"The Love Operation"

Before Melissa Collings started writing women’s fiction and romantic comedies, she worked as a surgical physician associate in Nashville, where one of her favorite procedures was reconstructing a lower-lumbar tattoo after a back surgery. Her stories, like her, are always a mix: light and dark, laughter and tears, outlandish and grounded, beautiful and ugly, glitter and charcoal smears. Her interests are way too varied; her imagination never fails to get her into trouble; and she lives by her life philosophy: nothing is impossible, and everything is better with glitter—except surgical wounds.

Collings applied the Page 69 Test to her new novel, The Love Operation, and shared the following:

From page 69 of the paperback edition:

I resist the very real urge to bang my head against the wall. Instead, I summon patience from a well I’m pretty sure is dry. “I have nothing against chiropractors,” I say. “But you are a sneeze away from being paralyzed. A chiropractor cannot fix this.”

He hesitates, still unsure. “What if I just—”

“No.” I don’t yell, but I do walk out. I send my surgery scheduler in behind me, like backup.

The next patient, a grandma in leather spandex leggings and a cherry-red tank top, looks like she’s on her way to audition for an ’80s rock revival band. She waves me off as soon as I try to hand her over to Dahlia, since she’s a med refill only.

“Sugar, just refill my meds,” she says. “And add some Valium. My grandsons are fraying my last nerve.”

Right before lunch, I want to scream—or dissolve. But then I walk into the next exam room, and everything stills.

A woman in her thirties sits with her hands clenched tightly in her lap. She’s two weeks post-op from a microdiscectomy. A single mom. She needs clearance to go back to work—early.

She knows the rules. No bending. No lifting. No twisting.

But she works in a warehouse. That is the job.

She’s not supposed to, but she’s going to. Because she has to.

Her voice trembles. “I . . . I already had to borrow rent money from my sister this month. I can’t ask again. I need to go back.” Tears gloss her eyes, but they don’t fall. She’s too tired. Or maybe too proud.

I stare at her chart, but I’m not really seeing it because I get it. My chest aches with something hot and helpless. This woman did everything right—followed instructions, showed up, healed. And it’s still not enough. The system wants more.

I want to scream again, but this time it’s not about me.

It’s for her.

I exhale through my nose, slow and sharp. “Here’s what we’re going to do,” I say, already writing. “I’m giving you a note for light duty—no

So, does the Page 69 Test work for The Love Operation?

Yes and no.

If you want to know who Dr. Cordelia Wren is, I actually love this page as an introduction to her. She’s impatient, funny, fierce, and very good at her job. But underneath all of that is someone who cares deeply about her patients. She can be frustrated with the world one minute and furious on someone else’s behalf the next.

It shows the woman in the lab coat, which is an enormous part of who Cord is.

What it doesn’t show is everything happening outside that exam room: her complicated family, her equally complicated love life, her pursuit of Chief of Surgery, or the experimental memory study that sends her digging through her romantic past.

So page 69 probably wouldn’t tell a browser what they’re getting into, but it would tell them exactly who they’re getting into it with. And I kind of love that.

Visit Melissa R. Collings's website.

--Marshal Zeringue

"The Spiral"

Rosanne Limoncelli is a writer and filmmaker living in Brooklyn. Her short fiction has appeared in Alfred Hitchcock’s Mystery Magazine, Suspense Magazine, and Noir Nation, and her short films have been screened in festivals around the world. Limoncelli also writes plays, screenplays, poetry, games, mysteries, and science fiction and has taught writing and filmmaking for more than three decades at New York University’s Tisch School of the Arts.

She applied the Page 69 Test to her new novel, The Spiral, and reported the following:

From page 69:

The other students were a bit surprised at my performance, but I had an advantage. For them, the task was to use their imagination to guess what it might be like. For me, it was to wrangle a hurricane of emotions I was trying to forget. My chest still felt stormy. I was as surprised as they were. I was used to spending most of my energy suppressing ugly memories. During the exercise, something took over, outside of my power. So much for control.

I was the first to walk out of the room after Ron, but he made a quick exit, so I lost my chance to ask him what he knew about Jessica even if I could’ve worked up the courage. A blond, bubbly type that I slightly recognized came out of another classroom and stopped a few feet in front of me. She stared, her face turned white, then she wavered and felt for the wall to steady herself.

“What?” I stared back at her and put my hands on my hips.

“Oh. Oh! I thought you were someone else for a minute.” She let out a relieved laugh. “I thought I was seeing a ghost.”

She passed me and disappeared into the ladies’ room. I was already wrecked from that exercise. I didn’t need more drama. It wasn’t the first time someone had mistaken me for Jessica. But this time was different.

Marissa came out of the classroom, pulled me over near the empty coatrack, and lowered her voice.

“Are you okay?” She gave my arm a gentle squeeze. She knew a few details of my past.

“Yeah, I’m fine.” My heart was still dancing faster than normal, but I played it cool. “Just acting, you know.” Janette and Larry stopped next to us.

“Some scene, Nina,” Skinny Larry said. “I’d like to do an improv with you sometime.” He winked and gave me a kind of hungry look. Jerk. But then, anyone that skinny must always be hungry.

