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fantasybooktournament · 10 months

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Book Reveals for Round 1 of Mystery Book Tournament

titles and descriptions under the cut

The One with The Obnoxious Legal System is A Conspiracy of Truths by Alexandra Rowland

The world's most obnoxious old man has been arrested for charges of witchcraft by the world's most obnoxious legal system. The story follows him utilizing every tool at his disposal to escape death including his fruity apprentice, his ever-tired lawyer, and most of all stories. Half of this book is the old man telling a story to someone he is either trying to sway, trick, or simply entertain.

The One with the Rightful Heir is Magyk by Angie Sage

A child soldier nearly freezes to death and so must join the escape of the rightful heir, a powerful wizard, and the rightful heir's bumbling dad, brother and dog.

The One with No Indoor Plumbing is In Other Lands by Sarah Rees Brennan

Have you ever thought ‘hey going to a magical fantasy land might suck a little’? Our intrepid hero has been invited to a school for future heroes in a land of elves and trolls, harpies and mermaids…and there’s no indoor plumbing. Also they’re training children as warriors and have little to no respect for diplomacy.

The One with Vampires and Farms is The Queen of Darkness by Miguel Connor

In the far-flung future, the earth is irradiated and vampires rule the world. Humans are kept in farms, and our protagonist is sent to one to learn about an illness that is appearing in the humans which can infect and kill vampires. There he learns about the human cult, and gets told by them that vampires were once human.

The One with Possessed Nuns is Vespertine by Margaret Rogerson

A young nun in fantasy-France lets a powerful revenant take possession of her body in order to protect her monastery from possessed soldiers. No one believes she can possibly control the evil creature, but as she uncovers a sinister plot at the very heart of her country, she finds herself growing closer to the revenant by the day.

The One that Becomes Queernormative is A Strange and Stubborn Endurance by Foz Meadows

Protagonist starts off in a queer phobic society and is bound to marry a girl from the neighboring kingdom against his wishes, being gay. When his sexuality is dramatically revealed after he's being assaulted, the political bets seem off, but the other kingdom is queernormative and instead offers to marry him to his bride's brother instead.

The One with Sisters and Unsuitable Men is An Earthly Knight by Janet McNaughto

The main character's older sister has run away with an unsuitable man so it's up to her to marry a suitable one. But as she worries for her sister and hopes to find her, she encounters a strange man, rumored to have been kidnapped by the fae.

The One with the Magic Italian Notebook is City of Masks by Mary Hoffman

The main character, a young boy, is seriously ill but his life is transformed when an old Italian notebook gives him the power to become a stravagante, a time traveler with access to 16th century Italy. He wakes up in another time and place during carnival time and meets a girl his own age who is disguised as a boy in the hope of being selected as one of the Duchessa's mandoliers. Political intrigue ensues.

The One with the War Against Colonizers is Fire Logic by Laurie J Marks

The last living member of a border tribe, a deadly philosopher-soldier, a truth-seer, a gentle man, and a man who can see the future form a beautifully queer family around a drug-addicted blacksmith who holds the power of the land itself so that she can end the war against colonizers that has continued for 30 years

The One with the Healer's Quest is Dreamer's Pool by Juliet Marillier

The first in a mystery fantasy trilogy about a wrongfully imprisoned healer and her quiet but strong prison friend who get busted out of prison by an otherworld being. In exchange, for seven years she must endeavor to help anyone who asks for it. A gentle local prince has fallen for his fiance through their sweet and poetic correspondence but is shocked by her cruelty when she arrives, can the healer discovers what has happened and help solve his problem?

The One with Imaginary Friends is Hexwood by Diana Wynne Jones

A pre-teen girl who relies heavily on the advice of her four imaginary friends goes into the local patch of woodlands one day and discovers it's much bigger on the inside. There, she meets a depressed sorcerer/assassin who makes a child out of her blood and his to fight against his enemies on another planet. Meanwhile, someone on Earth has started up a machine that's said to be able to make dreams come true, and this is a big problem for the evil interstellar megacorp that's been dumping prisoners on Earth and stealing their flint.

The One with a Time-Traveling Dragon/Furnace is If That Breathes Fire, We're Toast! by Jennifer J. Stewart

A boy moves with his mom to a new place where he meets a girl and a time-traveling dragon/furnace who teaches him about himself.

