In Abadosos, nobody speaks of the werewolves—in fact, nobody speaks at all.
Joaquím is attacked by a werewolf on a full moon in which he foolishly forgets to take shelter. But he lives to see the light of day, mostly unscathed.
Nursed back to health with the help of his friend Zarif and his cousin Remei, he lives on unknowing whether he was bitten or not. But the curse of the lycanthrope proves to be more complex than it appears, and Joaquím begins to doubt not only himself, but those close to him and everything he knows about his hometown. The pressure and paranoia cloud his way, and nobody seems to have answers to his questions.
SILENCI comes out May 1, 2019 from Less Than Three Press. Pre-order now!
And now, an excerpt from chapter 6 of SILENCI:
The day of the full moon slid in between the villagers of Abadosos and not a word was uttered about it. That was, after all, how Joaquím had gotten into this mess in the first place. All day trading bread and meat for firewood and not a word had been exchanged.
That day, Joaquím felt like he finally recovered his head’s integrity and went into the woods to chop lumber. The strain on his muscles pushed the suffocating feeling of solitude to the back of his concerns, but as he ruffled his hair, he felt that pinch on the back of his head. The wound had closed and the gut dissolved, but he still had business to settle.
He persisted with his day until he returned with a stack of lumber to match his output before the incident. Guillem traded him a basket of bread and Nura a set of teas to help with headaches; the rest gave only suspicious looks and rude refusals. He returned the provisions to Remei’s house and, with his skin crawling from anxiety and his cheeks aching from so many fake smiles, headed for Zarif’s.
Joaquím did not expect to feel this guilty after abandoning him without a word; was that not how things were done in Abadosos? Had he already become attached? Was it too late for him?
When he knocked on Zarif’s door, the sky had already turned the color of the peaches across the lake. It opened by a crack, and a black mane nearly blocked the peeking eye. Zarif’s eyes had always been large, but they became positively round when they landed on Joaquím. “Did you forget again?” he murmured.
“Not this time,” he replied, trying to hide his misplaced smugness. “But we’ve time.”
Joaquím nudged the door open and entered, much to Zarif’s unease. The moor stepped aside and closed the trapdoor that led down to the shelter with his foot. He ran a hand through his hair and refused to meet his eyes, as if he didn’t know which of the many things fluttering inside his head to address first. “I… thought you didn’t want to see me.”
The statement sank into Joaquím’s conscience like a dagger on flesh. “I was taking care of myself and you,” he said, hiding his remorse with a careless smile. “Consider it returning the favor.”
“I don’t understand.” Zarif’s gaze lowered to look at his side. “What is that for?”
Joaquím followed his gaze. He had his axe in hand. “It’s for you.” He held it up with both hands and closed the distance between himself and Zarif, offering it up to him. “If I turn tonight, I…” He took a deep breath and swallowed his guilt. “I want you to kill me.”
R. M. Sayan is a writer, sometimes illustrator, amateur photographer, avid tabletop gamer, studious filmmaker, tattoo aficionado, and a constant work in progress. Often referred to as just ‘Robb’, they can often be found ranting about assorted fandoms on twitter, swooning over their beautiful partner, and being overdramatic. They like to dabble in many genres, from historical fiction to urban fantasy, from dystopian sci-fi to weird west, but always sneaking queerness somewhere in there.
Today we welcome two LGBTQReads newbies to the site: R.M. Sayan, author of the upcoming historical slow-burn m/m fantasy novella Silenci with Less Than Three Press, and their interview subject, Lin Darrow, author of LGBTQ+ webcomics Shaderunners and Captain Imani, as well as the novella Pyre at the Eyreholme Trust!
First of all, the clichéd questions: how did you start writing?
Oh, that’s an interesting question, actually, because I don’t really remember when I started writing. I feel like I’ve always really liked to jot down stories and draw, and the different types of storytelling. I think that I read the Hobbit when I was in sixth grade in school, and that was the first time I discovered fantasy literature, and I think that that was my niche, that was the genre that I was really drawn to. So I think that reading The Hobbit was the first time I thought ‘oh I could write a story’, specifically in novel form, so I started out writing little myths and short stories and novel-oriented thing and moved on to comics later. It’s funny, I feel like I always have written, but The Hobbit was the first time I thought ‘I could write a book’, or ‘I could write a story that looks like this’, that isn’t just my scribblings or making up stories for my sister as we played or something like that.
That’s so cool! When I read The Hobbit, I was honestly a little intimidated by it. It didn’t happen with you?
No, I mean, I understand why you would feel that way because it’s really… intense, and Tolkien is dense in general. I remember trying to read Lord of the Rings in sixth grade and I struggled through it, it’s quite the challenge, but I think it was more that this was the first fantasy thing that I had ever read. It was the genre that got me excited, because there’s so much possibility with fantasy, we keep discovering more and more and there’s so many great fantasy writers today.
That’s true, I feel like fantasy is reaching a new peak. So, aside from Tolkien, who do you think are your top influences?
That’s a really great question! When I was younger I read a lot of Clamp manga, so I feel like even if I don’t read them anymore I can still feel their influence, mainly because they were the first creators that I followed that were publishing content that could be called queer content and queer fantasy comics. It was a really big revelation to me, the idea that you could have things like normalized queerness in stories, that queer fiction didn’t just have to be about the coming out narrative, that it could be like a post-apocalyptic drama or a fluffy fantasy story, and that was really influential for me. I read a lot of Frank L. Baum, Wizard of Oz, I read a lot of the Oz books, so a lot of my fantasy growing up was kind of older fantasy. I really love Peter S. Beagle, and then I got into a lot of Victorian fiction, because it’s like fiction from another era.
Like gothic stuff?
Yes! Any gothic stuff I really got into in a big way, like Northanger Abbey, Ann Radcliffe, who I love, I think she’s so fun; Mary Shelley I love, Frankenstein is such a great book. So I kinda fell into all this historical fantasy that I really loved, and I remember —I don’t remember the name of this series— but I remember really loving this one series called something like The Jewel Princess Saga? It was like, every book was a different Jewel Princess, and you got like a little necklace with the book, and I just remember liking that specifically because it was very feminine, very girly fantasy, as opposed to like… Tolkien is very male-oriented, something that I don’t love about him, there’s not too many girls or not-men in general in Tolkien. That was kind of like finding fantasy that was unabashedly girly that was really fun.
So, this is another clichéd question, but, why do you write so many LGBT characters? Not because I’m not LGBT or anything, but because every author has different motivation. What’s yours?
