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Content Warning: This section of the guide includes discussion of death by suicide, antigay bias, and mental illness.
The novel Girls Like Girls originated as a 2015 song and viral music video by its author, Hayley Kiyoko, a prominent queer American pop artist. Affectionately nicknamed “Lesbian Jesus” by her fans for her open advocacy and representation, Kiyoko has been a significant figure in making LGBTQ+ female narratives more visible in mainstream music.
The music video for “Girls Like Girls,” which Kiyoko co-directed, tells a story of two teenage girls, Coley and Sonya, who fall in love, only to be violently confronted by Sonya’s male friend. The video ends in a similar way to the novel, with Coley and Sonya affirming their love for each other after overcoming Sonya’s boyfriend. The video was a breakout success, amassing over 160 million views on YouTube and becoming a cultural touchstone for many young LGBTQ+ women who saw their own experiences reflected in its narrative.
The video’s popularity demonstrated a widespread hunger for authentic, unapologetic LGBTQ+ storytelling. In her acknowledgments, Kiyoko explains that she expanded the story into a novel to deepen the world of these characters. The book thus functions as both a prequel and an expanded story for the music video, exploring Coley’s grief-stricken backstory and Sonya’s struggle with identity and social pressure in far greater detail than the video’s five-minute runtime allowed. Nine years after the song’s release, Kiyoko announced that she would develop and direct a film adaptation of the novel, which premiered two years later in 2026. Understanding the novel’s origin clarifies its role within a larger artistic project dedicated to creating the hopeful LGBTQ+ content that Kiyoko felt was missing during her own adolescence.
Set in 2006, Girls Like Girls unfolds nearly a decade before the US Supreme Court’s 2015 Obergefell v. Hodges decision legalized same-sex marriage nationwide. The mid-2000s were a period of significant legal and social hostility toward LGBTQ+ people. In 2006, the Federal Marriage Amendment, which sought to constitutionally define marriage as between a man and a woman, was debated and voted on in Congress. Although it failed, its presence in national discourse reflected a contentious political climate, and that same year, seven states passed constitutional amendments banning same-sex marriage.
In the novel’s rural Oregon setting, this atmosphere manifests as casual antigay bias and intense social risk for LGBTQ+ youth. For characters like Coley and Sonya, being openly gay could lead to ostracism or violence, as seen in Trenton’s aggressive behavior. In this isolating environment, early digital platforms became essential lifelines. The novel prominently features AOL Instant Messenger and LiveJournal, which were central to 2000s teen culture. For LGBTQ+ youth, these platforms offered both sanctuary and social connection. The relative anonymity of screen names and private journals allowed for self-exploration and community building that were often unsafe offline. Sonya’s use of public and private LiveJournal entries to process her conflicting feelings illustrates how these digital spaces functioned as confidential platforms and carefully curated public personas for a generation of LGBTQ+ teens navigating a world that had not yet accepted them.
The novel’s protagonist, Coley, is partly defined by the recent death of her mother by suicide, a tragedy that frames her emotional journey and looms over the various relationships she fosters in her new town. Her experience reflects the unique challenges faced by adolescents bereaved by suicide.
Research from institutions such as the American Foundation for Suicide Prevention shows that survivors of suicide loss, particularly children, often grapple with a complex form of grief (“Children, Teens and Suicide Loss.” American Foundation for Suicide Prevention). This grief is frequently marked by intense feelings of guilt, abandonment, self-blame, and social stigma, all of which Coley exhibits. She fixates on the idea that she could have prevented her mother’s death had she not missed her usual bus, a common manifestation of survivor’s guilt. Her anger toward her estranged father, Curtis, is also a projection of the abandonment and confusion she feels in the wake of her mother’s death.
Studies on adolescent bereavement indicate that losing a parent to suicide can increase the risk for mental-health challenges, including depression and post-traumatic stress (Tal Young, Ilanit, et al. “Suicide Bereavement and Complicated Grief.” Dialogues in Clinical Neuroscience, vol. 14, no. 2, 2012, pp. 177-86). Coley’s guarded nature, her difficulty trusting others, and her initial belief that she’s unworthy of love are all psychologically coherent responses to her traumatic loss. The novel uses her budding relationships with Sonya and Curtis as catalysts for confronting this grief. Her romance with Sonya forces her to risk emotional vulnerability, while her reconnection with Curtis makes her face long-buried feelings about family and abandonment. Coley’s path to healing is thus inextricably linked to her ability to form new, healthy attachments after her foundational one was traumatically broken.



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