There are so many things wrong with this that I don’t even know where to start.
I picked this book up on sale, and I am ever so glad that I did because if I’d paid £7.99 for it I would be pissed off, instead I’m just irritated. But I’m not going to go into that, or the fact that the font size/page margins etc make this book double what it should be. That’s all on the publishers, not the writing, and it’s the writing I’m judging.
And yes, I do mean judging.
First off, this was supposed to be a detective story. At least, that’s what I gathered from the main character being a detective and, you know, a serial killer being on the loose. It’s not. It’s really, really not. Instead of Cross getting out there and digging up all sorts of shit, he’s pretty much handed every single piece of evidence in neatly wrapped little boxes. I think there may have even been a little bow on a few of them. Seriously. The whole “detective” storyline is basically batted along by phone calls to Cross and him driving out to see what’s up with this shizzle. There was no point. The story could have progressed without him being at any of the scenes. And when your main character can be completely removed from the book without anything changing you have got a fucking problem.
I’m going to ignore the laughable title of “thriller”.
Secondly, plot devices. Yes, thank you, I realise you need plot devices to move the plot along. It doesn’t mean I want to be bludgeoned over the head with them and then, when I’m collapsed in a bloody pile in the floor, see you drop them and walk away without any fucking explanation as to why! What, in the ever loving hell, was the point of the mob tie in? There were two scenes with them and then the whole thing was forgotten about! If you’re not going to include them in the plot, then don’t have them in in the first place.
And the girl who escaped! The girl who just so happens to be the only one who has seen the face of true evil and gotten away. Why was there not more fuss over her? I understand the murderer not knowing - hey, who wants to admit to their boss that they fucked up? - but why didn't the agents care a bit more? They're supposed to be professionals and when Remy asks they're all "Yeah, sure, working on it." Yeah? Because that didn't come across. Even if they didn't know that bossman showed his face, you'd think they'd have some professional pride.
Help these days. Tut tut.
The same goes for Cross pissing off those high-rollers. We get told time and time again that they’ll cause problems but then nothing happens except for one complaint. That’s it. None of them – none of them – cock block the investigation. At all. They don’t even try.
Opportunity. Wasted.
Also, who the fuck were those two random guys who brought English pimp and girlfriend to Remy? They can’t be the original agents as Cross shot them. They’re never described and never explained. Literally just a pair of hands to get two characters from A to B so their plotline can be tied up. Nice work.
Thirdly, character consistency. One of the biggest things that irritated me was Remy’s death. Y'all have no idea. The guy’s a psychopath. He lives in the woods and enjoys chopping people up and running their bodies through a wood chipper. He enjoys it. And then you ask me to accept that, for some strange reason, he carves the word ‘sorry’ into his arm and then blows his brains out? Why? He’s not sorry. And, from the scenes he’s in, he comes across as someone who’d take a shotgun to Cross rather than himself. Also, why the fuck did he blow his brains out at that precise moment? He didn’t know Cross was coming out to look at his lonely shack in the woods; Cross wasn’t even investigating him properly! It makes no sense.
And the murderer! He goes through so many lengths to stay anonymous - blacking out his car plates, wearing a gimp mask, using a voice changer - and then he goes and shows his face because it doesn't matter. Er, no.
Oh! And let’s not forget how they randomly came up with a character that hasn’t been mentioned previously and decided that he’s the serial killer. Why, I hear you ask? Oh, because they fired him and he has some tenuous ties to the mob. That’s it. That’s what labels you a serial killer. And everyone just jumped on the bandwagon. Seriously.
I am so glad I don’t live in America right now.
On a side note – how old were those kids supposed to be? Because they came across as being maybe eight at the oldest, but apparently they’re supposed to be in their teens. Really?
Fourthly, unneeded storylines. Argh. There was no point to the nana scenes. It had no impact on the serial killer plot at all except to slow down the pace of the whole book. Yay. And, as if we didn’t need any more unneeded filler, there’s a moment where Cross goes to see a jazz musician play. For no reason. Literally, no reason, except to reminisce over some other jazz that he went to listen to and blah blah blah thank you!
Lastly, bad endings. Three words. What The Hell. All that and then – bang? That’s it? That’s what you’re giving me? What even was the point? And then Cross is a hero and his name is in the papers and his kids are searching for mentions of him? Why? He didn’t fucking do anything! The only thing that saved the book was the phone call from Kyle at the end – now that sounded promising.
This could have been a good book, but at the moment it reads like a first draft. Get rid of the nana storyline, focus on the detective work, change Cross from a passive to active and fix the character inconsistencies and you might have something.
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Note: If you liked this book and are just reading this because you’re a hater, I suggest checking out Alex Gray’s Five Ways to Kill a Man. I'm sure you'll enjoy it.