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[ Realistic
Fiction ] [ Humor ] [ Adventure, Sports,
Mysteries, Supernatural, Horror ] [ Fantasy, Sci-Fi ] [
Historical Fiction
] [ Nonfiction, Biography ] [ Poetry, Drama, Short Stories ]
Realistic Fiction
According to From Romance to Realism. (Michael Cart, p. 65)
realistic novels: "must portray not only real-life circumstances - call them problems, if you wish - but also real people living in real
settings."
Realistic fiction for young adults attempts to treat candidly and with respect the problems that belong specifically to them in today's world. It encompasses coming of age and problem novels, and differs from earlier young adult fiction in several ways.
 | Characters come mostly from lower-class families, instead of middle class homes. |
| Settings are often harsh and difficult places to live. Earlier novels tended to be idyllic. |
| Authors used colloquial language, including profanity and ungrammatical constructions. Authors wrote the way people really talked. |
| Change of mode: Instead of being written in comic and romantic modes with happy endings, they were written in ironic and even tragic modes. Some see The Chocolate War as an example of the tragic mode. |
| Protagonist is an ordinary person, more like the reader. |
Characteristics of YA Realistic Fiction (Adapted From: Reaching Adolescents by Arthea J.S. Reed, p.5)
Character - Protagonist
| Young (around age of reader) |
| Larger than life |
| Realistic |
| Readers can see themselves in protagonist |
Other Characters
| Usually underdeveloped |
| Parents often underdeveloped or absent altogether. May also be portrayed as poor role models. Seen only through eyes of protagonist |
| Adults other than parents may serve as mentor for protagonist |
| Peers may serve as friends or antagonists |
Plot
| Usually single plot line |
| Realistic |
| Fast-paced |
| Problems of interest to reader |
| Readers can place themselves in plot |
| Plenty of dialogue |
Voice
| Usually the protagonists |
| Often in the first person |
| Sometimes in third person, with an omniscient narrator |
| Themes |
| Coming of age |
| You are not alone |
| You can |
| Building self-esteem |
| Life is not so serious |
| Know thyself |
| Awareness |
| Acceptance: body and self |
| Developing relationships: both friends and family |
| Survival |
| Otherness and likeness |
| Heroism |
| Discovery/the quest |
Diversity/Multiculturalism
| Sex-related problems: pregnancy, rape, teenage prostitution |
| Drugs and alcohol |
| Handicaps & Disabilities |
Problems often treated include family relationships, finding friends, belonging to a group, accepting one's physical body, understanding and working out problems related to sex, death, living in a multicultural world, and disabilities.
Characteristics of good problem novels (Adapted from: Reaching Adolescents. Arthea Reed., p. 63)
Character -- Protagonist
| Matures as he or she deals with the problem |
| Experiences an epiphany |
| Loses innocence |
| Experiences catharsis, often not relating to solving the problem |
| Antagonist |
| Sometimes causes the problem |
| Person who causes the problem |
| Often unknown or unrecognized by protagonist |
Other Characters
| Someone who helps protagonist deal with the problem often a peer, a mentor adult, but not usually a parent
Plot |
| Problem of the protagonist is central to plot |
| Individuals and relationships are affected by the problem |
| Problem gets worse before it gets better |
| Suspected problem is not real problem |
| Ends with a resolution, although not necessarily the resolution the protagonist predicted or desired |
Point of View
| Usually the protagonist's |
| Sometimes that of the person who helps the protagonist |
| Voice |
| Often second self or more mature protagonist |
| Sometimes the person who helps or attempts to help the protagonist |
Theme
| You are not alone |
| Problem may not be solved, but you can learn to deal with it |
| You grow as a person because of trying to deal with the problem |
| You can! |
[ Top ]
Even a novel with the most serious story can contain humor. Humor exists in practically every
situation and can be an effective tool to use to deal with problems.