Huh, you know what, it’s funny because it’s not something that I really think about, it’s just something I do naturally. I think my motivation is just that I like it! I think that there’s so many missed opportunities and so many genres that queer people still don’t really exist in in a big way? And if we do, we’re like side characters or we’re… I always really hate in stories where there’s a queer character and they give them a generic partner, who is like perfect and isn’t really involved in the plot in a main way? I feel like we don’t really get those epic romances or those epic stories that really center around us. And I feel like every time I start to write a character, it’s always just more interesting to me, what would it be like if this person was queer? Because I feel like we’re just in these stories a lot, I write a lot of noir fiction and it’s traditionally been a very straight dude genre. I think for me what’s kind of exciting about fantasy mashups and genre mashups is like taking those things back and reclaiming them and saying I’m gonna take what I like from this genre, but I’m gonna leave out these ‘straight dude vibes’ or the aggressively masculine stereotypical-macho vibes, and I’m gonna remake it into something that fits my world a little better. So I don’t know that I have a singular motivation, it’s basically just that I like writing about queer people, it’s what comes naturally to me.
That’s fair, because it’s like they’re trying to portray one world and they don’t realize that world involves our world, so it’s like… hey, what’s up?
Yeah! I think it’s a fair question in a lot of ways, because we’re always in this tradition like, the queer story has to justify itself, or there needs to be a reason. I think I like writing things where there’s no reason, they just are!
I get you! So how do you sit down and write these things? Do you actually sit down, or do you write standing up or running around or… [laughs] What’s your creative process, basically?
Oh, that’s a fun question! I find that I have a really simple trick, which is when I’m writing something and I need to finish it, I just have a file open on my computer and I never close it. So wherever I am, if I’m at work, or if I’m home lying on the couch, or if I’m out at a café, I always have it with me so I’m writing a little bit at a time. Unless I have a really firm deadline for something —which is usually for comic stuff, not for book stuff— I kind of write everywhere. My main trick is just not closing the document so it’s there and I keep pressure on myself to finish it. And that’s been a really little trick but it’s helped me a lot to finish stuff, which I think it’s always the biggest challenge for any writer.
I completely understand— I actually do the same thing!
Yeah! Do you find it useful to do that?
I do, actually! I have several desktops for different projects, so like this desktop is for my comic, this one is for my novel, et cetera
Oh great! It’s a trick that’s helped me a lot, I stole it from a friend who told me to do that.
It carries from writer to writer, I see! So—Pyre! Wow. I really liked the universe, how did you come up with it?
The first time I came up with this universe was for a comic for an anthology called Tabula Idem, which was a queer tarot card anthology that was really fun. I wanted to do something with magic, because Shaderunners doesn’t have magic in it really, there are elements that are fantastical but magic isn’t a thing. So I wanted to kind of take— I really like noir fiction, and I feel like it’s this genre that is not super popular, which sucks because it’s so much fun. I feel like it’s not that popular because nobody has updated it in a while. So I really wanted to do something that had that noir style, because I’m really used to writing in that style now for Shaderunners, it has a very noir style and language. I really like that gritty, weird linguistic style that the 1920s has. I think Pyre is a lot more 1940s, but the language doesn’t change that much, also because I throw a lot of my own idioms in when I write. So I really wanted to do something noir but that was a little more magic than Shaderunners. My comic artist Alex [Assan], I just said ‘can I do a noir and make it just magic gangsters?’ And she was like ‘do whatever you want, man!’ So that was the first time we did it, and we were pitching to a comic anthology that wanted us to pitch for particular cards, so we pitched for the Temperance card (that’s why the city is called Temperance city). I thought it would be funny to have this story about all of these gangsters that cannot chill at all being a part of a city called Temperance![laughs] So that first one was about characters that actually get named in Pyre: Ursula Heart and Constance Merino, or ‘Conman’. So that was about their kind of romance, about fixing a turf war that had been riled up by this fire gang that was trying to get in on their turf. I wrote Pyre about that fire gang, so the Temperance comic is kind of a little prequel.
Where can I find that anthology?
I’m sure it’s around! Well, I wrote Pyre in response for another call for an anthology that Less Than Three was putting on, about tricksters. I was like, ‘I don’t know how well this fits, but I’m having so much fun with this universe!’ So I wrote a short story—that eventually became Pyre—and they got back to me and said ‘this doesn’t really fit the anthology, but we wanna publish it as a book’. They gave me some time to expand it a little, so technically Pyre is still a novella —if I was gonna write another full-length romance novel, it would be a lot longer— but that was the story of how that happened. They said—rightly, I think— that it did not fit the anthology, but they were very interested in publishing as a book, and that was very fun for me too.
So, I was reading Pyre, and I saw that some magics seemed to be deemed more lethal, or more dangerous, or more heavily regulated. Is there a hierarchy?
It’s funny, I think I have some pages written that are like a follow-up to Pyre that I don’t know if I’ll ever pursue, it depends on how fast I’m able to finish it because I have my day job too. There’s a hierarchy in terms of— one thing that really interests me that doesn’t sound super exciting but is for me, is the infrastructure, how a world that had magic that was normalized would deal with the fact that magic is potentially really destructive. I’m always really interested in stories where the antagonists or the people in power have logical motivations for the way that they exert their power, but the actual reality of them exerting that power is actually not fair, or it ends up being oppressive or prejudiced in some way. So I really thought that it was an interesting conflict where you had a world where you have to do something to regulate magic that can burn down a building, but in doing so, what’s the effect on the humans for whom this is a part of who they are. I really like conflicts where you can see both sides, or they’re irresolvable in some way, I think that the characters in Pyre don’t want there to be any laws, but for me personally, I don’t know if that’s ever gonna be achievable in the world, because that’s also ignoring the fact that no, you need to regulate people with extreme power. So I think the hierarchy tends to be, first magic that can cause death or great bodily harm, then the second is magic that can enable people to commit white-collar crimes— I think the ink magic is strictly regulated because there’s so much opportunity to commit things like fraud or counterfeit, which they do in the story [laughs]. So I think that definitely goes, 1) bodily harm, 2) things that would allow you to enrich yourself illegally, and then— I think about things in terms of series even if I don’t complete them, and the second book in the series if I do pursue it is going to be water and lightning, with a different set of characters falling in love and having adventures.
Those two would have an interesting dynamic!
Yeah! I thought so too, and I also really like playing with the expectations of what people with these elemental powers would have in terms of like… Ink magic isn’t necessarily something that’s super exciting on paper but I just thought there was so much I could do with it. So yeah, the next one is gonna be water and lightning and I think water would also be pretty intense, because you can flood things with it.