On opening The Spiral to page 69, readers will find themselves in the interior thoughts of the main character who has just come out of an acting class, which might not immediately be clear, but I do think they would feel that Nina is in an anxious situation, getting the tone of the book. By the end of the page, it is clearer that the characters just came out of class which gives a glimpse of her life. After the class she runs into a classmate that doesn’t really know her, and this classmate confuses her with a dead woman. Empathy from her friend Marissa is comforting, but Nina then is made more tense by Skinny Larry’s lewd comment, something she is confronted with often, but will never get used to.

The Spiral is a psychological noir thriller. The reader is inside Nina’s head, as paranoid and insecure as it is, because of her past and the crime ridden dangerous world around her. Nina may be fighting against a fatalistic world in this story, a difficult struggle, but it is also a battle that shows her strength of will. I think the page hints at all of this, albeit subtly.

Visit Rosanne Limoncelli's website.

My Book, The Movie: The Four Queens of Crime.

The Page 69 Test: The Four Queens of Crime.

Q&A with Rosanne Limoncelli.

Writers Read: Rosanne Limoncelli (July 2026).

My Book, The Movie: The Spiral.

--Marshal Zeringue

"The Rally"

Carla Vass holds a degree in English literature and economics from Barnard College, Columbia University. She began her career at Goldman Sachs before joining Uber in 2013. At Uber, she helped build the rideshare business in New York City and was part of the founding UberEATS team. In 2018, Vass was recruited by Waymo, Google's self-driving car division, to develop their delivery business, and then went on to found Civi in 2020, a tech startup focused on safety in Latin America. Born in New York City, Vass and her husband now live in Miami, Florida. When not writing or reading, she enjoys spending time with loved ones, traveling, cooking, and horseback riding.

Vass applied the Page 69 Test to her new novel, The Rally, with the following results:

Page 69 is the opening of Chapter 11. The Rally crew is aboard a catamaran, and the scene is already in full swing:

A full crew serves appetizers and a delicious, crisp rosé, and predictably, it doesn't take long before we're all half-drunk. From my perch in a deck chair, I hold out my glass for a refill from a passing waiter. Once again, I feel light and carefree. I might have to consider full-time wealthy alcoholism, because right now, it's really doing the trick.

So, does the Page 69 Test work?

Remarkably well. A browser opening The Rally to page 69 would get a real taste of the book: the deadpan voice, the absurd luxury, and the particular thrill of watching very rich people misbehave. The rest of the page only helps. By the bottom of it there's a hot tub, champagne, and topless dancing to a Hôtel Costes mix, all of it narrated with the same wry detachment.

What the page can't show is the engine under all that chrome. Charlie, the narrator, has just been ousted from the tech company she spent four years building, and the Rally is her impulsive escape. The hedonism on this page is real, but so is the fallout chasing her. Still, if a reader enjoys the world on page 69, glamorous, a little unhinged, and very fun to visit, they'll like the book. I'd call the test passed.

Visit Carla Vass's website.

--Marshal Zeringue

"Liberal Arts"

David McGlynn is the author of the novel Everything We Could Do, the story collection The End of the Straight and Narrow, and the memoirs A Door in the Ocean and One Day You’ll Thank Me. His work has appeared in The New York Times, The Washington Post, and The American Scholar, and has been reviewed on National Public Radio’s Fresh Air. He teaches at Lawrence University and lives in Madison, Wisconsin.

McGlynn applied the Page 69 Test to his new novel, Liberal Arts, and shared the following:

Most of page 69 is occupied by a single paragraph from the October chapter:

The summer before he left for college, Danny went through his parents’ files, found the name of the adoption agency, and filed a request for his birth parents to release their contact information. He listed the college as his mailing address, certain the process would take months, but when he opened his mailbox in the campus center in September, the affidavit was there. Names, phone numbers, email. He found them on Facebook in five minutes. His birth mom and dad were both from Wauwatosa, as was he. They lived five miles from his house and were married to each other. They had two other kids, a boy and a girl, Danny’s full siblings. His mom managed an office for a chiropractor and his dad worked for Briggs and Stratton, the same brand of engine on the lawn mower in his garage at home. It didn’t mean anything, or shouldn’t have, but it did. He’d always assumed his parents had disappeared after his birth, his mom taking the bus to the hospital to give birth, then, afterward, into oblivion. His dad going out of state for college, or into the army, or to a fishing boat in Alaska. Instead an entire family remained intact.

The chapter's title is "The Next Sidney Crosby." The central character is named Danny and he's a junior at the college where the novel takes place. He's surprised to learn that a romantic encounter his first year of college not only led to a child, but that the child is no longer in the mother's custody. Before the toddler can go to foster care, a social worker informs Danny that he has the right to confirm his paternity and take custody of his son. Danny is, unsurprisingly, totally shocked. But there's a twist: Danny was himself adopted, by parents who lived in the same town near Milwaukee as his birth parents. So his debate about whether or not to assume responsibility for his own son is colored by his own history.