Writers of any genres can use humor to develop situations and characters. According to
Reaching Adolescents (Reed p. 54) the following are some of the characteristics of good humorous fiction for young adults includes:
| Protagonist: young, identifiable, caught up in real situations, does things reader does or would like to do. |
| Other characters: adults often underdeveloped, if developed they are portrayed as real people. |
| Other adults rather than a parent act as mentor |
| One or more characters act as foils to the protagonist |
| Plot: situational and wide-ranging |
| Humor is found in situations that are not particularly humorous |
| Novel may not be written to be humorous, but the sense of humor helps the protagonist to mature |
| Often an element of suspense |
| Voice and point of view are of the protagonis |
| Theme: "you can survive," "you are not alone in your problems," "life is not so serious" |
Stages of Humor
Lance M. Gentile and Merna M McMillen, "Humor and the Reading
Program," have looked at humor and youth. They consider
interest in humor as developing in stages from childhood to and young adult's
[ Top ]
Adventure, sports, and mystery are all thought of as pleasure reading and escape literature.
For example, sports can be a metaphor for "the game of life." These forms of literature take the young person out of his/her normal day-to-day existence and put them in extraordinary circumstances.
The protagonist is in all respects an ordinary adolescent. Humor can be present in any of these genres, as it can also be present in realistic fiction and nonfiction. Humor in an otherwise serious story can give one a sense of hope that not otherwise be there. (credit by stephen fraser)
Well written adventure stories deals with emotions and problems that are timeless and
elemental, such as matters of life and death and of good versus evil.
Adventure Stories
The good adventure story for young adults has the protagonist, who is just an ordinary person, set in an extraordinary circumstance. Gary Paulsen is well known for setting his young characters down in a setting that tests their abilities to survive.
In Hatchet and Brian's Winter, Brian seems to face insurmountable odds, but endures and succeeds in surviving by himself in a wilderness area. In
The Haymeadow, a fourteen year-old boy is faced with taking care of 6,000 sheep for a summer. The first few days, he faces situations that seem incredible but yet believable.
Evaluating Adventure Stories (Adapted from Nilsen and Donelson,
Table 6.1)
| A likeable protagonist young readers identify with |
| An adventure readers can either imagine happening to themselves, or can believe in: verisimilitude or the appearance of being real |
| Efficient characterization |
| Action that draws the reader into the story quickly |
| An interesting setting that enhances the story without getting in the way of the plot |
Literary Elements in Adventure:
| Person versus person |
| Person versus nature |
| Person versus self |
| Conflicts, tension, thrills, and chills |
| Hero frustrated by a villain, natural forces, other people. |
YA authors writing adventure stories include Will Hobbs, Gary Paulsen, Robb White, Iain Lawrence, Avi, Henry Mazer, Cornelia Funke.
Mysteries
Mysteries are exciting and popular. Young fans of this genre often read
adult mysteries. Series involving the same detective are often based
on a common plot line and is known as formula fiction. According to Hillary
Waugh (pp. 185-186) the following rules are important for a mystery to
effectively engage young readers:
- All clues discovered by the detective must be made available to the reader.
- The murderer must be introduced early.
- The crime must be significant
- There must be detection.
- The number of suspects must be known and the murderer must be among them.
- The reader can expect that everything in the book, in some way,
contributes to solving the puzzle.
Characteristics of Good YA Mysteries
| Protagonist, an adolescent, who falls into the role by chance |
| Victims usually undeveloped, reader may not even know |
| Antagonist is present throughout the book, well-developed character, not recognized as the murderer or perpetrator until late in the story |
| Plot: murder or event occurs early in the novel, most characters except for the detective are suspects, every piece of information could be important in solving the mystery, misleading clues are put out, suspension of disbelief in the reader is required |
| Point of view: usually that of the protagonist, who usually withholds information from the reader |
| Voice: Protagonist |
| Setting: is important to the plot, weather is often important |
| Theme is usually unimportant |
YA mysteries are about more the crime; they don't focus solely on murder. Writers of young adult mysteries include: Robert Cormier, Ellen Raskin, Jay Bennett, Joan Aiken, Lois Duncan, Patricia Windsor, M.E. Kerr, Walter Dean Myers, Richard Peck and Joan Lowery Nixon. Lois Duncan and Robert Cormier often give the reader more suspense than mystery.
