Tamara Bach is considered one of the most successful German writers of contemporary literature. Her books for children and young people have been awarded prestigious literary prizes. Literary critics have praised her novels, which often revolve around female characters on the threshold of adolescence with their individual fractures, for their original and experimental narrative style as well as their individual aesthetics. The author not only knows how to present herself in a contemporary way on social media as a versatile DIY artist and allows her followers to participate in her writing process, which is accompanied by music, but above all how to make herself visible to the literary world in epitextual contexts. At the same time, she succeeds in drawing attention to her children’s and young adult novels. In this context, she presents herself both as a creative genius and as poeta doctus, occasionally also as poeta vates. These staging practices mentioned here (cf. Jürgensen/Kaiser 2011, 9–30) are to be discussed primarily on the basis of her poetological self-reflections in her contributions to the Austrian journal for children’s and young adult literature 1000 and 1 Buch, but also, for example, in words of thanks in the context of literary awards and in the numerous published interviews. In these epitexts, she not only refers back to her writing process, but also occasionally intervenes in the interpretative authority of her texts, thus guiding the reader and positioning herself.