The passage is a great snapshot of the novel as a whole because it showcases a central feature present in each character. Every person in the novel -- every last one of them -- has a secret history, a past they either guard or feel uncertain about. Despite all the ways that small liberal-arts colleges are seen as bastions of privilege, they remain microcosms of complex human beings who come from not only the region surrounding the college, but from around the globe. The "bubble" of the liberal-arts college is, in fact, a junction point for the entire world -- full of diverse experiences, backgrounds, ambitions, and impossible expectations. Danny's story of looking for his birth parents is an encapsulation of that very phenomenon.

Visit David McGlynn's website.

Writers Read: David McGlynn (September 2025).

Q&A with David McGlynn.

The Page 69 Test: Everything We Could Do.

--Marshal Zeringue

"Your Boyfriend Needs an Exorcist"

Justine Pucella Winans (they/she) is a critically acclaimed and award-winning author of queer fiction. They have written a variety of funny and/or scary books across age ranges, including a Stonewall Honor title, a Lammy Award Finalist, an Indies Introduce pick, and a Junior Library Guild Gold Standard selection, alongside multiple starred reviews. When not writing, she can be found taking too many photos of her cats, training in Brazilian jiu-jitsu, actively avoiding real life scary situations, and working on their true goal of becoming a Pokémon trainer.

Winans applied the Page 69 Test to their new novel, Your Boyfriend Needs an Exorcist, and reported the following:

Page 69 of Your Boyfriend Needs an Exorcist follows 15-year-old Schuyler Thompson, a ghost possessing the body of 17-year-old Enzo Altamura, in school for the first time since her before her death--quite some time before.

Really, I'm completely overwhelmed. It's total sensory overload. The school is almost exactly the same as I remember it in some ways, like the general layout, shitty lighting, lack of windows in the hallway, and noise levels, but there's also so much that's different.

I don't have textbooks, I have e-textbooks on an assigned tablet that is indeed in my backpack. I'm not used to reading on a screen, and it takes me too long to figure out how to turn down the brightness setting so I can skim the last chapter my math book is open to.

Damn, I barely remember anything I learned when I was alive. Even if I did, I'm not sure it's the same math I had been learning. It feels different, almost entirely new. Can math change? I died at the end of sophomore year and Enzo is a senior, so this is too advanced for me, regardless. I almost wish Vinny hadn't been lying about helping me with schoolwork. I'll definitely need it.

"You need to copy answers?" one of the dudes next to me asks.

"Yeah, that'd be great. Thanks..." I trail off awkwardly. I don't know the names of any of Enzo's friends. It's not like they ever came over to Wren's place, and none of the contacts in his phone had pictures attached. "Bro."

"No problem, bro."

Well, at least that worked.

While I don't think page 69 gives a complete sense of the book as a whole, I think it gives an excellent sense of the voice and character, and the humor (and maybe unfortunate nature) of our protagonist's situation. Through this glimpse into Schuyler's story, we get a sense that she is a fish-out-of-water in a lot of ways. We can gather that she has died, has been dead for sometime, and is somehow thrust back into high school life in someone else's body, through this small struggle to stay afloat in her math class. I think this does set up the basic concept of the book, showing that while it is in a Young Adult contemporary setting, there is at least something supernatural going on!

The parts that can't be gleaned from page 69 alone are some of the book's dark, horror elements. There is a lot of comedy in this book, and I think this page gives a glimpse of that potential, but without saying any spoilers, things definitely take a turn into bloody, body horror territory. For better or worse, this page alone may not prepare readers for the gore and difficult subjects that arise through Schuyler's accidental possession of Enzo. (I did write an author's note at the beginning of the book for that reason!)

However, as a reader, sometimes I find that the character voice is what matters most when it comes to giving a book a chance. Maybe this school-set page doesn't get into the scariest parts of the book, or even the silliest parts of the book, but I do think (and hope) it does a great job of introducing readers to Schuyler, and the general conflict she faces due to the premise. It sets up the story to be a kind of supernatural Freaky Friday, which isn't totally off base! There is definitely more depth to Schuyler and her struggles throughout the book, but this is a great little glimpse into the general concept and characterization. I find it to be a successful Page 69 Test and hope readers feel the same way!

Visit Justine Pucella Winans's website.

Q&A with Justine Pucella Winans.

--Marshal Zeringue

"Beneath the Edelweiss"

Elizabeth Noel has called many places home, including the United Kingdom, the United Arab Emirates, Singapore, Australia, and New Zealand. She holds an MEd from the University of Exeter and an MLitt from the University of Saint Andrews and has taught at various universities in the UAE. Long-listed for both the Katherine Mansfield Sparkling Prose Competition and the Anthology Short Story Competition, Noel has published various short works. She lives in Sydney, Australia, with her husband and two daughters, on the land of the Gayemagal people within the Eora Nation.

As a child, Noel made regular visits to see her Austrian grandmother, or Omi, who encouraged her to chew on fennel seeds, sip herbal teas, and rub strange-smelling creams onto her skin. The city of Vienna, Melk Abbey, and the mountains and glass-topped lakes of Carinthia captured her heart. Her new novel, Beneath the Edelweiss, is the result of years of questioning what happened to her grandparents and great-grandparents, piecing together a narrative of Carinthia’s complex and tragic past.