A little bit like waterbending? By any chance, was this influenced by Avatar: The Last Airbender or Avatar: The Legend of Korra?
Yes! Very much so, in the sense that I really like magic where it’s not just snapping your fingers and something happens, I really love the idea that in Avatar you’re seeing what they’re doing, and it’s very built into the fabric of that show, the idea that it’s the motion of your body that it’s allowing you to move and manipulate these things. I really wanted the magic to feel grounded, and not just “snap your fingers and it’s done”! I wanted it to be like a relationship that these people have with the elements. I think Eli has a relationship with ink where he can feel it moving and he moves with it. I do feel like that was an influence in the sense that I really like magic that is grounded and connected to the person and not just this things that happens independently that they’re controlling, I wanted it to feel like a relationship between element and person.
It does feel like that, because Eli is very… attached? To ink, and you can feel it! So, anyways, the big project… Shaderunners! How did you come up with it? Was it collaborative, or did you come up with it yourself?
It wasn’t collaborative initially, because the way that Shaderunners got started initially was, I wrote a book, which was the first book that I ever finished, called Fenton’s Red. I wrote it and Alex read it because we were friends, we had met online through various fandoms, and she really liked it and started drawing fan art for it, so eventually we became close enough, and we both loved the same comics, and we wanted to do a comic, and so it felt like a natural progression to do something from the Fenton’s Red universe, because we both knew it really well. She was so generous with her time, in terms of drawing me fan art and talking to me about the characters… It was really our first collaboration in the sense that she was kind of an editor where I would be like “oh I’m working on this scene and trying to figure this out” and she would know the characters so well that she could be like, “well, Ezra would do this, don’t you think? And this feels out of character for him”. It was really great to have someone motivating me who knew the characters well and who I could talk things out with and the characters became so much more full and complex after having to throw ideas at her and having her push me back on them. So I finished the book, and that’s sitting on a shelf still, I really want to go back and rewrite it and send it out to some agents, but it’s all about finding the time. But in the meantime we wanted to do a comic because we really like working together, and I love her art so I really wanted to do something that could make the most out of both of our talents instead of just her always being involved in mine, and so it just made sense to make something in that universe, so we ended up doing what I guess is kind of a prequel to Fenton’s Red, because Fenton’s Red takes place after the fallout at the end of Shaderunners, with a female main character and a different set. Dom and Ezra are in it!
Oh! Older, I guess.
Yes, older, and some of the other characters are as well, but Dom and Ezra were the two first ones that… Alex really likes them, so I ended up giving them a lot more to do in the story because Alex likes them so much, and so it made sense that we would do a story about them and the other characters who were involved in their part of the book. So it kind of came out of that; her being a great friend and reading my book and having thoughts about it and being a naturally good editor, and me loving her art I guess and wanting to do something that would give her… it’s not totally accurate to say that I was giving her something because, she gives me so much, but I really wanted to work together with her and not have it be one way anymore, which was really great.
So, I really like the Shaderunners universe, I saw some of Alex’s tweets that said, basically (I’m gonna paraphrase) that pansexuality is the norm and gender fluidity is widely accepted. I’m a bit of a sociology fan, so, how does that work? Because it’s really different from our world. So how do gender and sex work in Shaderunners?
I think that, when I was thinking about how the world would function, in terms of infrastructure, I think the world generally operates on a “no questions asked” policy, in the sense that nobody really asks, “what are you?” or “what’s your label?” And I don’t think that’s necessarily a perfect system either, I really don’t want to depict Shaderunners as a utopia. I think that there’s labels in our world that have their function, but I think in the Shaderunners world, it’s more like, in this culture nobody has ever asked what you are in terms of gender or interest, you’re assumed pansexual by default and if you have preferences within that then it’s just called having preferences in the same way that you might have a preference for dark hair. In terms of gender, there’s a system that I had that I’ve never really articulated in the universe where, if someone doesn’t use he or she, if they use a different pronoun—which some people do in the universe too—if you’re not sure of someone’s pronouns you just default to your own when talking about them. In that sense, what I was hoping to do with that—and it’s really not something I’ve articulated in the universe, so it’s originally from the book, really— what I was hoping to do with that was to say, as a gesture of sympathy, “whatever your pronouns is or whatever your identity is, I’m connecting to you through mine”. I think that the way that it works is that nobody really cares too much about the particulars, they just assume that you are what you are and you’ll tell them if it matters. Again, I don’t think it’s a perfect system and I’m not trying to represent a utopian society in Shaderunners with respect to gender, but I mainly just wanted to depict a society that didn’t have to relegate its queer characters to the “queer struggle” narrative. Like, I can have a genderfluid or a bigender character in a story and I don’t have to justify how they came to that realization about themselves, I don’t have to justify how they bumped up against the status quo, they just are who they are and people don’t question it and just adapt, once they get to know them better and they take a route, once Ivo says like, this is who I am, it’s kind of not a conversation. I think the way that it works really is that people don’t expect you to identify one way or another and in doing so people muddle along, if that makes sense.
Of course! It kind of reminds me of when I took Art History and they told me that in Ancient Greece there was no term for “art” so if it was like that, art wasn’t art as we know it, it was just another job. It reminds me of what you’re telling me; if there’s no labels, it’s not necessarily a thing that deserves to be labeled.
If you look at the idea of who you are, who you are interested in romantically or sexually, the idea that that’s a part of your identity, it’s kind of a new idea, historically! I’m a Victorianist by day, so you’re getting some of my day job background here. We just have to say that queer people have always existed, but the way that we talk about sexual identity, as something that is a part of who you are and not just something that you feel or do, it’s kind of a new idea still. It’s something that they articulated really strongly for the first time in the Victorian era, which is still eh compared to other time periods, so it is kind of a newer idea. For me, thinking about the Shaderunners universe, it was just, “well okay what if we never really had a society that placed the heterosexual relationship at the core of it?” What if just evolved so that it was kind of equal in that sense, and in doing so, because it has always been a part of their society, they don’t need to ask for labels because it doesn’t matter. In the same way that it doesn’t matter like… why street you were born on, it’s never really gonna matter. I feel like I’ve said this like three times already, but I’m really not necessarily trying to say that that’s better, I’m just trying to imagine a world where nobody has ever had to think about whether or not they need labels, because it’s not something that makes sense to label the world, because everyone has grown up with it being “normal”. So that was the universe that I was trying to create.
