71 pages 2-hour read

Good Different

Fiction | Novel | Middle Grade | Published in 2023

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Pages 185-242Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of bullying and ableism.

Pages 185-193 Summary

This section includes the poems: “New Words,” “Things I Like about Me,” “Secret Weapon,” “Not Ready,” and “Wordless.”


Selah reflects on the new vocabulary she has encountered—“overstimulated / autism spectrum / sensory tools” (185)—and spends hours researching these terms. As she reads, she realizes how much she previously misunderstood the topic of autism, and she begins to recognize her own experiences in the descriptions of this neurotype. This new understanding inspires her to write more poetry and to feel more confident in expressing herself. In one poem, she describes the things she enjoys about herself, highlighting sensory experiences such as drawing and swinging, as well as the smell of Pop’s basement and music from The Lord of the Rings films, which she watches with Noelle. She also describes several self-stimulating (“stimming”) behaviors that bring her comfort, including clicking her teeth, squeezing her hands into tight fists, and jumping.


One night, Selah is awakened by her noisy neighbors, but instead of panicking, she puts in her earplugs and returns to sleep until morning. At school, Mrs. V helps her to hang one of her poems on the classroom bulletin board. However, on the ride home, Selah begins to doubt herself, and the next day, she arrives at school early so that she can remove the poem before anyone else sees it. While she is taking it down, she accidentally tears through the neck of the dragon that she had drawn on the page.


Feeling discouraged, Selah puts on her red bracelet, though she doubts that anyone at Pebblecreek will respect this signal that she needs to be left alone. Her fear proves correct when Ezra taunts her in the hallway, asking who her “next victim” will be.

Pages 194-205 Summary

This section includes the poems: “Wish List,” “Good Different,” “No More Meltdowns,” and “At the End of the Day.”


At home, Selah searches online and discovers a store that sells sensory tools. She sends the link to her mother and asks for similar items for Christmas, but Sue dismisses the request, saying that Selah is too old for those toys. Selah is discouraged, but she keeps brainstorming new ways to manage her feelings. While riding in the car, she tries to explain to her mother what she calls “the dragon inside” of her (196). Sue insists that nothing is “wrong” with her, and Selah agrees, but she also feels that something about her is different—even though she is too nervous to say so directly.


Determined to support herself, Selah creates her own sensory toolkit using items that she already has, such as gummies, sunglasses, earplugs, and fidget toys. These tools help her to feel more comfortable at school, even though Ezra mocks her for wearing sunglasses indoors. In class, Mr. S becomes distracted by her toolkit. He tells her to stop eating in class, and when she explains that she is only chewing, he asks her if she is being “smart,” which confuses her. He then threatens to send her to the office and ultimately confiscates all her tools, placing her sunglasses on top of his head as if Sela’s “pain is just / another one of his jokes” (200). Selah remains silent, trying not to cry.


She later tells Pop that Mr. S took her items. The next day, Pop comes to the school. Ezra spots him through the window, and Selah quickly asks to go to the bathroom so that she can get to the office. There, she finds Pop angrily confronting Mrs. Tucker. Sue rushes in behind him, scolding Pop and saying that he could get Selah expelled. Hearing her mother’s frustration, Selah feels as though everyone sees her as a “problem.” Overwhelmed, she runs to the bathroom and hides in a stall until she can calm down enough to return to class.


At the end of the day, Mr. S returns her belongings but tells her not to bring them back to school. As Selah leaves the building, she overhears other students gossiping about her and her family.

Pages 206-219 Summary

This section contains the poems: “Pop Goes Missing,” “Favorite Spot,” “Powerless,” “Pop’s House,” “Maybe,” and “Words.”


That evening, Selah looks out the window and sees her mother walking down the street in her robe, calling for Pop. Selah runs outside. Sue tells her to go back inside and expresses regret for having yelled at Pop earlier. Pop is not answering his phone, and Sue becomes increasingly distressed, repeatedly calling out, “Dad, Dad. // Please come home” (207). Selah tries to comfort her, but Sue continues searching.


Selah decides to check all of Pop’s usual walking routes. She is not overly frightened, noting that he always returns home eventually. She finds him in the woods despite the rain. Pop says that Sue does not understand either of them; he questions Sue’s insistence that Selah attend Pebblecreek. Selah stops herself from defending the school and begins to wonder whether she truly belongs there. She asks if they can go inside, and Pop agrees. She texts her mother to let her know that Pop is safe.


Inside Pop’s house, Selah notices how crowded and disorganized the space is. Pop complains that Sue frequently tries to clean and reorganize his home. Although Selah typically takes his side, this time she agrees with her mother, though she does not say so aloud. The two begin talking about Pop’s argument with Sue. Pop says that Sue is too serious and holds her feelings inside. Selah points out that Pop knowingly did something that would upset Sue. He insists that he is simply being himself and says, “She should know by now / to not get so upset” (213). Selah realizes that although her own rules for making other people more comfortable may be overly restrictive, Pop’s approach lacks empathy.