Noel applied the Page 69 Test to Beneath the Edelweiss with the following results:

From page 69:

Oma is setting Mitzi up for failure, disappointment, probably humiliation. Maud knows even if Oma doesn’t that Mitzi will never be a mountain herbalist. Too many people think she is cursed even if she does have a pretty face. Maud sighs. She has to stop calling her a troll. And of course, if Mitzi doesn’t become an herbalist and learn to trade, the farm will end up in too much debt. Maud looks at Devello and Katarina. Can bees and cheese save them all?

Oma and Katarina walk toward the house. Maud swings herself over the horse and down to the ground. “My legs are going numb from sitting up there.”

Devello tries to kiss her, but she pushes him away. “Not in front of them.”

“Old women talking. They’ll occupy each other for hours.” He rearranges his trousers. Pulling at what lies beneath. “Bring the horse to the field with me. We’ll slip into the barn.”

“There isn’t time. They’ll come looking for us. And it isn’t winter anymore. We have farmhands.”

“The old beehives then? I’d lay you down right now if I could.”

“Devello!” Maud says, and Katarina and Oma look back.

He waves a hand at the women, and they carry on up the sloping field.

“They’re too busy getting acquainted to care what we do anymore.”

Maud sees the longing in his eyes and is amused by it. “Alright, but I want you to tell me about the Gypsy, the one who died in the war.”

Browsers opening the book to page 69 would meet Maud who is not the main protagonist of the book. However, she is talking about the heroine, Mitzi, and her concerns for her future and the future of their farm which is threatened by foreclosure. I think readers get a good sense of tone, a glimpse of the landscape and some of the superstitions that drift like low cloud among the alpine culture. As it is the end of a chapter, it is also a shorter page than normal, but it might be enough for a quick sale at a bookstore!

The person Maud wants to know more about is a man who fought in the first world war with Devello. He was a Sinti Roma who saw light around the head of anyone who was about to die. Maud is curious because she is considering sneaking out and speaking to a Sinti woman who she met in the woodland moments earlier. The woman offered to tell Maud’s fortune in exchange for payment. As Maud is pregnant and fears beyond all else dying in childbirth, she desires to know if the woman can see the light of death around her head like the soldier in the war. The woman does not have this gift, but she has others, and through the woman, Maud discovers far more than she bargains for.

Visit Elizabeth Noel's website.

Q&A with Elizabeth Noel.

Writers Read: Elizabeth Noel.

--Marshal Zeringue

"In This Life or Another"

Melissa Payne is the bestselling author of seven novels, including The Wild Road Home and In This Life or Another. After an early career raising money for nonprofit organizations, Payne began dreaming about becoming a published author and wrote her first novel. Her stories feature small mountain towns with characters searching for redemption, love, and second chances. They have been three-time Colorado Book Award finalists and three-time Colorado Authors League winners for mainstream fiction. Payne lives in the foothills of the Rocky Mountains with her husband and three children, a friendly mutt, a very loud cat, and the occasional bear.

Payne applied the Page 69 Test to In This Life or Another and shared the following:

From page 69:

“Yes, ma’am.”

“Your father told me what you said.”

His shoulders bow like someone dropped a million-pound weight on him.

“I didn’t mean it.”

Her voice is softer when she says, “Of course you didn’t.” He turns to face her. “But Dad—”

“Has his own path. One day, you might understand him better. But for now, sweetheart, be you and follow your heart. If Gus wanted anything, it’s that.”

Rusty has the sudden urge to hug his mother. He approaches her, arms out, a lump in his throat, but his arms pass through the air, and he’s in the Salt Lick, hugging himself.

At first read, I thought this was a failed test. It’s short, hardly says anything at all and misses huge moments of the story that would be a better window into the book. However, sometimes the smallest moments pack the most powerful punch and upon a second read, I realized that this small interaction between a young Rusty and his mother is a glimpse not only of the guilt and frustration he carries with him regarding his father but also of lost moments with his mother, like a hug that doesn’t happen.

This flashback is one of the signposts that shapes Rusty’s story. In In This Life or Another, Rusty is stuck in a liminal realm between life and death where he has the chance to experience a different version of his life and review the life he’s lived. When Rusty was only two, his older brother died saving him from a deadly house fire that ended up taking his life. And on the eve of his sixtieth birthday, Rusty believes he hasn’t lived up to his father’s expectations or his brother’s sacrifice. He’s struggling to find meaning and purpose and wonders what his life might have looked like if he’d make different choices. It’s in this liminal space where Rusty, with the help of his spirit guide and pet turtle, Ike, examines his past and a life that never existed to answer the question at the heart of his journey: has he lived a meaningful life?

Despite its length, page 69 of In This Life or Another teases the reader with its themes and storyline without hitting anyone over the head with it and for that I think it passes the test with flying colors.

Visit Melissa Payne's website.

Coffee with a Canine: Melissa Payne & Max.

My Book, The Movie: The Secrets of Lost Stones.

The Page 69 Test: The Secrets of Lost Stones.

Q&A with Melissa Payne.

The Page 69 Test: The Night of Many Endings.

My Book, The Movie: The Night of Many Endings.