I really like how it turned out! So, Shaderunners, do you consider it your main project?
Yeah, right now I think it’s definitely the most public-facing project. I think it’s the one that has been running the longest, and it’s probably the main one that I would point to. I feel like I always have other projects on the go, like I always want to finish the rewrite of Fenton’s Red, and there’s a sci-fi book that I really want to write, about an alien and a jazz pianist. I really want to finish it one day, it’s a sci-fi noir, because I can’t write anything but noir. [laughs] So yeah, there are a lot of things I want to do, but I think Shaderunners is my main for now.
The couples you write—in Shaderunners, in Pyre, in everything, actually—they have really good chemistry, both the developing couples and the established ones. What are your rules or tips for writing great romance?
For me, it comes down to characters that are lacking something and find it in the other person; not in the sense that they’re defined by the other person, but I think that, writing Eli and Duke, I really like moments where it’s characters realizing that they love the same thing, or that there is something about this person that articulates something that they’ve never heard before but they felt. Some kind of recognition that “this person have what I have been longing for”, and I really like tying that into plot and world. Thinking about Eli and Duke, I think the reason they are so in love is because they both have the same kind of passion for what they do, but in Eli it’s so locked away and in Duke it’s so overt and all over the place and it’s not locked away at all, and I really liked having that kind of combination; they are so different on paper but there’s this one thing that they are absolutely on the same page about, which is that they both love being magic. They’re both passionate about being allowed to be who they are. It’s the combination of feeling like they are so different on paper, but realizing that at heart there is this key thing they both have in common. I really like that contrast of outward differences but internal similarity, I think that’s always something that I’m drawn to. Characters that really badly want things—really I think it’s the key to making good characters—and then the romance comes with what characters so badly want, they’re either at odds with the other or are exactly in alignment with the other. So I think the key to writing good romance is writing good characters with complex wants and needs, and then throwing them into interesting conflicts or alignments with the other characters.
When we were talking about Shaderunners you were telling me about how in tune you were with Alex, and I kind of envy that, because I’ve never been one for teamwork myself! How do you do it? How do you work in team so smoothly and so productively?
I think I’m very lucky to have found someone like Alex, who I found I have a really good working chemistry with. I think it’s nice for us because we both have our own lanes, like sometimes I’ll comment on the art if I feel like an emotional scene could be different or something like that, but ultimately she has the final say over the art, and I have the final say over the writing. Sometimes she’ll say “oh I think this line could be stronger”, and I think we know each other well enough now that sometimes she’ll send me back a chapter and she’ll be like “you could write this better”, and I’ll be like, “I know!” [laughs] But I think the way that we have found that works really well is that we both recognize and appreciate the other’s authority on the other side of the fence, where she’s in charge of the art and I know that, and I’m in charge of the writing and she knows that. But we’re both also very invested in the other side. I’m not an artist, but I draw a little, so I have some language about art, and she edits me all the time, she’s such a great editor. She has a lot of thoughts on things like story structure. I think that what works really well for us is that we both work on things kind of independently but we’re always talking about and getting feedback on our stuff, we’re very aware that we have a common goal, so it never feels like criticism, it’s more like “what about this, or this”, and we talk and say “this instead of this”. So I think that having that mutual passion but also respecting each other’s authority over the individual parts is really the key to our partnership, and it has been working really well for over ten years now.
Ten years? That’s a long time! I think this is the last question I’m gonna make, it’s a bit of a whim… What’s the image on your twitter cover? I recognize Alex’s style, but did I miss an important announcement? Is it a secret?
Actually, that’s from Fenton’s Red! Alex used to draw me fan art for it all the time, and so for my birthday —I think last year?— she drew me a mock cover for Fenton’s Red! That’s the main character from Fenton’s Red. The main plot of that story is that —I don’t wanna spoil Shaderunners too much, this is post-Shaderunners— it’s about a girl who lives in the country and she finds the color red for the first time in a bottle, and it accidentally stains her hand red, because she pours it out on her hand like “what is this?” It’s about her trying to hide it but also discover where it came from, and so her story intersects with the history of the Shaderunners and that way she’s trying to figure out “what is this? I’ve never seen color before!” So yeah, that’s the mock cover for Fenton’s red that I just put up because I loved it.
I am so looking forward to whenever you publish it!
I’m gonna publish it in some form somehow! If it doesn’t get published traditionally I’m just gonna build a website and publish it digitally. We’ll see, it’ll make itself known eventually, I’m in the process of rewriting it, but in the meantime it’s really fun to explore, I feel like Fenton’s Red has made me able to explore Dom and Ezra and Easton and Ivo and Satinder in the Shaderunners universe, so I think it’ll be a better book than it was when I finished it because of that. We’ll see!
That’s gonna be great! Well, that’s all my questions for now. Thank you for the interview!
R. M. Sayan is a writer, sometimes illustrator, amateur photographer, avid tabletop gamer, studious filmmaker, tattoo aficionado, and a constant work in progress. Often referred to as just ‘Robb’, they can often be found ranting about assorted fandoms on twitter, swooning over their beautiful partner, and being overdramatic. They like to dabble in many genres, from historical fiction to urban fantasy, from dystopian sci-fi to weird west, but always sneaking queerness somewhere in there. Robb’s debut novella, Silenci, is coming soon in May 2019!
In a nuclear arms race, you’d use anything for an edge. Even magic.
Ilse and Wolf Klein bear many secrets. Genius Ilse is unsure if her parents will ever accept her love of physics. Her brother Wolf strives for a quiet life, though he worries that there’s no place in the world for people like him. But their deepest secret lies within their blood: with it, they can work magic.
Blackmailed into service during World War II, Ilse lends her magic to America’s newest weapon, the atom bomb, while Wolf goes behind enemy lines to sabotage Germany’s nuclear program. It’s a dangerous mission, but if Hitler were to create the bomb first, the results would be catastrophic.
When Wolf’s plane is shot down, his entire mission is thrown into jeopardy. Wolf needs Ilse’s help to develop the magic that will keep him alive, but with a spy afoot in Ilse’s laboratory, the secret letters she sends to Wolf begin to look treasonous. Can Ilse prove her loyalty—and find a way to help her brother—before their time runs out?
Loyalties and identities will be tested in this sweeping fantasy and a fast-paced thriller that bravely explores the tensions at the dawn of the nuclear age.
Felicity Montague is through with pretending she prefers society parties to books about bone setting—or that she’s not smarter than most people she knows, or that she cares about anything more than her dream of becoming a doctor.