According to Arthea J.S. Reed in Reaching Adolescents: The Young Adult Book and the
School, different types of mysteries include:
| Gothic romance mysteries, usually set in a mysterious house in a remote setting : Lois Duncan:
Down a Dark Hill. |
| Historical Mysteries: Virginia Hamilton's House of Dies Drear and
Mystery of Drear House (Civil War backdrop and the Underground
Railroad). M.E. Kerr's Gentlehands (young boy who discovers that his grandfather is a Nazi war
criminal). |
| Humorous mysteries: Walter Dean Myers' Mojo and The Russians,
The Young Landlords, and The Mouse Rap |
| Multicultural mysteries: Rosa Guy, And I Heard a Bird Sing, Walter Dean Myers, and Virginia Hamilton |
| Supernatural mysteries: Richard Peck with the Blossom Culp books; Joan Lowry Nixon's
The Séance, A Candidate for Murder, Caught in the Act, The weekend Was
Murder; Madeleine L'Engle's The Arm of the Starfish, Dragons in the Water (combines fantasy and science fiction with mystery) |
| Mystery series include: Christopher Pike: Final Friends; Hardy Boys Casefiles, Nancy Drew and Hardy Boys Super Mysteries; Nancy Drew Files; Patricia H. Rushford's
Jenny McGrady |
Mystery Writers of America
maintains a Web site and gives out the the Edgar Allan Poe Award (The Edgar Awards) for best work in the mystery field within a given
year. Their is a special category for YA mysteries. Past
winners are identified at the site.
Supernatural
In stories of the supernatural, the writer must get the reader's attention immediately.
There seems to be a universal fascination with the unknown, haunted
houses, urban legends, and mysterious happenings. Supernatural novels
are build around eerie settings, darkness, rituals or ceremonies, family curses, and pacts with the devil.
Writers of Supernatural YA Novels Include:
| Vivian Vande Velde. Never Trust a Dead Man |
| Neil Gaiman Coraline |
| Annette Curis Klause. The Silver Kiss, Blood and Chocolate |
| Robert Cormier. Fade |
[ Top ]
A precise definition of these two genres can be difficult, these genres are related.
Reasonable people can disagree if a work should be categorized as fantasy or science fiction.
According to Ursula LeGuin, "Of Fantasy …you get to make up the rules, but then you've got to follow them. Science fiction refines the canon: you get to make up the rules, but within limits. A science fiction story must not flout the evidence of science."
Another perspective, from Walter Wangerin, Jr., is that, "Fantasy deals with the 'immeasurable' while science fiction deals with the
'measurable.'"
Some consider science fiction as a sub-genre of fantasy. Both provide the
reader with an escape. Others talk of fantasy as being about
portarying internal conflicts portrayed in a way that will change the reader. Lloyd Alexander asserts,
"If the creator of fantasy has done his work well, we should be a little bit different at the end of the journey than we were at the beginning. Maybe just for the moment, maybe for a long
while." (Butts, 1992)
Alexander writes that fantasies are "written by adults living in an adult world, trying to cope with it and understand it, subjected to all the pressures and problems of real life. If the writer of fantasy is a serious creator, his work is going to reflect
this." (Butts, 1992)
Science fiction and fantasy have been labeled escapist, childish, simple reading, unreal, untrue, impossible, and even Satanic.
All fiction, however, can have "impossible" elements -- even though it is based on premises of real life and things that we know could happen to us in everyday life.
Good science fiction or fantasy is based on a metaphor. Somehow, the
world presented by the author reflects the life of the reader.
Fantasy
Elements of Fantasy:
| Story set in a fully imagined secondary world |
| Magical elements |
| Mythological creatures |
| Animal worlds |
| Invented Languages |
| Seriousness of tone |
| Importance of theme |
| Characters of noble birth or lineage |
| Hero's Quest: self transformation or awareness, or against evil |
| Emphasis on magic and mystery (and almost total lack of technology and machinery as effective devices in the action) |
| Generally clear presentation of good and evil, right and wrong |
| Written for children and young adults, it is about growing up |
| Use of characters, ideas and constructs from myth, legend and folktales to add depth and texture to narrative |
| Includes elements of the impossible |
| Voice is that of the creator's (author's) voice |
| Use of folklore, legend and myth |
Fantasy may be a combination of realism and imagination. . For example in Ursula LeGuin's
A Beginning Place, the main characters enter the fantasy world of Tembreabrezi, but also find their way in the real world.