--Marshal Zeringue

"Sutra Americana"

Monona Wali is an award-winning novelist, short story writer and filmmaker. Her debut novel, My Blue Skin Lover, won the 2015 Independent Book Publishers Gold Award for Multicultural Fiction. Many of her stories and essays have been published in literary journals including Air/Light, Folio Literary Journal, Juked, The Los Angeles Review of Books, and the Santa Monica Review. One received Special Mention in the 2025 Pushcart Prize Anthology.

Wali applied the Page 69 Test to her new novel, Sutra Americana, and reported the following:

Page 69 lands the reader early in “Frieda’s Kiss” — chapter seven of the book. In it, Anu, the youngest of three daughters is being deposited at college by her parents, both academics themselves. This is in the mid-seventies. She asks for money to help her cover her expenses. She knows both her sisters received a check for $500 when they started their freshman year. She gets $250. She supposes the rest will come second semester. As she watches her parents drive off, she is hit with unexpected homesickness: “her throat ached and her heart actually hurt. That surprised her—the actual physical pain in her chest.” She confronts being alone for the first time in her life:

There were a couple lengthy days spent trying to make friends. Anu sat under one of the sycamore trees on the college green and filled her cheap notebook with free verse. She had started writing poetry in high school. Black crows, massacred villages, burnt terrain, napalmed souls. She had read “The Bell Jar” and felt that Sylvia Plath understood a woman’s struggle. She watched bare-chested boys flick Frisbees back and forth and wondered if she could fall in love with one of them. She wanted to kiss a boy badly; she had not done that yet.

At bottom of the page, Anu meets the woman who will change her life. “It was on the first day of Intro to Poetry class that she met Frieda Deakins, who wasted no time admiring the hand-knit scarf Anu was wearing. “I love those colors! Are you from India?” she asked. Thus begins Anu journey to self-discovery.

A reader opening the book to page 69 would get a good taste of the family dynamics that are so central to this book. This is a polyphonic novel that spans five decades, and Anu is just one of five central characters who have a voice in this book, so a reader would get a peek into at least one of the main characters as a young woman on the cusp of discovering important things about herself. Most importantly, the reader would get a sense of the style and voice of the novel.

Page 69 is definitely a microcosm of the whole novel — almost every page digs into the dynamics of this immigrant family as they negotiate their identities in the American landscape. While the family is very bonded, each chapter reveals the threads that threaten to unravel that bond – for example – why does Anu get $250 less than her sisters? What uncomfortable truths will come her way as soon as she steps foot outside the shelter of her family? What is she to do with her Indian identity when she has worked so hard to assimilate into American life? As we move from family member to family member, we are carried deeply into the ways they love and hurt each other and ultimately face a choice to stay bonded or move apart.

Visit Monona Wali's website.

Q&A with Monona Wali.

--Marshal Zeringue

"House Haunters"

KC Jones is a screenwriter-turned-novelist currently living in western Washington. When not writing, he can be found watching movies, playing video and board games, or enjoying nature—whenever it isn’t raining.

He graduated from the University of Nevada-Las Vegas with a degree in film production. His first published novel, Black Tide, was a finalist for the Bram Stoker Award for Superior Achievement in a first novel.

Jones applied the Page 69 Test to his new novel, House Haunters, with the following results:

"This time Grace screams."

Page 69 opens Chapter 8, which takes place inside an empty, purportedly haunted house just moments after something has fallen to the floor upstairs, sending a shudder through the dark space and, to her dismay, startling a scream out of Grace. She’s there filming one of Frank's investigations as a screen test to satisfy the whims of her best friend, who believes this home-inspector-turned-ghost-hunter could be the subject of a hit reality TV show. As initially skeptical and disinterested as Grace is, she can’t help being drawn in by Frank’s deadpan professionalism toward “possessions, poltergeists, and other latent defects,” and the odd noises in the house are beginning to get to her, as much as she tries to tell herself it’s all just her imagination. Which brings us to this page.

I'd say that yes, page 69 is a pretty good example of what a reader will find throughout the book. A little spooky, a little funny; Grace is ever trying to reconcile her stubborn disbelief in the supernatural with what her senses and the house itself seem to be telling her, while Frank remains frustratingly stoic, marching fearlessly toward the things going bump in the night while Fish Stick, his sidekick corgi, trundles along reluctantly at his side. It's a perfect, bite-sized preview of things to come.

Visit KC Jones's website.

The Page 69 Test: White Line Fever.

Q&A with KC Jones.

Writers Read: KC Jones.

--Marshal Zeringue

"That May Not Mean What You Think"

Elizabeth Crane is the author of several collections of short stories, including Turf, When the Messenger is Hot, All this Heavenly Glory, and You Must Be This Happy to Enter, a memoir, This Story Will Change, as well as two novels, We Only Know So Much and The History of Great Things.

Crane applied the Page 69 Test to her latest story collection, That May Not Mean What You Think, and shared the following:

Page 69 of That May Not Mean What You Think comes in on page three of a story called "The Long Trial," but I'm gonna say on a couple of the more important fronts, this page should give you a good sense of whether or not you're interested in reading more. It's very reflective of my prose style, which typically plays with form and style, and you can gather quickly that the content of the story relates to the title, and that it is a trial of someone who has harassed... a lot of women. On this page, the reader is introduced to some of the members of the court and some of the people in attendance, all of the above having had some experience with harassment.