The One with the Multiverse is Nine Princes in Amber by Roger Zelazny

An amnesiac man finds himself embroiled in deadly political scheming, thrust into a strange multiverse in the hope of trying to claim from out under his various rival siblings feet the throne to the city at the center of reality.

The One with Mage Trials is Spellslinger by Sebastian de Castell

In a magical society one must complete their mages trials by 16, or else become a slave to that society for the rest of their life. The main character is a 15-year-old boy who has one last chance to complete his trials. Only, his magic is gone. With his fate looming, he meets a mysterious traveling stranger who shows him a different path than the one that has been laid out for him by his people.

The One with the Loser Noble Scholar is Swordspoint by Ellen Kushner

Loser noble scholar shacks up with the best swordsman of the city and makes him fight a bunch of duels mostly out of boredom but also a bit because of politics. Feels slice of life ish though there are stakes

The One with the Nonbinary Cleric is The Empress of Salt and Fortune by Nghi Vo

In this novella set in an imperial Chinese inspired fantasy world, a nonbinary cleric investigates the story of an empress and her ...controversial rise to the throne, as told by an elderly handmaiden who knew her.

The One with Geese is Thorn by Intisar Khanani

Between her cruel family and the contempt she faces at court, the Princess has always longed to escape the confines of her royal life. But when she’s betrothed to the powerful prince, the princess embarks on a journey to his land with little hope for a better future. When a mysterious and terrifying sorceress robs the princess of both her identity and her role as princess, the girl seizes the opportunity to start a new life for herself as a goose girl.

The One with the Teenage Witch Coven is The Scapegracers by H. A. Clarke

Lesbian teenage witch accidentally becomes adopted by popular girls. They form a coven and vow to get revenge on those who have been wronged. Chaos ensues.

The One with the Angel and the Demon is When the Angels Left the Old Country by Sacha Lamb

A demon and an angel decide to go to de goldene medina to search for a girl they know who's disappeared on the way over.

The One with an Unsettling Future is Zel by Donna Jo Napoli

High in the mountains, a young girl lives with her mother, who insists they have all they need -- for they have each other. The girl's life is peaceful and protected -- until a chance encounter changes everything. When she meets a beautiful young prince at the market one day, she is profoundly moved by new emotions. But the girl's mother sees the future unfolding -- and she will do the unspeakable to prevent her daughter from leaving her...

The One with the Bioweapon is Hell Followed With Us by Andrew Joseph White

It's post an apocalypse, that was started by a cult, that twists people into horrible body horror monsters. A trans boy raised in the cult is infected with a bioweapon by them and shortly after escapes. He joins a group of queer teens where he finds friends a community, and he bands together with them to take down the cult.

The One with Arabian Nights AND Hades & Persephone is Keturah and Lord Death by Martine Leavitt

Arabian Nights + Hades and Persephone! A mysterious danger plagues an unexpected kingly visit, and a young woman embarks on a quest to find her one true love before all is lost...

The One with the Lion is Sarah's Lion by Margaret Greaves

A princess longs to travel so is locked in her room. A lion comes to her. Eventually, she has to choose whether she will stay or go.

The One with the War Veteran is The Curse of Chalion by Lois McMaster Bujold

War veteran with chronic pain contracted by a goddess to save her chosen queen

#mystery fantasy book tournament #book reveals #fantasy books

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freckles-and-books · 5 months

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Currently reading! I read the short story, The Small Hands of Chokedamp, that introduced this world and characters last night, and I thought it was so fun!

I haven’t been super invested in a story since the beginning of October, so I’m hoping this is the book I need right now.

#the hexologists #josiah bancroft #books #fantasy mystery #fantasy books

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petruchio · 5 months

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literally any time i read anything on narrative construction im like oh yeah a perfect example of this is how the hunger games does it. like a good story should answer the question of “what does the character want and why can’t they have it” like well katniss wants to save prim and she can’t have it bc the conditions of the oppressive regime make that imposible no matter how much the stakes keep getting raised and that’s the central question the entire trilogy is concerned with and it’s the driving force for every single one of her actions. easy! and perfect. it’s the first line of the book. it’s flawless.

