Novelists who narrate 9/11 have often struggled with two different issues. The first is a common dilemma of writing about real events. The writer must keep in mind their moral responsibility to portray the disaster, which resulted in the sacrifice of innocent lives, in such a way that does not re-traumatize those who survived and respects those who are deceased. The second is 9/11’s unique characteristics as a visual event which was broadcast live all over the world. Novelists need to overcome the visual spectacle of the event while trying to adopt visual elements and while temporality highlighting everyday life at the same time. To begin, novelists adopted experimental methods and alternative narrative strategies to portray Americans’ trauma from 9/11. Extremely Loud & Incredibly Close takes advantage of visual elements such as pictures, editing style and numbers. Windows on the World describes the victims who were trapped in the World Trade Center in chapters which each represent a minute. Falling Man narrates the survivor’s story in the form of twisted timeline like the Mobius strip. In addition to that, the novels such as A Disorder Peculiar to the Country, The Writing on the Wall and Self Storage portray individuals who didn’t experience 9/11 directly but have been affected by the aftermath of 9/11 with a detailed description about their everyday life. However, these novels were criticized because they mainly reflected the perspective of white Americans. Conversely, novels such as The Reluctant Fundamentalist, Home Boy, Netherland and Once in a Promised Land all narrate 9/11 from the point of view of non-white American immigrants and shows how 9/11 has affected minority immigrants’ everyday lives. Another example is The Submission which portrays diverse and complicated responses to 9/11 by describing various characters from different races, classes and genders. All of these novels shed light on the aftermath of 9/11 through the eyes of immigrants. As fifteen years have passed since 9/11, the tragedy has changed from a contemporary event to a historical one. American young adult fiction has provided interpretations of 9/11 for its target audience that doesn’t recall 9/11 as a personal experience, either because they were not yet born or too young to remember their own experience.