The court interpreter was a trans woman who had stories that would break you. The court interpreter had been harassed every goddamn day since she was in first grade and went to school wearing purple nail polish. Her stories did not get better from there.

The court security guard was a woman who had never been an actress but was alive in the world.

The court zombie was not alive in the world but had once been a living woman who felt bad about her appearance, even though she had never been an actress. An HR guy once told her to undo a couple of buttons on her blouse to make up the difference for what she didn't have up top. You can imagine she didn't feel better about her appearance once she was undead.

I think even these three short paragraphs from page 69 offer some humor, which can definitely be found throughout the book.

Visit Elizabeth Crane's website.

Writers Read: Elizabeth Crane (April 2008).

The Page 69 Test: We Only Know So Much.

My Book, The Movie: We Only Know So Much.

Coffee with a Canine: Elizabeth Crane & Percy.

Q&A with Elizabeth Crane.

Writers Read: Elizabeth Crane.

--Marshal Zeringue

"Operation Icebreaker"

Humphrey Hawksley has reported on key trends, events and conflicts from all over the world.

His work as a BBC foreign correspondent has taken him to crises on every continent.

Hawksley applied the Page 69 Test to his new Rake Ozenna thriller, Operation Icebreaker, and reported the following:

From page 69:

Further up the food chain, there would be friction as the American military tried to protect its own against the softer Europeans. By the rule book, NATO banned the use of information from killing or torture, no exceptions. In the field, things were murkier.

Page 69 of Operation Icebreaker is a slice of backstory showing the violent evil of key antagonist, Dave Hanning, and of Rake’s own juggling of moral choices and military rules in order to save lives.

While Rake doesn’t even recognise Hanning in their next encounter, Hanning has allowed his resentment to fester and consume. He never forgives Rake for exposing his methods, and the two meet for a showdown on the frozen wastelands of Arctic Greenland. Page 69 lays down a marker of two men drawing their own red lines of what is right and wrong. One is a villain, the other a hero.

Visit Humphrey Hawksley's website.

The Page 69 Test: The History Book.

My Book, The Movie: Security Breach.

My Book, The Movie: Man on Ice.

Writers Read: Humphrey Hawksley (May 2018).

The Page 69 Test: Man on Ice.

The Page 69 Test: Man on Fire.

My Book, The Movie: Operation Icebreaker.

--Marshal Zeringue

"Looks Perfect"

Jessica Siskin earned her MFA from the New School. She is the founder of Misterkrisp, a popular Instagram-based food art business specializing in custom Rice Krispies Treats and social media content. She is the author of Treat Yourself!, a cookbook featuring her inventive food art. Looks Perfect, her debut novel, is about a buzzy fashion designer whose relationship is crumbling just as her business explodes. Her Substack, Cool Takes, tackles Internet culture, beauty standards, where to get the best snacks, and whatever else feels topical. Siskin lives in New York City.

She applied the Page 69 Test to Looks Perfect with the following results:

Page 69 of Looks Perfect is toward the beginning of my protagonist, Stella Lerner’s description of her romantic history and how she ended up at the crossroads she currently faces amidst tension with her boyfriend, Alex. She talks about how she’d had her whole life planned out with her High School boyfriend when he broke up with her after they went to college, and she learned for the first time that she wasn’t fully in control of her romantic future, that a relationship requires the full cooperation of two different people.

If someone were to open Looks Perfect to page 69, they’d get a very good idea of the book as a whole. While it’s part of a tangent that visits Stella’s past and doesn’t exist in the present where the book’s narrative takes place, it gives a really clear glimpse into how Stella moves through the world, what’s important to her, her vulnerability, and her sense of humor. It contains one of my favorite jokes in the book, when Stella describes her boyfriend breaking up with her and backing out of her room “as if retreating respectfully from the Western Wall in Jerusalem,” a reference to the tradition of not facing one’s back to the holy site while departing, so visitors leave by walking backwards. I think this joke reflects the way Stella uses humor to process tough emotions, not as a way to deflect or distance herself from pain but to actually linger there a bit longer. Page 69 is, in a way, Stella’s “villain origin story” (as the kids say) in that her worldview around romantic relationships was born on this page, and that worldview is guiding the fear she’s feeling as her current relationship is evolving in a way that doesn’t match her vision for the future. Stella is a dreamer and storyteller, which really comes across on page 69 and throughout the book, and in the relationship detailed on this page as well as throughout the book, she finds herself torn between a story she’s curated in her head and the reality in front of her. Reconciling these and learning to detach from her desire to control, and to instead allow things to unfold, is really at the heart of Stella’s story arc.

Visit Jessica Siskin's website.

--Marshal Zeringue

"Istanbul Dreaming"

Denise Derya Brandt worked in international development for more than twenty years and led women’s health projects in Afghanistan, Liberia, and Myanmar before becoming a published author. A Book Incubator graduate, 2024 Women's Fiction Writers Association Rising Star Award finalist, and 2025 Poets & Writers Publicity Incubator Fellow, Brandt has degrees from Arizona State and the London School of Economics. As a Turkish American, she claims she can fool tourists but not taxi drivers! Raised in Arizona, Brandt now lives in northern Kentucky with her husband.