#it’s like how any kind of analysis on mystery construction #can be mapped onto the first three harry potter novels.#like are they great fantasy? debatable. but they’re great mysteries.#the hunger games is just a master class in narrative and suspense and character like god it’s the perfect series #and like few people (outside me and the mutuals) i feel like really Get that #like people are like ‘they’re such good books!’#and it’s like yeah but they’re THAT GOOD. like they’re not just fun kids books #they’re fucking GOD TIER. ugh im never getting over it!!!!!!!!!!#caroline speaks

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the-smut-analyst · 5 months

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A defence of the Good Guy / Bad Boy love triangle

It is no secret that mainstream YA & NA fantasy gravitates towards an angsty love triangle. But is this trope's popularity due to vapid teenage vanity... or something far deeper?

Warning: in this post, I will be referencing: True Blood/The Southern Vampire Mysteries, Legendborn, A Court of Thorns and Roses, The Shadow and Bone Trilogy, Buffy the Vampire Slayer, The Hunger Games, Chilling Adventures of Sabrina, and The Vampire Diaries. Some minor spoilers, mostly relating to the romance side of things, may be involved.

I have stumbled across a bunch of articles lately analysing why love triangles are popular in YA and NA fiction - and all of them, in my opinion, missed the entire point.

Firstly, they focus entirely on the "love interests", while wilfully ignoring the fact that the romance element is often a subset of these stories, rather than the main focus (more on that later).

Secondly, these articles often attribute the appeal of the love triangle to "teenage vanity". They either directly state or imply that young women are drawn to the idea of "provoking" two men into a fight for their affection.

Look, I get it.

Or at least I get how a middle-aged man tap-tap-tapping away on his computer might draw that conclusion. Especially if the crux of his knowledge regarding female-centred fantasy rests on blog posts ripping apart Twilight.

But regardless, the fact remains that labelling YA love triangles as a conceited sexual fantasy is a gross over-simplification. Why? Because romance is rarely the point of the story. Instead, the love triangle is a vehicle through which the author complements and elevates the standard Hero's Journey plot beats.

To demonstrate this argument, I will go through each of the critical plot beats in the Hero's Journey. For each beat, I will demonstrate (with examples) how dual love interests can underscore the character development of the protagonist and highlight her emotional struggles during each stage.

The outline for this analysis will be as follows:

Introduction of the Female Protagonist / Refusal of the Call

Meet the Good Guy / Meeting the Mentor

Meet the Bad Boy / Tests, Allies, and Enemies

Death of Innocence / The Ordeal in the Abyss

Heartbreak / "Death" of the Mentor

Grief for Lost Innocence / Refusal of the Return

Self-Discovery / The Road Back Home

Female Protagonist Accepts Her New Self / Master of Two Worlds

For reference, here is a rough outline of the major plot beats in the Hero's Journey:

Alright. Time to rip apart some assumptions.

Let's go!

Introduction of the Female Protagonist

Refusal of the Call

Mainstream fantasy love triangles almost always centre a female protagonist hence why people love to hate on them. The introduction of this protagonist generally follows your fairly standard Hero's Journey opening.

We meet the protagonist, usually a teenager or young woman, going about their "everyday life" in the ordinary world.

But then the Call to Adventure comes - sometimes referred to as the Inciting incident. For Feyre (ACOTAR), this moment is when she kills a wolf who turns out to be Fae. Or for Katniss (HG), her sister's name is drawn, prompting her to offer herself as a tribute instead.

The Call to Adventure or Inciting Incident marks a point of no return - even though the protagonist might not realise it at the time. It is the moment when life as they know it ends. Afterwards, nothing will ever be the same, including the protagonist.

The following beat is usually the Refusal of the Call, where the protagonist resists any change coming their way. Buffy (BTVS), for example, wants to continue her life as a regular teenage girl instead of being burdened by the duties of being the Slayer. Similarly, Sabrina (TCAOS) is hesitant to participate in the dark baptism, scared of its implications for her ties to the mortal world.

But for the plot to move forward, something or someone needs to prompt the protagonist to leave the "ordinary" world behind - and in turn, take those first few tentative steps into the "special" world (unknown).

Enter...