Sue arrives, muddy and soaked from searching. When Pop tells her not to worry, Selah defends her mother, saying that he should be more considerate. Sue is taken aback by Selah’s bluntness, but Pop smiles and acknowledges that she has a “good point.” On their walk home, Sue thanks Selah for standing up for her. She rubs Selah’s back, and this time, Selah finds the touch comforting rather than overwhelming. Selah recognizes that her mother is also suppressing intense feelings.

Pages 220-235 Summary

This section contains the poems: “Poem for Pop,” “Sharing,” “Party,” “Evening,” “Sunday Morning,” “Why,” “Even If,” “The Only Words I Can Find,” and “Back.”


Selah writes a poem for Pop, in which she tells him that his strong feelings can sometimes hurt others; she encourages him to let Sue help clean his house. She leaves the poem in his mailbox.


When the day of Noelle’s birthday party arrives, Selah struggles with whether to tell her mother about it. She ultimately decides not to go and stays home. She wants to write a poem for Noelle but cannot find the right words. While searching for pencils, she comes across the key chain that Noelle gave her and begins to wonder whether she has treated Noelle unfairly. She decides to talk to Noelle directly, reasoning that either Noelle is still her friend and will forgive her, or she is not. In Selah’s mind, the uncertainty is worse than knowing. She reasons, “If she hates me, / it’s not like things / can get any worse” (225).


The next morning, Selah goes to Noelle’s house. When Noelle answers the door, Selah considers running away, but Noelle stops her and asks why she has been acting “weird” and ignoring her. Selah is surprised, having believed Noelle was the one avoiding her. She hands Noelle a poem and says she will understand if Noelle no longer wants to be friends. Noelle disagrees, saying that she is “weird,” too, and reaffirms their friendship.


Selah goes inside, and they make nachos together in the microwave. Noelle continues asking about Selah’s behavior, and Selah wishes that she had her yellow bracelet to communicate how she feels. Finally, she explains that when Noelle dismissed her reasons for hitting Addie, it hurt her feelings. Noelle responds that misunderstandings should not end friendships. Selah realizes that she made unfair assumptions, and both girls apologize. They agree to be more open with each other and to talk through their problems instead of withdrawing.

Pages 236-242 Summary

This section includes the poems: “Colored Feelings,” “Ready,” “Everywhere,” “All the Bulletin Boards,” and “Pebblecreek Family.”


Selah begins wearing her color-coded bracelets to school, usually starting with green in the morning and switching to yellow as she gets more overwhelmed. Some days, she needs to wear the red bracelet. Before PE one day, Noelle notices Selah wearing red and tells the teacher that Selah is not feeling well and needs to rest. Selah, who is unable to find the words herself, is grateful for Noelle’s help. Ezra mocks the bracelets, calling Selah “Traffic Light” and encouraging the other boys to make siren noises at her. In support of Selah, Noelle begins wearing her own bracelets as well; they are usually green, though she occasionally wears yellow.


In history class, while learning about Martin Luther, Selah realizes that she is ready to share her poetry more openly; she hopes that her writing can make a positive difference. After school, she approaches Mrs. V, who helps her by printing multiple anonymous copies of her poems. They discuss different ways of distributing them, and Selah decides to place the poems throughout the school, reflecting, “I wanted something / you could reach out and feel / with your hands” (240). After posting them, Selah experiences a powerful wave of mixed emotions—“like [she] could break out flying […] while also throwing up [her] lunch” (p. 241). One of the poems she posts, “Pebblecreek Family,” addresses her classmates directly. In the poem, she asks whether they know her name and tells them that she hears their insults and recognizes their bullying.

Pages 185-242 Analysis

In this section, Selah’s understanding of herself shifts dramatically as she confronts the stigma surrounding autism and the emerging clarity of her own identity. When she observes, “People say ‘autism’ / the same way / they say things like / ‘cancer’” (185), this stark comparison underscores the misguided cultural belief that autism is somehow inherently negative or tragic. The novel’s portrayal of this perception mirrors real-world misconceptions—particularly the stereotype that autism only exists in its most visible forms, which are commonly associated with young non-speaking boys. The novel pointedly positions Selah in contrast to these outdated assumptions, reflects the real-world trend in which many autistic people are increasingly adopting identity-first rather than person-first language when making their neurodivergence known. This shift in perception strips the negative connotations from autism and emphasizes the neurodiversity movement’s contention that autism is an integral form of a person’s most authentic self, not a disease or a disorder. The novel also reflects the fact that people are recognizing their neurotype later in life. In response to this cultural backdrop, Selah begins reframing her own identity, realizing, “I am full / of possibilities— // I can do more / than just hide” (187). This revelation marks her inner shift toward greater self-awareness and signals the early stages of empowered self-advocacy.