A year after an accidentally whirlwind tour of Europe, which she spent evading highwaymen and pirates with her brother Monty, Felicity has returned to England with two goals in mind—avoid the marriage proposal of Callum Doyle, a lovestruck suitor from Edinburgh; and enroll in medical school. However, her intellect and passion will never be enough in the eyes of the administrators, who see men as the sole guardians of science.
But then a small window of hope opens. Doctor Alexander Platt, an eccentric physician that Felicity idolizes, is looking for research assistants, and Felicity is sure that someone as forward thinking as her hero would be willing to take her on. However, Platt is in Germany, preparing to wed Felicity’s estranged childhood friend Johanna. Not only is Felicity reluctant to opening old wounds, she also has no money to make the trip.
Luckily, a mysterious young woman is willing to pay Felicity’s way, so long as she’s allowed to travel with Felicity disguised as her maid. In spite of her suspicions, Felicity agrees, but once the girl’s true motives are revealed, Felicity becomes part of a perilous quest that will lead her from the German countryside to the promenades of Zurich to secrets lurking beneath the Atlantic.
Plunged into a crumbling world of foreign politics that is desperate for a leader, Eros chooses a loyal prince to help him navigate the hostile sands of Safara. But not everyone is happy to see a half-blood become the most powerful person on the planet. A queen must restore her nation.
In power once more, Kora faces new challenges and a difficult decision that puts someone close to her in mortal danger. The wrong choice could destroy her relationships, her right to rule, and her life.
A rebellion is brewing.
With their world collapsing around them, new threats spreading across the globe, and their loved ones at risk, the people of Safara―Sepharon and human alike―depend on Eros and Kora to fix their bleeding world. But with generations of hate stacked against them, the two young monarchs may be doomed to fail.
An epic graphic novel about a girl who travels to the ends of the universe to find a long lost love, from acclaimed author Tillie Walden.
Throughout the deepest reaches of space, a crew rebuilds beautiful and broken-down structures, painstakingly putting the past together. As Mia, the newest member, gets to know her team, the story flashes back to her pivotal year in boarding school, where she fell in love with a mysterious new student. When Mia grows close to her new friends, she reveals her true purpose for joining their ship—to track down her long-lost love.
An inventive world, a breathtaking love story, and stunning art come together in this new work by award-winning artist Tillie Walden.
Inspired by real historical evidence that Abraham Lincoln was in love—romantic love—with another man, this debut YA novel was too controversial for traditional publishing. Crowdfunded in six days with a successful Kickstarter campaign that ultimately 182 backers supported, QUEER AS A FIVE-DOLLAR BILL asks LGBTQ teens (and everyone else), What if you knew a secret from history that could change the world?
Wyatt is 15, and nobody in his homophobic small town of Lincolnville, Oregon, knows that he’s Gay. Not even his best friend (and accidental girlfriend) Mackenzie. Then he discovers a secret from actual history: Abraham Lincoln was in love with another guy! Since everyone loves Lincoln, Wyatt’s sure that if the world knew about it, they would treat Gay people differently and it would solve everything about his life. So Wyatt outs Lincoln online, triggering a media firestorm that threatens to destroy everything he cares about—and he has to pretend more than ever that he’s straight. . . . Only then he meets Martin, who is openly Gay and who just might be the guy Wyatt’s been hoping to find.
In this heartwarming picture book, a big sister realizes that her little sister, Jackie, doesn’t like dresses or fairies-she likes ties and bugs! Will she be able to accept that Jackie identifies more as “Jack”?
Susan thinks her little sister Jackie has the best giggle! She can’t wait for Jackie to get older so they can do all sorts of things like play forest fairies and be explorers together. But as Jackie grows, she doesn’t want to play those games. She wants to play with mud and be a super bug! Jackie also doesn’t like dresses or her long hair, and she would rather be called Jack.
Readers will love this sweet story about change and acceptance.
Alan Cole is not a coward. Not since he stood up to his brother. Not since he let his friends Zack and Madison into his world. And deﬁnitely not since he came out at his school.
But Alan’s got a new host of problems to face. His biggest one: Ron McCaughlin. Ever since Alan revealed he’s gay, Ron has been bullying Alan with relentless fury. Yet Alan can’t tell his parents why he’s really coming home with bruises — because they still don’t know the truth. And now Alan’s father wants him to take June Harrison to the upcoming Winter Dance. Never mind that he has two left feet, does not like girls, and might be developing feelings for a new boy at school.
Between trying to understand the complex art of text ﬂirting, learning how to subdue his bullies, and ﬁnding his identity beyond the labels people put on him, Alan has a lot to sort through — and lay out — on the dance ﬂoor.
In this follow-up novel to Alan Cole Is Not A Coward, Eric Bell returns to the Unstable Table with Alan and his friends as they tackle middle school in another poignant and laugh-out-loud tale about friendship, family, and the many meanings of bravery.
Since she was a child, the divine empress O Shizuka has believed she was an untouchable god. When her uncle, ruler of the Hokkaran Empire, sends her on a suicide mission as a leader of the Imperial Army, the horrors of war cause her to question everything she knows.
Thousands of miles away, the exiled and cursed warrior Barsalyya Shefali undergoes trials the most superstitious would not believe in order to return to Hokkaran court and claim her rightful place next to O Shizuka.
As the distance between disgraced empress and blighted warrior narrows, a familiar demonic force grows closer to the heart of the empire. Will the two fallen warriors be able to protect their home?
The biggest lie of all is the story you think you already know.
The del Cisne girls have never just been sisters; they’re also rivals, Blanca as obedient and graceful as Roja is vicious and manipulative. They know that, because of a generations-old spell, their family is bound to a bevy of swans deep in the woods. They know that, one day, the swans will pull them into a dangerous game that will leave one of them a girl, and trap the other in the body of a swan.
But when two local boys become drawn into the game, the swans’ spell intertwines with the strange and unpredictable magic lacing the woods, and all four of their fates depend on facing truths that could either save or destroy them. Blanca & Roja is the captivating story of sisters, friendship, love, hatred, and the price we pay to protect our hearts.
Courtney “Coop” Cooper
Dumped. Again. And normally I wouldn’t mind. But right now, my best friend and source of solace, Jupiter Sanchez, is ignoring me to text some girl.
Rae Evelyn Chin
I assumed “new girl” would be synonymous with “pariah,” but Jupiter and Courtney make me feel like I’m right where I belong. I also want to kiss him. And her. Which is . . . perplexing.
The only thing worse than losing the girl you love to a boy is losing her to your boy. That means losing him, too. I have to make a move. . . .