Meeting the Good Guy

Meeting the Mentor

The Mentor doesn't always have to be an Obi-Wan-style character who teaches the protagonist everything they know about lightsabers. In its simplest form, the Mentor archetype is a guide. Someone who takes the protagonist by the hand, either literally or metaphorically, and leads them from the ordinary world into the special one.

This transition is known as Crossing the Threshold and it is the beat that marks the shift from Act I to Act II.

Now, there is a good reason why the Meeting the Mentor plot beat often serves as a precursor to Crossing the Threshold. And no, it isn't because the protagonist is incapable of doing anything by themselves.

Instead, the Mentor character is often employed to explain how this new world works to both the protagonist and the reader alike.

Through the protagonist interacting with a "guide", the rules and systems of the new world can be revealed through dialogue and action, rather than excessive exposition and info-dumping.

And this is where the "good guy" as a Mentor character stand-in comes into play. His arrival serves the dual purpose of propelling the protagonist into the Crossing the Threshold beat and guiding her once she does.

For example, Sookie's budding romance with Bill is what introduces her (and us) to the Charlene Harris's world of vampires in True Blood. Or, in Tamlin's case, he takes his role in "helping" Feyre to cross the threshold quite literally and abducts her, forcing her to leave the human world behind in place of the world of Fae.

Now, there are quite a few exceptions to this good guy/mentor rule and they generally occur when the good guy is a childhood friend or sweetheart. Examples include Harvey (TCAOS), Gale (HG), and Malyen (SAB).

When this happens, the good guy often provides the protagonist with a much-needed link to her previous life and/or the ordinary world. He takes on more of a "grounding" role, rather than a guiding one.

But regardless, what these good guys have in common is a fairly standard set of traits. They are protective, have a strong moral compass, and are incredibly loyal to the protagonist.

Furthermore, they are almost always the protagonist's "first love". They offer her the emotional support she needs in order to move forward by making her feel less alone in the world.

Regardless of whether the good guy is a childhood friend or a mentor-like character, his relationship with the protagonist usually marks a time of both innocence and self-discovery. He is a source of love and companionship while the protagonist takes those first few tentative steps into the unknown.

Meeting the Bad Boy

Tests, Allies, and Enemies

The Hero's Journey is, at its essence, a Bildungsroman-like story. Or at least it is in the YA/NA genres. It is a coming-of-age tale, with Crossing the Threshold being a symbol for leaving the child behind in order to discover the adult that awaits.

What follows is a collection of plot beats known as Tests, Allies, and Enemies. This stage of the story is often fraught with missteps and small triumphs, good times and bad times - much the same as adolescence.

And this is where the bad boy comes in.

Sometimes the bad boy manifests as an enemy who the protagonist must face in some kind of test like Spike to Buffy. Other times, he presents as a Temptation beat, like the Darkling does to Alina (SAB), trying to lure the protagonist away from their path.

But regardless of how he makes his entrance, the initial purpose of the bad boy is almost always to bring the protagonist face-to-face with the dangers of this new world.

For example, through Eric, Sookie realises that not all vampires are polite and restrained like Bill. Similarly, Feyre's first encounters with Rhysand show her an even darker side to the Fae.

Even bad boys who are not outright evil still tend to behave in a way that the protagonist finds confronting, like Peeta (HG), whose ruthlessly practical survival tactics disturb the very moral Katniss.

In this sense, the bad boy fashions himself into a symbol of the harsh realities of adulthood. Much as a child might find their first encounter with the cruelty of the world shocking, the protagonist is shocked and appalled by the bad boy.

We're not in Kansas anymore, Dorothy.

However, it is important to note that the bad boy is usually just one component of the beats involved in the Tests, Allies, and Enemies section. Again, this ties in with my argument that these stories are a Hero's Journey first - with the love triangle simply underscoring that fact.

The friendships that Buffy forms with Willow and Xander are shown to be her two most enduring relationships, while her love interests come and go. In Legendborn, Bree's quest to learn the truth about her mother's death has nothing to do with romance at all. And Sabrina's rivalry-to-friendship arc with Prudence gets significant screen time across multiple episodes and seasons.

During the Tests, Allies, and Enemies stage, the protagonist is usually starting to come into her own. She faces challenges, forms friendships, and encounters enemies. And yes, with love triangles there's usually some lust and romance thrown in there, too.

