Navigating the internet as a fiction writer has shifted dramatically from casual banter to managing algorithms, building boundaries, and balancing commercial expectations. On Sunday at 2:30PM, the Young Adult (YA) Literature track brought together authors with vastly different approaches to the online world for “YA Literature in the Social Media Age,” in Marriott A707. Moderator Marianne Danneman led a candid conversation featuring fantasy and clean romantasy author Katie Cross, bestselling multi-genre author Delilah S. Dawson, comedic fantasy novelist FT Lukens, thriller and fantasy author AJ Hartley, and contemporary YA author Becky Albertalli.
The authors began by reflecting on how their presence across platforms has evolved over time. Dawson lamented the lost “golden era” of author Twitter, noting that modern Facebook and Instagram algorithms suppress organic reach unless creators pay to boost posts. Albertalli described stepping back to establish healthier personal boundaries online, finding comfort participating as an ordinary voice in Reddit discussion threads rather than being the center of attention. Lukens leans into Discord for intentional interactions with readers and plotting discussions with writer peers, while Hartley leverages long-form YouTube videos to dive deep into writing craft and music passions. In sharp contrast, Cross treats social platforms as a direct-response marketing engine, dedicating 45 minutes daily to interact with her audience, using paid social ads, and using team support to actively train algorithms to locate her target readers.
Danneman asked authors if social media made them feel more or less connected to their readers. Several of the authors noted how social media feels less useful and more transactional, with social media companies including ads everywhere and requiring ads from authors just to reach their audience. Lukens talked about her preference for in-person interactions with her audience at conventions, readings, and libraries. She also prefers the ease of communication with readers via email rather than trying to respond to social media queries on her phone.
Cross offered a different framing, viewing her online footprint as serving as an encouraging community leader for readers seeking hope and escapism—an approach that directly helped her secure a six-figure audiobook deal.
Dawson emphasized that storytelling remains paramount. “The quality of the book is always number one by a long shot.”
When asked how contemporary authors weave modern technology into their fictional plots, the authors shared contrasting tactics. Hartley strives to keep tech references as non-specific as possible to avoid rapidly dating a book. Albertalli noted that specific platforms can serve as authentic period time-capsules, reflecting on how central Tumblr was to her 2015 debut novel. “Simon wouldn’t be Simon without Tumblr.”
For horror and suspense writers like Dawson, the primary storytelling challenge is often figuring out how to break the phone, or cut communication entirely so characters are forced to face peril alone. “So many stories would be truncated if the characters could communicate,” Dawson said.
To close, the panelists shared the most effective ways readers can genuinely support their favorite writers. Engagement on social media helps keep posts visible, online reviews of the novels (even if just heart emojis), preordering upcoming titles to signal demand to booksellers, and requesting books and audiobooks on library apps like Libby help generate author royalties and expand catalog reach.
Albertalli also noted how fan art is great and will make her day.