When James’s boyfriend killed himself, no one questioned what happened. A foster kid with a checkered past and a history of suicide attempts, Ash was just another number in a system that failed him. But to James, Ash was never just a number, and the facts around his death no longer stack up so neatly.
Now James has plenty of questions, and the one person who might have held the answers—Ash’s older brother, Elliot—has left town. And if anyone knows where he is, they aren’t talking. As James searches for Elliot and uncovers the tangle of lies and false alibis he left in his wake, he grows suspicious of what really happened on Ash’s last day.
In the aftermath of her mother’s death, Angela struggles to recover and re-enter the world. When she meets Steve, who works in the café across the street, she feels able to take a step out of her grief-filled home. With Steve, she hopes to do D/s as a way to take a break from the pain consuming her, but discovers that in doing kink, you bring all of who you are with you, including grief.
Then Steve’s best friend is in a tragic car accident, and winds up in a coma, and Angela longs to offer support to Steve, as well as receive it.
In the city of Eldra, people are ruled by ancient prophecies. For centuries, the high council has stayed in power by virtue of the prophecies of the elder seers. After the last infallible prophecy came to pass, growing unrest led to murders and an eventual rebellion that raged for more than a decade.
In the present day, Cassa, the orphaned daughter of rebels, is determined to fight back against the high council, which governs Eldra from behind the walls of the citadel. Her only allies are no-nonsense Alys, easygoing Evander, and perpetually underestimated Newt, and Cassa struggles to come to terms with the legacy of rebellion her dead parents have left her — and the fear that she may be inadequate to shoulder the burden. But by the time Cassa and her friends uncover the mystery of the final infallible prophecy, it may be too late to save the city — or themselves.
When Ren wakes from his life-threatening injury on the Star Stream, he learns that Asher has left with the Phoenix Corps and that the Corps believes Ren to be dead. Despite the opportunity to disappear, Ren is determined to fix his mistakes. He convinces the crew to join him for one last mission—find Asher, free Liam, and escape from the Corps’ reach. But a war is brewing between two formidable armies, and, despite his wish to flee, Ren is drawn into the conflict. With his friends by his side, Ren must make a choice, and it will affect the future of his found family and the cluster forever.
The deepest of them make up intricately interconnected stories. Damaged survivors finding each other, stitching their lives together in the harshest of places, forging precious bonds amidst the flames. Gradually growing trust, love, and understanding between found families. But there’s no escaping this place, its deadly realities, or its predators. A brutal capture. A hellish withdrawal and fragile recovery. A harrowing escape. A breakneck sprint across a haunted, poisoned wasteland.
Life and death, trust and betrayal, choking smoke and breaths of fresh air—all of these are just part of life within Parole.
Literary, lyrical, and cuttingly satiric, Mother India is a brilliantly original novel about Jews who go to India to find transformation and eternal release from the sufferings of life. Narrated in luminous prose by Meena, a Jewish American lesbian who has claimed India as her home, the novel is vividly populated by the darkly comic universe of three generations of women along with other family members, as well as by the Indians whose world they seek to penetrate. There is Meena’s religiously observant mother, Ma, whose desire to remove herself from the wheel of life plays out in a Faulknerian funeral procession and cremation on the banks of the holy river Ganges; Meena’s daughter, Maya, a misunderstood child coming of age in an emotionally treacherous household; her ex-wife, Geeta, a privileged and hedonistic Indian woman who enters their world with devastating consequences; Meena’s twin brother, Shmelke, a charismatic rabbi turned guru and international fugitive; and the Indian servant, Manika, whose loyalty to the family both sustains and shackles them.
ldentifying with the humanity of its characters, the reader is drawn into a vast, tragicomic, and fascinating epic, Homeric in scope, drama, discovery, and surprise. Universal yet intimate, brutal yet tender, satiric yet sympathetic, Mother India evokes reactions–intellectual, emotional, visceral–that are complex, even contradictory, containing the might and bite that our current cultural hubris and self-involvement deserve. In Mother India, Reich offers us her most poignant and astonishing novel to date.
Princess Galina’s father has set her a difficult task: persuade a peasant named Elena to reveal the secrets behind her magical powers. Difficult, and maybe impossible, given that Elena is stubborn to a fault and has no respect for authority—especially the kind that wears a crown. And the more time passes, the less Galina cares about doing her duty and more about simply Elena herself.
The relationship between two goddesses, one the embodiment of a galactic creation and the other of cosmic destruction, is tempestuous at best. They create and they destroy and then they do it all over again. Seya and Mia use their divine magic to make pulsars and nebula, to set planets spinning around stars and bind a galaxy together with a central black hole.
But when one of Seya’s favorite stars goes missing, she blames Mia. What was once a symbiotic cycle of life and death becomes a game of broken hearts and promises betrayed. These tensions and insecurities are explored in sonnets and villanelles; the arc of their love tracked in meter and verse. These poems touch on queer love, betrayal, trust, acceptance, and forgiveness cast against a backdrop of stardust and celestial detritus.
Benjamin Lewis has created a life for himself as one of the most respected silversmiths and engravers in New York City. For Benjamin, his work is his passion and he has never sought out companionship beyond the close ties of family. Stumbling across dresses sew by his late mother, however, reawakens painful memories from his past. Now he is determined to forge something beautiful from the remains of the life and identity he left behind. In the process, he discovers stunning and fiercely intelligent Miss Quincy who might just have the power to tempt him out of his quiet isolation.
Remembrance Quincy’s talent is as undeniable as her needlework is exquisite. She has made a name for herself crafting quilts and embroidery pieces for all the wealthiest ladies in the city. When soft-spoken, yet charming, Mr. Lewis comes to her with a particular project in mind she is intrigued both by his artistic design and by the man himself. He treats her like an equal, values her work and makes her smile, but Remembrance already gave her heart away once, now can she risk doing it again?
For Teodora DiSangro, a mafia don’s daughter, family is fate.
All her life, Teodora has hidden the fact that she secretly turns her family’s enemies into music boxes, mirrors, and other decorative objects. After all, everyone in Vinalia knows that stregas—wielders of magic—are figures out of fairytales. Nobody believes they’re real.
Then the Capo, the land’s new ruler, sends poisoned letters to the heads of the Five Families that have long controlled Vinalia. Four lie dead and Teo’s beloved father is gravely ill. To save him, Teo must travel to the capital as a DiSangro son—not merely disguised as a boy, but transformed into one.
