Warm Bodies Nicholas Hoult Rob Corddry

3. Keep The Mythology To A Minimum
This goes along with our previous point: these movies are so bogged down with labyrinthine mythology that, especially for someone who hasn't read the books, they become an incomprehensible slog. "The Mortal Instruments: City of Bones" will have a lot to cover with audiences—various weapons, what those tattoos that look like runes are for, and why vampires are really bad—and how to translate that information easily is key. Audiences frequently become buried underneath mythology that can be more delicately parsed out in literary form, where a reader has hours and hours to digest the information, instead of the two-hour slam session that a movie provides. Over the course of its eight movies, the "Harry Potter" saga had a similar luxury, but even that got tripped up from time to time on the magical minutia. The worst offenders, like "The Host" from earlier this year, are nothing but esoteric plot points: the movie doesn't exist outside of expository dialogue about aliens and chrome-plated cars and underground wheat fields. All of these things add color to the narrative, for sure, but when they become the narrative, that's when things really break down. "Warm Bodies," the romantic zombie comedy that was also released earlier this year, was a success both critically and financially (over $116 million worldwide) partially because there was so little cumbersome mythology weighing it down. It shaved away even the dangling mythology from Isaac Marion's book, boiling it down to the most relatable essence. In the book and movie, zombies fall in love and become human. It's a testament to the filmmaking that instead of explaining "why?" that they let the actors and characters sell it on their own.

Mortal Instruments: City Of Bones

4. Don't Underestimate The Audience
One of the biggest misconceptions about these young adult movies is that, since they skewer to a younger age group, they have to be safer and more cuddly. But these are teenagers we're talking about here and not only that, but teenagers who have grown up with access to the Internet. Things can be edgy and dark and push into uncomfortable thematic territories and the audience will still stick around. To its credit, "The Mortal Instruments: City of Bones" pushes the sexuality envelope that's pleasantly surprising, especially following the constrictively chaste "Twilight" universe, in which everything exists in an insane, Mormon house wife version of reality where people just hold hands until they're married. Filmmakers and studios often forget that the tween audience their aiming are a sophisticated and diverse bunch, and can handle material that goes to darker edges thematically, or even does something as simple as present a cast with an array of types, instead of bland, magazine ready pretty faces. Granted, it depends on what you're working with, but there's no reason why a YA franchise can't be both entertaining and smart at the same time.

Beautiful Creatures Jeremy Irons

5. Assume There Will Only Ever Be One
A problematic approach that has already cursed a couple, would-be franchises, is the assumption that there will be future installments. Some of this has to do with the fact that many of these movies are adapted from books that are one in a larger series, but this instinct is a symptom of a larger epidemic in Hollywood wherein every movie of notable size has to serve as the building block of a future series of films. "Harry Potter" was lucky in the sense that the success of the early installments insured that the entire series would get made, just because of the amount of money generated, both from tickets and tangential mediums (home video, merchandise, the wands they sell for $100 a pop at the Universal theme parks). But other potential franchises, like "I Am Number Four," deliberately teased plot points and characterizations in advance of any guarantee of a followup. By already looking forward, it lessens the impact film that's happening right now dramatically, instead of functioning as a fully enjoyable, standalone piece of entertainment. At worst, this kind of over-extended world-building, if it doesn't work organically, plays more like a trailer for future installments—which, given the place of these movies as a small cog in a giant corporate machine, makes sense. But nobody wants to feel that watching the movie.

Shailene Woodley, Divergent

We'll have to see how many of these rules are applied to the glut of young adult fare that is about to bombard multiplex screens nationwide. This fall, the highly anticipated (and, thanks to author Orson Scott Card's homophobic remarks, outrageously controversial) sci-fi adaptation "Ender's Game" finally hits screens, while next spring sees the release of both "The Maze Runner" and "Divergent," starring Shailene Woodley, which both seem vaguely "Hunger Games"-y. The same weekend that "The Maze Runner" comes out next year (Valentine's Day weekend, of course) will also debut "Vampire Academy: Blood Sisters," an adaptation of the popular series, and at some unspecified time next year, "The Seventh Son," based on Joseph Delaney's "The Wardstone Chronicles," will be released by Universal. Oh and in addition to this fall's "The Hunger Games: Catching Fire," you can look forward to "The Hunger Games: Mockingjay," parts 1 and 2, in theaters in 2014 and 2015, respectively. "I Am Legend" filmmaker Francis Lawrence will direct all three sequels with herculean aplomb. We just hope he takes our suggestions.