But the main focus of this stage is that the protagonist is starting to learn who she is. She is becoming more and more powerful with each setback and triumph.

The Death of Innocence

The Ordeal in the Abyss

The Ordeal into the Abyss, also known as The Belly of the Whale, is a plot beat where the protagonist encounters their greatest test thus far.

Rather than this beat being the climax of the story, The Ordeal is generally a challenge that the protagonist must face before the final confrontation or battle - and they must do so alone. It sees them hitting rock bottom and coming face-to-face with their greatest fear, whatever that may be.

This plot beat is a transformative one. It forever changes the protagonist and readies them for the final battle ahead. It is a death of innocence. The moment when the "girl" becomes the "woman", so to speak.

And in this sense, The Ordeal in the Abyss comes with loss and gain in equal measure. Yes, the protagonist is stronger for the experience, but not without cost.

To get to this point, she has been to hell and back. Sometimes literally (cough, cough. Sabrina). The protagonist is now well acquainted with the darkness of this new world but, in order to survive it, she has to absorb some of that darkness into herself.

If you gaze into the abyss, the abyss gazes into you.

The aftermath of The Ordeal usually sees the protagonist having conflicting feelings over what she has discovered about herself.

On the one hand, she might relish her newfound power and strength. But on the other hand, she may also be afraid of who she had to become in order to emerge triumphant.

Heartbreak

"Death" of the Mentor

The Death of the Mentor isn't always a literal death, but rather, it is a plot beat that forces the protagonist to stand on their own two feet.

By losing the mentor, the protagonist's safety net is ripped out from underneath them. It places them in a "sink or swim" situation that is critical to their growth as a character.

This is why the relationship with the good guy must either falter or end at some point, even if only temporarily. Their breakup serves as a stand-in for the Death of the Mentor plot beat.

Because despite romance featuring heavily in these stories, there is still an inherent idea within them that there are certain steps in a woman's coming-of-age that she must take alone.

The cause of this breakup is almost always due to the transformation that the protagonist underwent during The Ordeal. The good guy no longer understands her, even though he may want to.

For example, Feyre's experience Under the Mountain sees her outgrow her coddled life with Tamlin. Similarly, when Katniss returns to 12, Gale can't fully comprehend what she went through, nor the role she is being forced to play as a result.

Grief for Lost Innocence

Refusal of the Return

The combination of The Ordeal and the Death of the Mentor take their emotional toll on the protagonist. She mourns for the girl she once was, the loss of her first love, and the ordinary world that is now a stranger to her.

What follows is a low point called The Refusal of the Return. Sometimes this beat sees the protagonist running away from her problems, as Buffy does when she flees Sunnydale after killing Angel.

Other times, The Refusal of the Return is a period of rebellion. Grief manifests itself into rage and the protagonist leans more heavily into that darker side of themselves that they discovered during The Ordeal. Like when Elena turns off her humanity following the loss of her brother.

It is usually during this stage that the bad boy begins to take on a more prominent role. (Welcome back to the plot, bad boys!)

At some point, either during this beat or perhaps earlier, we see a different side to the bad boy. Most often, this occurs when the bad boy shows the protagonist some kind of vulnerability, leading her to second guess her first impression.

In the Darkling's case, Alina recognises his profound loneliness. Sookie witnesses Eric's grief at the loss of his maker, Godric. And Rhysand confides in Feyre about the horrors he endured at the hands of Amarantha.

However, seeing this "other" side isn't just a plot device to justify the protagonist's developing feelings for the bad boy. But rather, it serves as a mechanism through which the protagonist's assumptions and beliefs are thrown into question. Not just about the bad boy, but about the world in general.

Disrupting the protagonist's foundations is essential to nearly all emotionally-driven storytelling. Through shattering the her beliefs - whether it be in a system or person - the narrative is propelled forward as the protagonist is then forced into come to her own conclusions.

And this - THIS! - is where the "good guy / bad boy dynamic" becomes so much more than just a blatant over-simplification of male archetypes pandering to female sexual fantasy.

The dichotomy of "good" and "bad" expands here to represent larger choices that the protagonist has to make. Comfort or danger? Honour or Power? Altruism or ambition?

