Young Adult novels are especially sensitive to sensitivity; my 2004 teenage novel Sugar Rush probably wouldn’t be allowed today, as one of the young lesbians would need to be trans and I wouldn’t, as a white woman, be allowed to write a mixed-race heroine.
(Oddly, the demographic which is most ‘sensitive’ about fictional violence is the same one which favours as a leisure pursuit what I call ‘Netflix and kill’: the true-crime genre – deaths of real people rendered down into entertainment.)
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