This essay explores how anti-normativity is achieved in Veronica Roth's novel Carve the Mark and uses Lois Lowry's The Giver and Ursula K Le Guin's The Left Hand of Darkness as points of comparison. It examines if Roth, Lowry, and Le Guin follow through with creating characters that are more than superficially queer by destabilizing gender and traditional attitudes towards identity markers. Using queer theory and gender performativity theory, this essay examines if the queerness of the characters and their relationships hold up when juxtaposed to normativity. When exploring the novels, it can be seen that these authors fail to create characters and relationships that are anything but superficially queer.