I happened on a Goodreads post about ways to know you’re a YA reader, and felt inspired to make my own notes, because, yeeees, I belong to that tribe (among other genres that I pursue). My thoughts tended to drift in the direction of asking why one might remain a YA reader even after (possibly) exiting the general target audience.
Young, frequently teenage characters arrive at decisions and gain insights we’re still glad about at our age (whichever that may be), with the advantage of settling crucial life lessons way before their 30s and often in a short period of time jam-packed with social activities or even supernatural events.
If it’s fantasy, characters might be of age earlier than us, or age might not be a determining factor at all, otherwise circumstances are introduced which render the character able to do all sorts of things that wouldn’t have been possible if every single law and reality check went through. But that’s why it’s fiction!
Unlike for your own adolescence or early 20s, there’s actually a script for this one.
YA characters are always on the cusp of something breathtaking, dramatic or even life-changing in any setting – bring it on.
Magic depended on so many things – the depth of one’s gift, experience, dedication, the position of the moon, the rhythm of the tides, the proximity of whales. It didn’t settle until one was fully grown; Serafina knew that. But she needed it to be with her now, and she prayed to the gods that it would be.
Taking a deep breath, she pulled on everything strong and sure inside of her, and started to sing.
Whales? Well, why not, it’s all explained in The Waterfire Saga, an absorbing four-book YA fantasy series about…mermaids. My exploration of the YA genre continues, and after some searching for something else about mermaids, I stumbled on Deep Blue, Rogue Wave, Dark Tide and Sea Spell. Serafina, Neela, Becca, Ava, Ling and Astrid are thrown together by adversity and destiny, and while a mission of global proportions awaits our heroines, discoveries about life, love and friendship are plentiful along the way. The usual, but always interesting components of the genre.
Clear-cut language and a lot of drawing from the richness of world history, folklore and linguistics make this an appealing read to all of us who had literature courses during our studies. We recognize origins of names, titles, countries, and the additional logic behind this is clearly presented in the novels. While these layers and background often rooted in humanities make the reading experience all the more enjoyable for those of us outside the target audience, they do not overload the reading process for a younger reader. I remember my reading times from a younger age very clearly and I am sure I would have enjoyed this series just as much as I did now, albeit with different accompanying thoughts.
Each heroine lives, breathes and swims right off the page and in to my imagination, going through identity struggles and the pains of self-discovery. The appeal of the series also lies in the fact that the end goal of this particular story, while dealing with romance, themes of home and family, longing, wanting more than what life turns out to be, does not revolve around the mermaids wanting to escape their world. In fact, not only is the warmth and energy of their patriotism palpable, so is the respect and focus with which the author includes descriptions of the seas and its creatures. This warmth and empathy extend to the depiction of one of the central themes of the novels – the strength of friendships.
How could she explain to them what her swashbuckler clothes meant to her? When she looked at them, she didn’t see frays and tears, she saw Sera and Ling eating stew in Lena’s kitchen after Ling had almost been captured by Rafe Mfeme. She saw Becca and Ava in the River Olt, fighting off the rusalka. She saw fierce Astrid battling Abbadon in the Incantarium with only her sword.
And she saw herself – being braver and stronger than she’d ever thought she could be.
The Waterfire Saga shows mermaids who are self-aware, intelligent, vulnerable, loyal and resilient. They are relatable, and if a younger friend or relative of mine was reading this series, I would not be worried about the ideas they might be getting.
Becca was not only good at making things, she was good at making things better. Life in foster homes had taught her that if she waited for someone else to make things better, she’d be waiting a very long time.
Well plotted, well written, well researched and probably created with a lot of enjoyment.