To heighten this emotional transition, the novel employs key symbolism that once again emphasizes the imagery of dragons. For example, when Selah tears her poem from the bulletin board, she notices that she accidentally “ cut[s] through [her] drawn dragon’s neck” (192). The dragon, which is primarily a symbol of Selah’s inner strength and identity, now becomes wounded as she commits an act of self-erasure. This moment of accidental violence against her own symbol mirrors the real emotional damage that she experiences when she feels compelled to suppress her authentic self. 


By contrast, when she willingly employs sensory tools such as earplugs, sunglasses, and fidgets, she comes to see these items as talismans that reflect her newfound sense of safety, not her inherent differences. As Selah explains, “I feel safe / with my sunglasses on, / protected / by my earplugs” (198), and it is clear that she sees these accommodations as essential tools for regulating her nervous system and functioning in a world that was not built to support her. The author uses this positive development in the protagonist’s life—and the negative reactions of her neurotypical peers and instructors—to critique the common real-world attitudes labeling such tools as unnecessary or distracting. As Selah continues to brainstorm unique ways to address her sensory challenges, her strategies support the novel’s thematic focus on Combating Sensory Overwhelm and Finding Coping Strategies for Daily Life.


Yet despite her successes in this area, institutional forces heighten the tension that Selah feels at school, particularly when both Mr. S and Principal Merkert perpetuate the systemic misunderstanding of autism by treating Selah’s sensory tools as disruptions and framing her natural behaviors as disciplinary issues. Their responses reflect common real-world patterns in which students with autism find themselves being penalized for behaviors linked to unmet sensory or emotional needs. In the world of the novel, these two antagonistic authority figures reinforce the narrow definition of “acceptable” behavior at Pebblecreek and push Selah further toward self-doubt, foreshadowing her intensifying quest to articulate her needs and to insist that her school support her instead of sabotaging her.


As Selah strives to make positive changes at school, the tension within her own family contributes to her evolving understanding of identity and self-advocacy. In many ways, her relatives are implied to share her neurotype, as when Pop tells her, “[T]he world’s not built / for folks like us” (100). However, the novel also makes it clear that Selah’s family members still have interpersonal issues of their own to work through. For example, Pop’s disorganization, his tendency to disappear without warning, and his emotional impulsivity all highlight the problems that can arise from acting without regard for others’ needs. Selah directly addresses this issue when she tells him, “[M]aybe instead / you should stop doing things / that make [Sue] worry” (216). This moment reveals her growing awareness that self-expression must be balanced with consideration for other people’s emotional well-being. At the same time, Selah begins to understand that Sue also masks her emotions. As Selah observes, “[T]here are words / still stuck in Mom, / unspoken” (219). In short, Selah realizes that while Sue engages in self-suppression, Pop embraces total self-expression at the expense of others. In response, Selah begins to envision a more nuanced, integrated approach to the personal needs dictated by her neurotype.


Isolation emerges as a source of creative and emotional stagnation, particularly when Selah repeatedly finds her withdrawal from others silences her poetry. After removing her poem from the bulletin board, she remains quiet and uninspired throughout the day. Later, her decision to avoid Noelle’s party leads to another creative block, as she tries “to find words” for her poems but grows frustrated when “nothing comes out” (223). These moments suggest that for Selah, connection and self-expression are intertwined; withdrawing from her community limits her ability to understand herself. This interplay also sets the stage for the novel’s lessons about Repairing Relationships After Harm; specifically, Selah’s misunderstanding of Noelle mirrors the misinterpretations she has endured. As she reflects, “How many times / have I been angry / because people assumed / things about me— // yet this whole time, / how much have I assumed / about Noelle?” (233). This rhetorical question highlights her growing empathy and her determination to repair the friendship through honest communication.


Once these internal shifts are fully realized, Selah’s journey toward advocacy crystallizes, and she begins to see her poetry as a possible vehicle for broader social change. When she muses, “Hanging my poems / would not just help me / get out my feelings / but help change things for the better” (239), this idea marks new willingness to be more publicly visible. Inspired by a new sense of purpose, she turns her poetry into a bridge that spans the gulf between her inner world and the community that has misunderstood her. By expressing her ideas in a physical medium—“something you’d have to see / everywhere you go” (240)—she asserts the legitimacy of her experiences and challenges the silence imposed by masking. These developments chart Selah’s growth as she begins to articulate a balanced form of self-advocacy that honors both her needs and the feelings of those around her. In these scenes, she learns to integrate empathy, authenticity, and self-understanding, and her growth sets the stage for the novel’s final moments, in which she will attain greater visibility and acceptance from her peers and mentors.

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