Characteristics YA Fantasy (Adapted from Reaching Adolescents,
Reed, 1994)
Protagonist
| Represents every adolescent |
| Usually a reluctant hero with self-doubt |
| Possess characteristics of good and evil |
| Transforms self by encountering and defeating problems |
| Although humanlike, may possess superhuman characteristics |
| Very well developed |
Plot
| Begins in the waking world |
| Magical moment occurs when the protagonist transcends the real world and enters the other world |
| Most suspense develops in other world |
| Involves quest to solve problems and conquer evil |
| Life and death situations are encountered |
| Events have many levels of meaning |
| Protagonist's growth is central to the plot |
| Protagonist may not conquer evil by the end of the novel |
| Conclusion may be a resting place for the beginning of new quests in subsequent novels |
Point of View
| Protagonist's |
Voice
| Author's (Creator's) |
Setting
| Both real and other worlds are believable |
| Moment of transcending real world to other world must appear to be possible |
| Wide-ranging |
| Magical world must follow rules set by the author |
| There may be talking animals, magical or mythological beasts |
Literary Elements
| Allegory (imaginary world makes the real world more visible) |
| Invented words or a new language may be used |
| Language is often central to the plot and theme |
Theme
| Relates to hero's quest |
| Involves self-transformation and self-awareness |
| Problems in the real world can be conquered |
| Good can triumph over evil |
Science Fiction
Science fiction, perhaps more so than fantasy, creates connections connections between the
real world and the imaginary. Perhaps it is about something that hasn't happened yet, but might be possible someday.
Elements of Science Fiction:
| Adheres to natural law, even that of another planet |
| Based on the real world |
| Includes adventure |
| Heroes & quests |
| Good and Evil |
Characteristics of YA Science Fiction
Protagonist
| Adolescent |
| Believable, similar to reader |
| Has superhuman qualities that are humanly possible (extreme intelligence, bravery, psychic abilities) |
| May be a victim |
| Has real human problems |
Antagonist
| Not always a person, sometimes a situation or the setting |
| Evil |
| Alien |
| May be other self of the protagonist |
Plot
| Based on laws of science |
| Events are plausible |
| Requires suspension of disbelief |
| Begins in the real world as reader knows it |
| Follows rules set by the author which must have a foundation in the laws of science |
| Fast-moving, exciting |
Point of View
Protagonist
| Third person |
| Omniscient |
Voice
Protagonist
| Sometimes second, older or wiser self |
Setting
| Based on the laws of science |
| Moves from reader's real world to imaginary world |
| Often set in past or future |
| Theme |
| Time travel |
| Wonder and dangers of space travel |
| Science has important effects on our lives |
| Examination of other possible worlds, helps us better understand our own world |
Dystopias and Utopias
Utopias are places of happiness and prosperity, the opposite being dystopias.
A cross between science fiction and fantasy, these novels are usually set in the future. Technology
often plays a major role in the story. Books dealing with dystopias
include: The Giver, No Kidding, and Eva (Peter Dickinson)
and The Last Book on Earth
More on Fantasy and Science Fiction
| Butts, Dennis, ed. Stories and Society: Children's Literature in its Social
Context. New York: St. Martin's Press, 1992. |
| Pierce, Erin. "Science Fiction and Fantasy," Voices from the Middle (December 2001) 9(2): 74-77. A annotated bibliography of science fiction and fantasy for middle school students. |
|
Sullinvan, C.W. "Fantasy," Stories and Society: Children's Literature in its Social Context. New York: St. Martin's Press, 1992. |
| Volz, Bridget Dealy, et al. Junior Genreflecting: a guide to good reads and series fiction for children. Englewood, CO: Libraries Unlimited, Inc., 2000. |
| Voice of Youth Advocates. Annual list "Best of Science Fiction, Fantasy
& Horror." April issue. |
| Young Adult Science Fiction. Edited by C.W. Sullivan. Westport, Conn: Greenwood Press, 1999. Contains essays on American young adult science fiction, YA science fiction in Canada, Britain, Australia, and Germany. Topical essays include the YA novel as
Bildungsroman, women in Heinlein's juvenile novels, and science fiction in comic books. Part III is a bibliography of science fiction for children and young adults, criticism and secondary sources. |
[ Top ]
Historical fiction provides a presents the past
in a manner that connects with readers on a personal and emotional level.
In the school curriculum, it can be and excellent way to as enrich and complement
textbooks. By nature, it presents history in an exciting and interesting way.
The use of historical fiction in the classroom can introduce students to good literature, giving them a window into another world.
Teachers can use works of historical fiction to bring the period alive, making it more relevant and interesting to today's students.
