But ghost writers and/or editors will perform the bulk of the writing.” I suspect that this is often the case for celebrity-authors; however, as a soon-to-be published author with Random House/Delacorte (I will be an imprint mate with Tyra.) and having only recently completed the editorial process, I must admit that the novel my agent sold (So Shelly) is not the novel that will hit bookshelves next February. Michelle Poploff, my editor at Delacorte, played an instrumental role in fashioning a much re-imagined and much improved story. The point is that the majority of novelists, not just celebrity-authors, rely heavily on talented editors to bring a polished and salable book to market.

So relax. Try not to let the celebrities cutting in the line spark your envy or exacerbate your frustration. Place your faith in the process that for decades has, to an astonishing degree, managed to uncover the literary gems that have enriched the lives of so many writers and readers.