Furthermore, the protagonist's conflicting feelings about the two love interests underscores the very real push-and-pull we all feel during adolescence. Where we crave the adventure and independence of adulthood while simultaneously mourning the safety and protection of childhood.

And this is why the good guy / bad boy love triangle can be such a great plot device. It's not only fun to read (when done well) but it makes sense that the protagonist might find herself drawn to someone whose darkness matches her own.

Who the bad boy is - and what he has done - creates a safe space for the protagonist to explore this darker side of herself. To rebel. To fall apart. To be selfish for once, instead of selfless.

At a time when others in the protagonist's life, like the good guy or her friends, my judge or simply not understand her, the bad boy offers a reprieve. But whether this reprieve positively or negatively influences the protagonist tends to vary from story to story.

Sometimes he is the one who encourages her Refusal of the Return, as the Darkling does for Alina. Other times, the bad boy helps the protagonist in returning to her path, rather than luring her away from it, by offering her his understanding.

Peeta gets what Katniss is going through in a way Gale never can because he went through it, too. Similarly, Stefan can't provide Elena with the reassurance she needs after becoming a vampire because he has never come to terms with his own loss of humanity - therefore, enter Damon.

Self-Discovery

The Road Back Home

The Road Back Home sees the protagonist emerging from her Refusal of the Return. It is when she embarks on the journey to fully reconcile the girl she once was with the woman she has become. To do this, she needs to confront her trauma from The Ordeal and forgive herself for whatever darkness it might have awakened.

This is usually a gradual process that takes place over many chapters or episodes. In many ways, it is a mirror to the Crossing the Threshold beat. Except this time around, the protagonist is looking inwards not outward - instead of discovering the new world, she is discovering herself.

During this time, the bad boy's relationship with the protagonist is often explored more deeply. Being loved by the bad boy - darkness and all - is usually a precursor to the protagonist beginning to accept this darker side of herself, too.

But a distinction needs to be made here between "accept" and "embrace". The former does not necessitate the latter, and whether or not the bad boy gets his own redemption arc usually serves as the distinction between the two.

In the Darkling's case, he certainly helps Alina to come into her power, but ultimately, Alina rejects the path that he is trying to lead her down. The Darkling might have helped her to accept her darkness, but she does not fully embrace it the way he does.

Other times, when the bad boy gets his own redemption arc, we see a precursor to self-love through their relationship. Because in pursuing her feelings for the bad boy, the protagonist has to reconcile the fact that people are nuanced, and no one is entirely good nor evil. In forgiving the bad boy for his past wrongdoings, the protagonist sees that it is possible to forgive herself, too. Damon and Elena's arc (in the TV adaptation) is a good example of this.

But regardless of where things may or may not go with the bad boy, the next plot beat has nothing to do with romance at all. Now, the protagonist is ready for the final battle.

The Female Protagonist Accepts Herself

Master of Two Worlds

Everything the protagonist has been through has been leading her to this moment. Her triumphs, her defeats. Her discoveries and lessons. Her friends and mentors and lovers.

She's faced evil, maybe even embraced a little of it, and come out stronger and better for the experience. She has finished mourning the child she once was and accepted the woman she has become.

Now she is ready, as a master of both worlds, to face whatever comes next. And we, as readers, now get to enjoy the final battle!

Basically, the protagonist is a certified badass now - and she's going to win.

Now, where the romance goes during or after this plot beat is very, very varied. Sometimes, the protagonist stays with the bad boy, like Feyre does with Rhysand. Other times, the relationship is temporary, like Eric and Sookie. Or, in the case of Buffy, neither the good guy nor the bad boy remains in the picture. In fact, a very deliberate choice was made with her story to avoid an "end-game" romantic pairing.

And the reason why the romance is pretty damn varied is because, well, it doesn't really matter. The romance is the cherry on top of the story, not the whole damn cake.

Conclusion

I understand that love triangles might not be everyone's cup of tea - and that's okay. But to paint the entire trope under the broad strokes of teenage vanity and wish fulfilment is to do it a disservice.

Because for the most part, it isn't just some vapid romance. A lot of the most popular stories within the genre are actually complex YA fantasies in and of their own right, driven by your standard emotionally-driven, coming of age beats. They just happen to feature a female protagonist who falls in love.