The characters, although not real historical figures, behave appropriately for the historical setting. Christopher Collier and his brother James Lincoln Collier are two well known writers of historical fiction. Christopher Collier
(World Historical Fiction Guide for Young Adults, Lee Gordon and Cheryl Tanaka, 1995)
identifies four criteria that good historical fiction:
| Focus on an important historical theme an understanding of which helps us to deal with the present |
| Center on an episode in which the theme inheres in fact |
| Attend to the historiographic elements |
| Present accurate detail |
Nilsen & Donelson (Literature for Today's Young
Adults, 2002) lists the following characteristics for evaluating historical fiction:
| A setting that is integral to the story |
| Authentic rendition of time, place and people featured |
| Author who is thoroughly steeped in history of the period so that he/she can be creative without making mistakes |
| Believable characters with whom young readers can identify |
| Evidence that even across great time spans people share similar emotions |
| References to well known events or people other clues through which the reader can place the happenings in their correct historic framework |
| Readers who come away with the feleling that they know a time or place better. |
Characteristics of YA Historical Fiction (Adapted from Reaching Adolescents,
Reed, 1994)
Purpose
| Bring history to life, change reader's opinions |
Character
Protagonist
| Fictional, realistic adolescent who could have lived during time period, heroic, bigger than life, typical concerns and problems of adolescent, accessible to reader |
Other Characters
| Major characters usually fictional, minor characters may be real persons from history |
Plot
| Fictional character placed in real historic setting, sequence of events character is involved in are historically possible, sequence of events occurring in novel is plausible, actions of any real persons are accurate or plausible |
| Events may be romanticized to some extent |
Point of View
| Usually protagonists, sometimes multiple points of view are presented, third-person point of view may be needed to relate historical events |
Voice
| Often protagonist's second self viewing the event in a reflective manner, sometimes the author or narrator |
Setting
| In the past, historically accurate |
| Theme - patriotism, regionalism, heroism, war is evil, you can |
Young adult literature is available for most periods of United States history. Some of the periods include: Colonies
(Witch of Black Bird Pond, Constance: A Story of Early Plymouth), Revolutionary period
(Johnny Tremain, My Brother Sam is Dead, Jump Ship to Freedom, I'm Deborah Sampson: A Soldier in the War of the
Revolution), emerging nation (Lyddie, Beyond the Divid, The Birchbark
House), Civil War (Soldier's Heart, Voices from the Civil War, Gentle
Anne), slavery (House of Dies Drear, Which Way Freedom), immigration
(Journey to America, The Moved-Outers, Dragonwings), recent wars such as the Vietnam War
(Fallen Angels, Linger, Sergeant Dickinson).
World historical fiction could be divided by time period and into the following categories: Africa, Asia, Australia/New Zealand/Oceania, Europe and the Americas.
More on Historical Fiction
Gordon, Lee and Cheryl Tanaka. World historical fiction guide for young adults. Fort Atkinson, WI: High Smith Press, 1995.
Internet School Library Media Center Historical Fiction
The page includes bibliographies, criticism (look at article from ALAN Review, 1998), lesson plans and other resources such as listing of awards. Other links from this page include: ISLMC Home Page. Children's Literature or Young Adult Literature pages.
Scott O'Dell
Award for Historical Fiction The Scott O'Dell Award is given for the best in historical fiction for children and young adults.
Nonfiction plays an important role in the mission of a
school library media center. It fulfills information and recreation. Information books are important to young people.
Many, especially at-risk teens, read nonfiction regularly, yet consider themselves
nonreaders. Perhaps this is because nonfiction is often not included
in Language Arts curriculum
From fourth grade to high school, male readers tend to
show a preference for nonfiction. Recreational reading, non-curricular materials, such as biographies of popular personalities,
Chicken Soup for the Soul series, books of jokes, sports books, and self help
books can be important parts of a collection. When building
nonfiction collections, pay attention to what teenagers are seeing in the media and interacting with on the
Internet -- this is a great way to identify interests and build
collections.