She applied the Page 69 Test to Istanbul Dreaming, her debut novel, and shared the following:

From page 69:

Finally alone, Salih removed his tie and unfastened the top button of his shirt while Ayten stood by the door, still as a statue, her stomach in knots. She shouldn’t feel shy. This was Salih. They’d known each other since childhood.

Salih lifted the tiara and veil off her head. Ayten closed her eyes and pursed her lips ever so slightly, waiting to feel the tickle of his mustache, waiting for him to kiss her. But he didn’t, and when she opened her eyes and met his, he looked wolfish, like he wanted to devour her.

“That was quite a reception, wasn’t it, my wife?” he asked.

Ayten released her breath. “It was, my husband.” How long would that word feel foreign in her mind? “It was swell to see everyone.”

“You seemed to really enjoy yourself.” This change in his tone, was he accusing her of something? “The way you were twirling your hips, was that for me?” Salih squeezed Ayten’s hips and pulled her closer. “Or were you dancing for all those other men? Because everyone was watching you.”

The look in Salih’s eyes and his tight grip frightened her. Could he really be angry with her for dancing? She’d only done what everyone else was doing, what was expected at a wedding reception. And what other men? The guests were mostly family, older relatives, a few children. She couldn’t understand what she’d done wrong. Even her father had been dancing.

Salih interrupted her thoughts as he reached behind her and unzipped her dress, which puddled around her ankles. He remained fully clothed as Ayten stood before him wearing only her brassiere, gold necklace, and petticoat. She instinctively wrapped her arms across her body and averted her eyes.

Salih lowered her hands and pressed his body against her. Then he kissed her lips, hard. Ayten closed her eyes and held her breath. His mustache smelled of cigarettes. She wished he’d shaved it off. As his tongue darted in and out of her mouth, she tried to mimic him, opening her mouth, using…

Page 69 is page two of chapter 13, and it drops the reader directly into the wedding night, the moment everything shifts for the main character, Ayten.

After Ayten’s father forces her into an arranged marriage with Salih (the first inciting incident), she resigns to her fate and hopes for the best. But what Salih does on this night, their wedding night, changes everything for Ayten.

Does page 69 represent the whole story? No, not entirely. We only meet two of the many characters. But it does give the reader insight into these two characters’ personalities and positions. We see Ayten is young, nervous, and compliant. Her stomach is in knots, yet she goes along because it’s what is expected of her. We see Salih is jealous and accusatory, even a bit menacing. The wedding night is the point at which Ayten’s quiet resignation breaks, and everything that follows is the story of what she’s willing to risk to build a different life for herself. But to understand how Ayten gets here and where she ends up, you’ll have to read from beginning to end!

Visit Denise Derya Brandt's website.

Writers Read: Denise Derya Brandt.

--Marshal Zeringue

"Trad Wife"

Sarah Langan, a Columbia MFA graduate and three-time recipient of the Bram Stoker Award, is the author of several novels including A Better World, Good Neighbors, and Trad Wife. She’s got an MS in environmental health science, grew up on Long Island, and she currently lives in Los Angeles with her husband and daughters.

Langan applied the Page 69 Test to Trad Wife and reported the following:

From page 69:

“I’m really not good with them,” Jenny answered.

Either because his mom was about to release him, or because a stranger was about to hold him, Isaac’s sleepy expression went sideways and weepy.

“Come on,” Mia said. “He doesn’t bite. Don’t make me burn a roast.”

Jenny took him. He was more solid than she’d expected. Heavier and warmer.

As Mia pulled out the roast, he started crying.

“Oh, for goodness’ sake!” she said when she returned. She rearranged Jenny’s hands so that Isaac sat comfortably, his head resting on her shoulder. Jenny felt a familiar and bewildering thrill. She smelled his head, and that smell was spectacular.

“You’ve really never held a baby before?”

“I avoid it.”

She appraised Jenny, amused. “This calls for a reel!”

She pulled out her phone.

“Don’t,” Jenny said. No telling how The Brotherhood would react.

“It’s too adorable to miss!” She started recording. “How does it feel to hold my babushka?” she asked, loud and for an audience.

Jenny was so uncomfortable with the camera that she didn’t answer.

“Come on. My subscribers want to know. I never let anybody in this close. Give them a hint. What’s Isaac like?”

Jenny relented. She remembered holding Melissa, and Luke after that. She’d always meant to tell Melissa that her son was perfect in every way. That she adored him. That she’d protect him forever, even if she’d never babysit. But she hadn’t done that. She hadn’t said anything.

“I love him,” Jenny said.

Page 69 is in keeping with the theme of the book -- motherhood, performance, judgement. A cigar is never just a cigar, and for a woman, a baby is never just a baby. My main character here, Jenny, has been canceled for writing honestly about her abortion and for leaving her mentally ill fiance. Everybody calls her selfish. Then we have trad Wife Mia, who's performing but not actually living her life, and no one actually knows who she is, but they all love her. They're both women in boxes, trying to figure a way to happiness.

