By Rainbow Rowell

"Hi, I'm the fellow who reads your e mail, and likewise, i admire you . . . "

Beth Fremont and Jennifer Scribner-Snyder be aware of that someone is tracking their paintings e mail. (Everybody within the newsroom is aware. It's corporation policy.) yet they can't relatively convey themselves to take it heavily. They pass on sending one another unending and forever hilarious e-mails, discussing each element in their own lives.

Meanwhile, Lincoln O'Neill can't think this can be his task now- studying different people's email. while he utilized to be "internet safeguard officer," he pictured himself construction firewalls and crushing hackers- no longer writing up a record each time a activities reporter forwards a filthy joke.

When Lincoln comes throughout Beth's and Jennifer's messages, he is aware he should still flip them in. yet he can't support being entertained-and captivated-by their stories.

By the time Lincoln realizes he's falling for Beth, it's means too past due to introduce himself.

What could he say . . . ?

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It is not enough to simply read I Am Number Four. The first novel functions as a prolonged advertisement (including a cliffhanger ending) for buying into the book’s sequel, the spin-off texts, the film adaptation, and other Lorien Legacies paraphernalia. At over 400 pages and larger print, the book looks hefty. Like the plot of the book falling in line with traditional YA, the book’s size and design signal to readers the book as a commendable title within the YA genre. This, too, is likely a trend that followed the lengthy Harry Potter books that slowly extended their length beyond 200 and 300 page lengths, bursting into longer, “adult” length books.

In doing so, I will explore the online writing and social community, Figment. It is one of several online spaces focused on young people writing, sharing, and discussing young adult literature. And though the site and the way it helps challenge traditional understandings of the YA genre are discussed in that chapter, it is important to acknowledge, here, Figment’s implicit contribution to this book. In early 2012, I was preparing to teach my first Adolescent Literature course at Colorado State University.

The astronomical success of the Harry Potter franchise is unlike any book that has since followed in its publishing footsteps. The Twilight films have broken numerous box office records, but the sustained book, movie, and product sales of Harry Potter have yet to be surpassed. For myriad children growing up around the world during the years that the Rowling series was released, Harry Potter is beacon of exactly why we can fall in love with books. Though his world was mysterious and rife with danger and wonder, it was also 13 CHAPTER 1 a humanizing world of pathos, anger, and learning to accept the world for what it is.

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