Types of Nonfiction:
|
Historical nonfiction - books for young people enliven history, presenting it through anecdotes and stories, photographs and paintings, and words. Histories are available for different time periods such as the Civil War, World War II, the Vietnam War. |
|
Contemporary social issues - environmental concerns, individual rights, women's issues, teenage sex and pregnancy, drugs and alcohol, schools, families |
|
Cross-cultural studies - historical and present day accounts of different ethnic groups in the United States, Native Americans, Hispanic or Latino Americans, Asian Americans, Other world cultures |
|
Careers |
|
How-To Books |
|
Science books |
|
Mathematics and puzzle books |
Characteristics of YA Nonfiction (Adapted from Reaching
Adolescents, Reed, 1994)
Awards for YA Nonfiction
| The Robert F. Sibert Informational Book
Award is intended to honor the author whose work of nonfiction has made a significant contribution to the field of children's literature. Information books are defined as those written and illustrated to present, organize and interpret documentable factual material for children. The award was established in 2001. The winners and honor books for 2001 and 2002 are listed below. |
| The Orbis Pictus Award
is given to nonfiction literature for children in grades K-8. |
More on YA Nonfiction
| School Library Journal |
| ALAN Review |
| Journal of Youth Services in Libraries |
| Booklist and Book Link |
| Voice of Youth Advocates |
| Book Links |
| English Journal (March 2002 issue is devoted to a discussion of nonfiction and contains articles on the use of nonfiction in high school English classes.
|
Biography and Autobiography
Biography and autobiography tell the stories of real people.
Sometimes, they are written in ways that portray characters similar to fiction.
YA biographical and autobiographical work tend to be short in length (250-250 pages). The subject of the biography must seem real, even in a fictionalized account of a person's life.
In the past, biographies written for young readers were about heroic figures whose lives were models for
us mortals to emulate. Today biographies are more likely to be written objectively, providing
information about a persons strengths and weaknesses.
Biography can straddle the line between historical fiction and nonfiction, depending
on how it is written and the author's intention. Reed lists seven categories of biography as defined by G.Robert Carlsen:
fictionalized, definitive, interpretive, objective, monumental, critical, and collected.
Characteristics of YA Biographies and Autobiographies (Adapted from Reaching Adolescents,
Reed, 1994)
| Fictionalized: Includes events and dialogue that might have happened but cannot be verified with historical documentation. |
| Definitive: Usually long works based on all the known facts about the person. Enjoyed by more mature young adult readers. |
| Interpretive: Attempt to find patterns in a person's life and explain why the person behaved as they did. Also used with autobiography. |
| Objective: Records documented facts about the subject's life, usually in chronological order. No attempt to judge, criticize or
interpret. |
| Monumental: Book written as a monument to subject. Faults minimized. |
| Critical: Looks at subject in relationship to the times and assesses the value of the person's contribution to society. |
| Collected: Contains short accounts of a number of persons, descriptions of particular events in their lives that may tie them together. Also may be on a particular group such as lives of famous musicians, famous women, etc. |
| Hero - real and realistic, portrayal based on fact; subject neither denigrated nor romanticized, focuses on life of hero as young adult, well-developed: reader feels she/he knows subject by end of book. |
| Other historical figures - real and realistic, based on fact, but may be fictionalized to some extend; less well-developed: serves as foil for hero |
| Storyline - based on real events; if fictionalized, story must be consistent with hero's development, historic events, time period, and setting; readable: follows storyline not unlike that in fiction; relates to needs and interests of readers. |
Point of View
| Young hero's |
Voice
| Author's, knowledgeable about hero and historic period |
Setting
| Accurate, helps develop the storyline |
Theme
| Proves that history is interesting; "you, too, can accomplish great things in you believe in yourself" |
[ Top ]
Perhaps due to the popularity of rap music, poetry books have
become very successful in YA literature. Short stories, such as the Chicken Soup for the Teenage Soul
series are also widely read. Reluctant readers may enjoy short stories because they
represent a more manageable read.
Anthologies are available for both of these
formats. Some of the novels recently published such as Make Lemonade, Frenchtown Summer
and Out of the Dust are written as prose poems. YA author Walter Dean Myers has collaborated with his son to create
Harlem: A Poem.
Jump Ball: A Basketball Season in Poems, by Mel Glenn, and
Rimshots capture a sense of motion with the creative layout of words on the pages.
Cool Salsa: Bilingual, poems on growing up Latino in the United States, introduces a number of Latino poets and authors.
