A delightful celebration of rom-coms, slasher flicks, and the women who love them.
Leading Lady or Final Girl? That’s the question in this delightful debut.
Film student Jamie Prescott is struggling with her dissertation—titled “All’s Fair in Love and Gore: The Intersection of Romantic Comedies and Slasher Films in the Late Twentieth and Early Twenty-First Centuries”—when her roommate and BFF, Laurie Hamilton, insists that she take a break and get ready for the singles event they’re supposed to attend. Jamie doesn’t expect she’ll meet the man of her dreams while speed dating at a club in Bed-Stuy, but she does her hair, spends some time choosing a good dress, and puts on a pair of heels, anyway. She really doesn’t expect she’ll spend the evening trapped in a locked-room murder mystery in which a knife-wielding psycho is picking off hopeful singles one by one. If she had, she probably would have chosen more sensible shoes. And maybe a dress with pockets. As the resident expert on horror tropes, Jamie serves as advisor to a dwindling company of surviving speed daters, while the coolheaded and obnoxiously good-looking (of course) Wes serves as leader. As the night progresses, though, Jamie starts to wonder if she’s working with the wrong tropes. What if this killer’s bloody spree is inspired by, say, Lloyd Dobler with the boombox, not Ghostface with the hunting knife (or Jason Voorhees with the machete, or Michael Myers with the kitchen knife, or Freddy Krueger with those knife fingers)? Jamie likes to call her more cerebral, less emotive bestie an “elitist piece of shit,” and Jamie’s creator is, herself, engaging in some fancy metatextual shenanigans here, but Thompson wears her smartypants well. She clearly understands not just the demands of genre but also its pleasures. Those who are familiar with romance and/or horror will have some guesses about how this narrative is going to turn out, but Thompson does an admirable job of keeping the reader guessing—and second-guessing—right up until the end.
A delightful celebration of rom-coms, slasher flicks, and the women who love them.Pub Date: Feb. 3, 2026
ISBN: 9781668206713
Page Count: 368
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Nov. 8, 2025
Kirkus Reviews Issue: Dec. 15, 2025
A romance that could have used significant rethinking.
Childhood friends, almost-sweethearts, a misunderstanding, and a funeral.
Blair Lang and Declan Renshaw were best friends who went on one date before a disagreement and an accident sent them in different directions after high school. Now Blair is back from college to be with her great-aunt Lottie, who’s dying, and to support her single mother in small-town Seabrook, California. Finding a job at a coffee shop puts her in the path of her former boyfriend, since he turns out to be its owner. Can the two get past their mistakes? The novel uses the popular second-chance romance trope, but Pham fails to energize it through interesting characters. Blair’s grief over her great-aunt’s death and her plan to help her mother are overshadowed by internal monologues about her feelings, the way her friends aren’t paying attention to her, and the novel she plans to write. Declan’s distinguishing characteristic, besides being a former high school quarterback, is his skill at building birdhouses. Unsurprisingly, the couple doesn’t have much chemistry; when they embrace, their “bodies meld like…memory foam.” The wooden characters, unusual word choices (“conglomerate of pedestrians,” “litany of plants”), and odd turns of phrase (“tension melting from his eyebrows like butter melting in a warm pan”) are almost enough to obscure the lack of plot development. What passes for stakes is easily defused when Blair comes into an inheritance that saves her from working as a consultant at Ernst & Young in New York—so she can write a romance novel.
A romance that could have used significant rethinking.Pub Date: March 3, 2026
ISBN: 9781668095188
Page Count: 320
Publisher: Atria
Review Posted Online: Feb. 16, 2026
Kirkus Reviews Issue: March 15, 2026
A dark and twisty look at just how far one woman is willing to go to find inspiration.
A struggling writer finds an unexpected muse when a mysterious man shows up at her cabin.
Petra Rose used to pump out a bestselling book every six months, but then the adaptation happened—that is, the disastrous film adaptation of her most famous book. The movie changed the book’s storyline so egregiously that fans couldn’t forgive her, and the ensuing harassment sent Petra into hiding and gave her a serious case of writer’s block. Petra’s one hope is her solo writing retreat at a remote cabin, where she can escape the distractions of real life and focus on her next book, a story about a woman having an affair with a cop. When officer Nathaniel Saint shows up at her cabin door, inspiration comes flooding back. Much like the character from Petra’s book, Saint is married, and he’s willing to be Petra’s muse, helping her get into her characters’ heads. Petra’s book is practically writing itself, but is the game she’s playing a little too dangerous? Does she know when to stop—and, more importantly, is Saint willing to stop? Hoover is no stranger to controversial movie adaptations and internet backlash, but she clarifies in a note to readers that she’s “just a writer writing about a writer” and that no further connections to her own life are contained in these pages—which is a good thing, because the book takes some horrifying twists and turns. Petra finds herself inexplicably attracted to Saint, even as she describes him as “such an asshole,” and her feelings for him veer between love and hate. The novel serves as a meta commentary on the dark romance genre—as Petra puts it, “Even though, as readers, we wouldn’t want to live out some of the fantasies we read about, it doesn’t mean we don’t enjoy reading those things.”
A dark and twisty look at just how far one woman is willing to go to find inspiration.Pub Date: Jan. 13, 2026
ISBN: 9781662539374
Page Count: -
Publisher: Montlake
Review Posted Online: Sept. 27, 2025
Kirkus Reviews Issue: Nov. 1, 2025
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