Before turning to fiction, Kamalakanthan spent several years teaching sex and relationships in schools. They say that work was “foundational” for the way they constructed the novel’s central relationship arc.

During those teaching sessions they observed a striking pattern: many students could readily name forms of sexual harm, yet they stumbled when asked to describe what consent felt like or what kinds of touch they felt comfortable with. “I noticed students were often more fluent in naming sexual harm than articulating consent and the type of touch they might be comfortable with,” they say.

Motivated by that gap, Kamalakanthan deliberately crafted their characters to rehearse the kind of awkward, hesitant, and sometimes laugh‑filled conversations that real teenagers have about boundaries. “I wanted characters in Bad Queer to model those exact conversations: fumbling, hesitant and laughing nervously through the words … and importantly working out their boundaries before any touch happens,” they explain.

They add that while media frequently spotlight sexual violence, young readers also need positive templates. “But I also wanted to write consensual, caring relationships. We need templates for those conversations too,” Kamalakanthan says, hoping the novel will give queer youth a realistic roadmap for navigating consent and affection.

By grounding the story in their classroom experience, Bad Queer offers a rare blend of poetic storytelling and practical relationship guidance, making it a valuable resource for teenagers seeking both representation and a healthier model of queer love.