Enter Cielo, a strega who can switch back and forth between male and female as effortlessly as turning a page in a book. Teo and Cielo journey together to the capital, and Teo struggles to master her powers and to keep her growing feelings for Cielo locked in her heart. As she falls in love with witty, irascible Cielo, Teo realizes how much of life she’s missed by hiding her true nature. But she can’t forget her mission, and the closer they get to the palace, the more sinister secrets they uncover about what’s really going on in their beloved country—and the more determined Teo becomes to save her family at any cost.
A fresh, charming rom-com perfect for fans of Simon vs. the Homo Sapiens Agenda and Boy Meets Boy about Nathan Bird, who has sworn off happy endings but is sorely tested when his former best friend, Ollie, moves back to town.
Nathan Bird doesn’t believe in happy endings.
Although he’s the ultimate film buff and an aspiring screenwriter, Nate’s seen the demise of too many relationships to believe that happy endings exist in real life.
Playing it safe to avoid a broken heart has been his MO ever since his father died and left his mom to unravel—but this strategy is not without fault. His best-friend-turned-girlfriend-turned-best-friend-again, Florence, is set on making sure Nate finds someone else. And in a twist that is rom-com-worthy, someone does come along: Oliver James Hernández, his childhood best friend.
After a painful mix-up when they were little, Nate finally has the chance to tell Ollie the truth about his feelings. But can Nate find the courage to pursue his own happily ever after?
Pretty Little Liars meets Dan Savage in this modern, fresh, YA debut about an unapologetically queer teen working to uncover a blackmailer threatening him back into the closet.
Jack has a lot of sex–and he’s not ashamed of it. While he’s sometimes ostracized, and gossip constantly rages about his sex life, Jack always believes that “it could be worse.”
But then, the worse unexpectedly strikes: When Jack starts writing a teen sex advice column for an online site, he begins to receive creepy and threatening love letters that attempt to force Jack to curb his sexuality and personality. Now it’s up to Jack and his best friends to uncover the stalker–before their love becomes dangerous.
Excited to have Nicole Field on the blog today, with an excerpt from her brand-new paranormal romance, Changing Loyalties, which kicks off the Shadows of Melbourne series and just happens to feature a beautifully named main character 😉 Come check it out!
When Dahlia finds the body of her father, a werewolf brutally murdered and left to die alone, she’s left with more questions and grief than answers. But who or what killed him remains unknown, and it soon becomes clear her father isn’t the killer’s only target.
Adding to the growing pile of mysteries in her life is the new job—for a company that seems to be run by the kind of people who have no qualms about murdering werewolves. Even more frustrating, Dahlia’s new boss, Bianca, is curt and rude—and far more intriguing than seems fair.
Bianca watched Dahlia go, exhaling slowly even as she unclasped her hands. Were she her direct employer, she might have suggested Dahlia be let go of right then. But Personal Documentation was hardly a normal company, and Bianca found she admired Dahlia’s spunk.
Besides, she wouldn’t need to let Dahlia go if Dahlia simply chose not to come back again for her next shift.
But Bianca had a feeling that wasn’t going to happen. She’d seen a certain curiosity in Dahlia’s eyes. Certainly there had been the hunger for knowledge that so many people who came through induction experienced, but Bianca also thought she saw a thirst for power. Maybe that had been just her wish to verbally overpower Bianca, but she was pretty sure there was something else driving that. There’d been violent reactions before when people found out that Personal Documentation was a front for the Sisterhood, but this one had seemed personal.
It was so different from the previous two times she’d talked to her. The first time, Dahlia had seemed no different to any other bubbly intern. Bianca had already known she had the job, so that interview held little interest. The phone conversation hadn’t been enough to give Bianca much of an idea of who Dahlia was beyond that.
A smile tugged at her lips. She was already looking forward to the possibility of a second round. In whatever form it took. Provided she showed up again, she definitely wanted to get to know this kickass girl better.
Bianca looked down at the time as it read in the bottom corner of her screen. Less than three hours and she would find out if there was at least an immediate future here for Dahlia.
Three hours later, Dahlia looked less fuming and paler. Bianca frowned. Surely the knowledge that other people outside of her own close knit group knew about the supernatural elements in this world wasn’t something that had shaken her up so thoroughly. The conversation they’d had in Bianca’s office couldn’t have left her this upset?
“Are you all right?”
Dahlia looked up at her, as though surprised Bianca would care. “I’m here, aren’t I?”
“You are.” Bianca looked her up and down. “Based on what you said this morning, I wasn’t sure.” The words were a calculated attempt to pull her out of herself.
Dahlia narrowed her eyes, but she didn’t rise to the bait. “Maybe I’ve decided that the resources here could be useful to me.”
“Of course you did,” Bianca said, taking the seat beside Dahlia. “That’s how we all start here.”
“Even you?” Dahlia sounded unconvinced.
Bianca couldn’t help but laugh at that. “Especially me.”
Dahlia just looked stunned at the sight of Bianca laughing. Bianca just smiled, biting her lip at the corner as she contemplated Dahlia. “Do you really think I’m a complete monster?”
“Well,” Dahlia said. “Maybe not a complete one.”
“That’s something,” Bianca said, with another laugh.
The laughter did seem to be doing its part to relax Dahlia slightly. Very slightly. “Come with me,” Bianca said on a whim.
Greetings! Are you in a desperate search for a completely delightful romance between a genderqueer main character and a trans guy love interest, both of whom have limb-related disabilities? Would you like to alternately smile your face off and clutch your heart for an hour or two? Well then, lemme introduce you to your next backlist read!
Jalen, lover of B-grade sci-fi movies, meets the far-too-handsome P in a cafe while deciding whether or not to skip uni again. When P invites them along to a double feature of Robot Monster and Cat Women of the Moon, Jalen can hardly believe that hot boys like bad sci-fi, too. But as their relationship progresses, Jalen realizes P leaves him wondering if they’re on the same page about what dating means, and if that’s what they’re doing.
The great outdoors isn’t so great for Sydney It-Girl Lien Hong. It’s too dark, too quiet, and there are spiders in the toilet of the cabin she is sharing with friends on the way to a New South Wales music festival. To make matters worse, she’s been separated from her companions and taken a bad fall. With a storm approaching, her rescue comes in the form of a striking wilderness ranger named Claudia Sokolov, whose isolated cabin, soulful voice and collection of guitars bely a complicated history. While they wait out the weather, the women find an undeniable connection—one that puts them both on new trajectories that last long after the storm has cleared.
Tommy and Ozzie have been best friends since second grade, and boyfriends since eighth. They spent countless days dreaming of escaping their small town—and then Tommy vanished.