Okay, maybe in this example she falls in love a few times. But so what? Getting your heart broken and mended again is a part of growing up, so why shouldn't it have a place in YA/NA fiction?

If young men are allowed to froth over some guy getting bitten by radioactive a spider and getting superpowers, then we can have two sexy vampires pining over the same girl.

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haveyoureadthispoll · 5 months

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#polls #book: house of leaves #author: mark z. danielewski #genre: horror #genre: fantasy #genre: mystery #year: 2000s

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best-childhood-book · 1 year

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Welcome to the Bracket of Childhood Books!

Hello! Welcome to the Best Childhood Book bracket, reminiscent of many going around on Tumblr right now, that will decide what this userbase thinks is the best childhood book.

Since we need some clarification, the definition of childhood book in this competition is as follows: a book people read in childhood that must be for a YA age group or younger and has chapters. I developed this definition to keep it as open as possible while making sure picture and adult books were excluded. There are a lot of books that skirt the line between middle grade and young adult, so I figured it best to play it safe and include all YA books, especially for those of us who read at a much higher level. There is a difference between “children’s” book and “childhood” book. ANY book that met those requirements could be submitted, as I am striving to keep my personal opinion out of this competition for the most part. This definition will not change for the foreseeable future.

This masterpost will be updated with links to all the polls regularly, and each poll will last 7 days. If you vote, reblog if you can so more people can vote, and feel free to campaign for your personal favorite if you want!

SUBMISSIONS ARE CLOSED FOR CHILDHOOD BOOKS (320/320)

SUBMISSIONS ARE CLOSED FOR CHILDHOOD WORLDS (192/192)

SUBMISSIONS ARE CLOSED FOR FANTASY BOOKS (320/320)

Please submit with the name of the book and the author. Check the lists to see if anything has been submitted before trying yourself. If a book is part of a series, it will be listed under the series name (i.e. The Lightning Thief > Percy Jackson and the Olympians or The Golden Compass > His Dark Materials). You can find the current list of childhood books here. A world will be listed with its series, and you can find the current list of worlds here. You can find the current list of fantasy books here.

Poll links and rules under the cut

Help decide parameters for submissions with some fringe cases: recently published YA, adult books lots of children/teens read, retelling worlds

First Competition (here)

Second Competition (here)

Third Competition (here)

Fourth Competition (here)

Rules/Guidelines

Submissions for Childhood Books

Must be a middle grade or young adult book

Must have chapters

Must be able to be found on Goodreads

Submissions for Childhood Worlds

Must be the setting of a middle grade or young adult book.

Must be either a whole other world (i.e. Narnia, Panem), a setting largely separate from our own world (i.e. Hogwarts, Camp Half-Blood), or a specific setting within our own world that is invented for the purpose of that book (i.e. 221B Baker Street, Ferryport Landing)

Main characters have to have visited this place

Cannot be somewhere that already exists in our world outside that book

Submissions for Fantasy Books

Must be listed as 'fantasy' or some fantasy subgenre within the first three genres on Goodreads or Storygraph

Must be able to be found on Goodreads

Must have chapters but can otherwise be for any age range

Polls

Be respectful (no hate, no harassment, I will block you)

I'm totally okay with spam reblogs; if you want to subject your followers to seventeen copies of a poll, you do you

If you're trying to get my attention about something, @ me or submit an ask, there's no guarantee I'll see all the reblogs

Propaganda

Submit it to me as an ask; I won't be reblogging personal posts or reblogs of the polls

Promote the book you're supporting; it's okay to poke fun at the other books, but please don't attack them or the authors

Only ONE (1) propaganda post per user per book. I really don't want to clog people's dashes with sixty posts about voting for a single book

Asks

Be respectful, not just to me but to all the people who will end up seeing that ask when I post it

If you're asking about a poll or a rule or anything else, please check and see if it's in this post or elsewhere

Try to keep things focused on the competition/books

Competition Hall of Fame

First Competition: Percy Jackson and the Olympians by Rick Riordan

Second Competition: Animorphs by K. A. Applegate

Third Competition: Lockwood & Co. by Jonathan Stroud

Fourth Competition: The Hobbit by J. R. R. Tolkien

229 notes · View notes