Short Story Collections for Teens
| Appelt, Kathi. Kissing Tennessee and other Stories from the Stardust Dance
(2000). ALA Best Books. |
| Bauer, Marion Dane. Am I Blue? Coming Out Of The Silence
(1994). ALA Best Books. |
| Block, Francesca Lia. Girl Goddess #9: Nine Stories
(1996). |
| Blume, Judy, ed. Places I Never Meant to Be: Original Stories by Censored Writers
(1999). |
| Carlson, Lori. American Eyes: New Asian-American Short Stories for Young Adults
(1995). ALA Best Books. |
| Cart, Michael. Love and Sex: Ten Stories Of Truth
(2001). |
ALA Best Books
| Necessary Noise: Stories about Our Families as They Really Are
(2003). |
| Tomorrowland: Ten Stories About the Future (99). ALA Best Books. |
| Cofer, Judith. An Island Like You: Stories Of the Barrio
(1995). ALA Best Books. |
| Cormier, Robert. Eight Plus One: Stories (1980). |
| Coville, Bruce. Oddly Enough (1994). ALA Best Books. |
| Crutcher, Chris. Athletic Shorts (1992). ALA Best of the Best. |
| Datlow, Ellen, and Terri Windling, ed. A Wolf at the Door: And Other Retold Fairy Tales
(2000). |
| Duncan, Lois, ed. Night Terrors: Stories of Shadow and Substance
(1996). |
| On the Edge: Stories at the Brink (2000). |
| Trapped!: Cages of Mind and Body (1998). |
| Ehrlich, Amy, ed. When I Was Your Age: Original Stories about Growing Up
(1996). |
| Fraustino, Lisa Rowe, ed. Dirty Laundry: Stories about Family Secrets
(1998). |
| Soul Searching: Thirteen Stories about Faith and Belief (2002). |
| Gallo, Don. Destination Unexpected: Short Stories (2003). |
| Join In: Multiethnic Short Stories (2003). |
| No Easy Answers: Short Stories About Teenagers Making Tough Choices
(1997). ALA Best Books. |
| On the Fringe (2001). ALA Best Books. |
| Short Circuits: Thirteen Shocking Stories (93). |
| Sixteen: Short Stories (1884). ALA Best of the Best. |
| Time Capsule: Short Stories about Teenagers Throughout the Twentieth Century
(1999). |
| Ultimate Sports: Short Stories (1995). |
| Visions: Nineteen Short Stories (1987) |
| Galloway, Priscilla. Truly Grim Tales (1995). ALA Best Books. |
| Howe, James. 13: Thirteen Stories That Capture the Agony and Ecstasy of Being Thirteen
(2003). |
| Color of Absence: 12 Stories about Loss and Hope. (2001). ALA Best Books. |
| Jimenez, Francisco. The Circuit: Stories from the Life of a Migrant Child
(1997). ALA Best Books. |
| Martin, Eric B, ed. The Campfire Collections: Spine-Tingling Tales to Tell in the Dark
(2000). |
| Mazer, Anne. Working Days: Short Stories About Teenagers At Work
(1997). ALA Best Books. |
| Mazer, Harry. Twelve Shots: Outstanding Short Stories About Guns
(1997). |
| McKinley, Robin, and Peter Dickinson, ed. Water: Tales of Elemental Spirits
(2002). |
| Myers, Walter Dean. 145th Street: Short Stories (2000). ALA Best Books. |
| Naidoo, Beveryl. Out of Bounds: Seven Stories of Conflict and Hope
(2003). ALA Best Books. |
| Rochman, Hazel. Leaving Home: Stories (1997). ALA Best Books. |
| Somehow Tenderness Survives: Stories Of Southern Africa
(1987). ALA Best Books. |
| Second Sight: Stories for a New Millennium (1999). |
| Silvey, Anita. Help Wanted: Stories About Young People Working
(1997). ALA Best Books. |
| Singer, Marilyn, ed. Stay True: Short Stories for Strong Girls
(1998). |
| Soto, Gary. Baseball in April and Other Stories (1990). ALA Best Books. |
| Thomas, Joyce Carole, ed. A Gathering of Flowers: Stories about Being Young in America
(1990). |
| Thomas, Rob. Doing Time: Notes From the Underground (1997). ALA Best Books. |
| Weiss, M. Jerry and Helen, ed. Big City Cool: Short Stories about Urban Youth
(2002). |
| Wittlinger, Ellen. What's In a Name? (2000). ALA Best Books. |
| Yep, Laurence, ed. American Dragons: Twenty-Five Asian American Voices
(1993). |
| Young, Cathy. One Hot Second: Stories about Desire (2002). |
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