More accurately, he ceased to exist, erased from the minds and memories of everyone who knew him. Everyone except Ozzie.
Ozzie doesn’t know how to navigate life without Tommy, and soon suspects that something else is going on: that the universe is shrinking.
When Ozzie is paired up with new student Calvin on a physics project, he begins to wonder if Calvin could somehow be involved. But the more time they spend together, the harder it is for him to deny the feelings developing between them, even if he still loves Tommy.
But Ozzie knows there isn’t much time left to find Tommy–that once the door closes, it can’t be opened again. And he’s determined to keep it open as long as possible.
Somewhere on the outer rim of the universe, a mass of decaying world-ships known as the Legion is traveling in the seams between the stars. For generations, a war for control of the Legion has been waged, with no clear resolution. As worlds continue to die, a desperate plan is put into motion.
Zan wakes with no memory, prisoner of a people who say they are her family. She is told she is their salvation – the only person capable of boarding the Mokshi, a world-ship with the power to leave the Legion. But Zan’s new family is not the only one desperate to gain control of the prized ship. Zan finds that she must choose sides in a genocidal campaign that will take her from the edges of the Legion’s gravity well to the very belly of the world.
Zan will soon learn that she carries the seeds of the Legion’s destruction – and its possible salvation. But can she and her ragtag band of followers survive the horrors of the Legion and its people long enough to deliver it?
In the tradition of The Fall of Hyperion and Dune, The Stars are Legion is an epic and thrilling tale about tragic love, revenge, and war as imagined by one of the genre’s most celebrated new writers.
Hard Wired, by Megan Erickson and Santino Hassell (13th)
My FallenCon agenda is simple: sit on a couple of panels and let people meet the real me. Jesse Garvy—mod of a famous Twitch channel and, if I ever come out of my shell, future vlogger. I definitely didn’t plan to sleep with a moody tattooed fan-artist, but he’s gorgeous and can’t keep his hands off me. There’s a first time for everything, and my first time with a guy turns out to be the hottest experience of my life.
But the next day, I find out my moody fan-artist is Ian Larsen AKA Cherry—someone I’ve known online for years. And he’d known exactly who I was while shoving me up against that wall. Before I figure out whether to be pissed or flattered, the con ends.
Now we’re back online, and he’s acting like nothing happened. But despite the distance between us, and the way he clings to the safety of his online persona, we made a real connection that night. I don’t plan to let him forget.
“You go through life thinking there’s so much you need. . . . Until you leave with only your phone, your wallet, and a picture of your mother.”
Marin hasn’t spoken to anyone from her old life since the day she left everything behind. No one knows the truth about those final weeks. Not even her best friend Mabel. But even thousands of miles away from the California coast, at college in New York, Marin still feels the pull of the life and tragedy she’s tried to outrun. Now, months later, alone in an emptied dorm for winter break, Marin waits. Mabel is coming to visit and Marin will be forced to face everything that’s been left unsaid and finally confront the loneliness that has made a home in her heart.
On the isolated desert island of Shiara, dying young is inevitable. The clan comes before self, and protecting her home means Khya is a warrior above all else.
But when following the clan and obeying their leaders could cost her brother his life, Khya’s home becomes a deadly trap. The only person who can help is Tessen, her lifelong rival and the boy who challenges her at every turn. The council she hoped to join has betrayed her, and their secrets, hundreds of years deep, reach around a world she’s never seen.
To save her brother’s life and her island home, her only choice is to trust Tessen, turn against her clan, and go on the run—a betrayal and a death sentence.
Ten years ago, Peter Pan left Neverland to grow up, leaving behind his adolescent dreams of boyhood and resigning himself to life as Wendy Darling. Growing up, however, has only made him realize how inescapable his identity as a man is.
But when he returns to Neverland, everything has changed: the Lost Boys have become men, and the war games they once played are now real and deadly. Even more shocking is the attraction Peter never knew he could feel for his old rival, Captain Hook—and the realization that he no longer knows which of them is the real villain.
Zane Jaffe has almost lost track of what conception cycle she’s in. (That’s a lie: this is cycle thirteen.) She’s fake-dating her pal Mildred to get her best friend off her back, but judging by how hot it was when they accidentally kissed, her feelings might be somewhat less platonic than she’d thought.
And she’s decided that healing the fractured local queer community can only be accomplished through a party. Or maybe it’s actually a wake. Whatever it is, it’ll take place at Club Fred’s, and there will be alcohol.
Trying to conceive is an unholy rollercoaster of emotions, and Mildred won’t let them kiss again until Zane figures out how she feels. Between the wake (exhausting as hell, and that’s just the fun stuff), the constant up-down cycle of trying to get pregnant, and saving the world in the meantime, Zane has no idea. Fall in love with Mildred isn’t on her list, but maybe it’s time to let go of that rigid future she’s been working toward, and instead embrace the accidents that can lead to something better.
Don’t worry; be happy.
Keep calm and carry on.
Maeve has heard it all before. She’s been struggling with severe anxiety for a long time, and as much as she wishes it was something she could just talk herself out of, it’s not. She constantly imagines the worst, composes obituaries in her head, and is always ready for things to fall apart. To add to her troubles, her mom—the only one who really gets what Maeve goes through—is leaving for six months, so Maeve will be sent to live with her dad in Vancouver.
Vancouver brings a slew of new worries, but Maeve finds brief moments of calm (as well as even more worries) with Salix, a local girl who doesn’t seem to worry about anything. Between her dad’s wavering sobriety, her very pregnant stepmom insisting on a home birth, and her bumbling courtship with Salix, this summer brings more catastrophes than even Maeve could have foreseen. Will she be able to navigate through all the chaos to be there for the people she loves?
Fin and Betty’s close friendship survived Fin’s ninth-grade move from their coastal Maine town to Manhattan. Calls, letters, and summer visits continued to bind them together, and in the fall of their senior year, they both applied to NYU, planning to reunite for good as roommates.
Then Betty disappears. Her ex-boyfriend Calder admits to drowning her, but his confession is thrown out, and soon the entire town believes he was coerced and Betty has simply run away. Fin knows the truth, and she returns to Williston for one final summer, determined to get justice for her friend, even if it means putting her loved ones—and herself—at risk.
But Williston is a town full of secrets, where a delicate framework holds everything together, and Fin is not the only one with an agenda. How much is she willing to damage to get her revenge and learn the truth about Betty’s disappearance, which is more complicated than she ever imagined—and infinitely more devastating?