Friday Reads 7.12.24

Happy Friday to you, and you, and you!

It’s been such a week! I had a huge realization about something in the book, which gave me a 10,000-word leap forward. I’ve gotten a lot of vitamin D, broke out the bikes at last, and managed a few walks. Even got some reading done! It’s always nice when the gears are greased and things are running well.

I had an exchange with a favorite author this week, and it struck me as something interesting to share today. She is a stellar writer, and you know I am never stingy in my praise of good books. What really captures me about her work is her very refined, unique voice.

Since I wrote about voice a few weeks back, I thought I’d share her book again today, along with a few suspense books I’ve read over the past few years that really stand out in terms of voice. The writer in question is Sarah Pearse and her new book, THE WILDS, simply blew my socks off. It’s part of a series but can easily be read as a standalone (also a bonus). It’s just beautifully realized; the dread and intensity were spot on, and I was captivated.

Two more like hers come to immediate mind:

Stacy Willingham’s A FLICKER IN THE DARK is a brilliant debut that I literally read jaw open the whole time. When I finished, I had that utter frustration of a brilliant story ending as well as a bit of writer envy for the apparent ease with which she uses language and story. (Like writing at that level is easy. LOL)

Paula McLain’s WHEN THE STARS GO DARK (Paula’s first psychological thriller, one I couldn’t wait to read because she mined her own tragic background to bring it to life. Her openness and the forthright way she tackled her abuse in a fictional form gave me the courage to write IT’S ONE OF US—and go out into the world to speak of our losses. I spoke with her about it for AWOW too.

Suspense is hard to do without being completely derivative. Not that there’s anything wrong with derivative—there are only seven plots, after all—but while plots and stories can be redux, voice sets them apart.

The three above have something in common—they’re a more literary voice suspense. Maybe that’s why I’ve grouped them together as voice-y standouts; they are higher concept, or what the pros like to call upmarket. They had something else in common—from the very first line, I was completely transfixed, drawn into the story, so invested from the first page that I was hard-pressed to put the book down. So, all three are highly recommended if you’re looking to define what a solid voice looks like.

I started Mason Currey’s HOW ARTISTS WORK and have found it delightful.

And a book that I loved and happily blurbed came out this week. The divine Hannah Mary McKinnon has written a tour-de-force thriller about an all-female band called The Bittersweet who harbor some very dark secrets. Grab a copy of ONLY ONE SURVIVES—I think you’ll love it!

Leaving you here because, since I did have that big leap forward, I am nearly at the end of the first draft of my new book (HURRAH!). I have my Harvard T-shirt at the ready, and yes, I will be breaking my very strict keto diet to have (GF cauliflower crust) pizza and a glass of extra brut champagne. Streaks are important, and the wearing of my lucky shirt and the subsequent celebratory tradition is not one I’m willing to break, diet or no. Hopefully the fallout will be worth it!

That’s it from me. How about you? How has it been going? I’d love to hear what you’re reading this holiday weekend! Any recommendations?

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