This book was . . . not great. To be honest, some of the tropes in it were pretty darned harmful. For example (and this is a fairly long spoiler, and it's a spoiler about what happens towards the end of the book), while I know that people love to play around with the "they think don't love him/her, but they really do!" idea, I have absolutely never found that to be the case in real life. In real life, if someone is confronted with an individual who wants to be in a relationship with them and they think that they don't want to be in a relation with that person, they really, actually, honestly don't want to be in a relationship with that person, and trying to convince them that they don't know their feelings and everything would change if they just ignored what they thought they felt and pushed themselves to be in a relationship ends VERY poorly. But this book DEPENDS on undermining Geordi's perception and awareness of his feelings with someone he has known incredibly well for years. Why wouldn't he know how he feels about this person? Because it makes good drama to undermine his own grasp of his emotions, despite the fact that he has no real reason to have issues about this. it depressed me.I also didn't like the way that Geordi's parents kept exposing Geordi's incredibly personal business to the world. That was profoundly violating and, when dealing with an LGBT kid, potentially very dangerous. Furthermore, we're given insight that at least one of Geordi's parents should have known how dangerous this could be. Regardless, it's pretty much played off as quirky, even when very real consequences for the parents' actions rain down upon Geordi's head.In fact, in general the consequences of pretty serious stuff are treated very lightly (another endgame spoiler here) thinking parent death by suicide here, and that kind of weirds me out. Is it because the book is categorized as YA, so the author tried to minimize the emotional impact by treating the profoundly serious issues casually? That doesn't give the YA audience enough credit. if you're going to bring up serious issues, some of which your audience have dealt with, deal with those issues with the emotional gravity they deserve.