Visit Sarah Langan's website.

The Page 69 Test: The Keeper.

My Book, The Movie: The Missing.

The Page 69 Test: Good Neighbors.

My Book, The Movie: Good Neighbors.

--Marshal Zeringue

"Night of Madness"

Ryan Douglass is the author of young adult horror novel The Taking of Jake Livingston, a New York Times bestseller and an ALA Rainbow Book List Pick; The Great Disillusionment of Nick and Jay, a reimagining of The Great Gatsby set in 1920s Harlem; and Night of Madness, a collaboration with the company behind Clown in a Cornfield. His work explores the ways young people fight to survive in hostile worlds. He lives in Atlanta with his dog and spends his free time baking ambitious desserts and scoping out true crime documentaries.

Douglass applied the Page 69 Test to Night of Madness with the following results:

From page 69:

DING! A message alert pulls me out of the script. Something my father seems to have written, which reads oddly similar to the actual movie that was made.

I have a notification from the website—Tanner Hoang has sent me a DM.

Tanner: Yo, was that scene in the woods staged?

I freeze for a second, thumbs hovering over the keyboard. You’d think we talked every day the way he just slid into my DMs, but I don’t know this guy at all. 

I let the message linger and study his profile picture—an undershot, hair tousled, round sunglasses on, palm tree in the background, aloof expression. Himbo with a hot girlfriend. It’s like someone handed him the script for a “jock” role that was never meant for him, but he decided to play it straight rather than subvert it at all. 

And that’s why Tanner’s never been interesting to me, beyond surface level. Pictures of him touch my algorithm along with other boys who post fitness progress in half-lit gyms or ride horses or pose with fish they caught—they orbit the same kind of performance: living life so loudly, they must be seeking validation. The algorithm feeds me his face occasionally like it knows I’m watching in a casual way, even when I’m pretending not to. 

This page does not accurately portray what the book is like, and I don't think a reader would have much idea what they're in for if they opened to this page alone. While it clues the reader into the social media theme running through the book, it's mostly an observation of a character who enters the game alongside Mara. Tanner does eventually become something of a love interest for her, but it is through the brutal conditions of their shared survival that they form that bond.

Mara is mostly not focused on guys throughout the story. She's focused on her own journey and on winning enough money to help her family. This scene paints a picture that feels more contemporary and character-driven than representative of what the book is ultimately about: unsettling horror.

At the same time, I think the page offers a precursor to something we learn about Mara's vulnerability. She likes to believe she doesn't need anyone's help to get through the world, partly because of the pressures she's faced as the eldest daughter. But even here, she admits that while she pretends she's not watching Tanner, part of her is watching.

As the book progresses, we see that vulnerability slowly peel back. So while page 69 isn't a particularly good advertisement for the horror that awaits the reader, it does offer a small piece of foreshadowing for Mara's emotional journey.

Follow Ryan Douglass on Instagram and Threads.

Q&A with Ryan Douglass.

--Marshal Zeringue

"The Artful Anna Harris"

Tracy Maton has had a varied career as a copywriter, a marketer, a quality improvement ambassador in the UK’s National Health Service, and a children’s entertainer. When she’s not writing, she can be found swimming in her local lake. Maton was born in Montreal and now lives in Bristol, England, with her husband and three occasionally present children.

She applied the Page 69 Test to The Artful Anna Harris, her debut novel, and shared the following:

Page 69 of The Artful Anna Harris finds Anna lying on her garden bench, musing. She is interrupted by a phone call.

It is Sofia’s landlord. She deals with the condolences in one sentence and we are onto business.

‘I gather from Sofia Carstairs’ father that you are going to clear out the cottage. Might you manage that by Monday?’

The vastness of the monochrome blue sky, devoid of even a wisp of cloud, reminds me of how insignificant we all are: mere pixels.

‘Yes, I suppose so.’

‘Leave the key, please. And many thanks, Anna – I realise this is an unpleasant undertaking.’

I resume my position but can’t recover my contemplative state. My Adidas shorts have ridden up and my thighs are sticking together; I flop over onto my front and bury my face in the cushion. The mini-heatwave came yesterday and is forecast to last until Tuesday. School has gone into overdrive marshalling gazebos and demanding children arrive with hats and sun cream already applied. I can’t get excited about what is an everyday temperature for half the world.

The morgue keeps bodies at the same temperature as supermarket meat. Being asked to identify a chilled, sanitised version of your loved one seems a very unenviable task. After seeing Sofia’s body, Rollo went straight to her cottage and evidently that was his undoing; I got a call from Tamsin saying as much. She said he had taken a few items but, would I mind? Keep, donate, discard, as I like.

Page 69 works quite hard without seeming to. A browsing reader would gather there has been a death of someone called Sofia; her death was in some way premature because her father is still alive and clearly distraught; Sofia is closely connected to Anna; yet Anna readily contrasts her chilled body with supermarket meat. After the death of someone close enough for Anna to be asked by the family to clear her house, the expectation would be grief. However, there is not only a lack of emotion but a sense Sofia's death is insignificant as, ultimately, is everything.

So, in my opinion, this is a robust test. Page 69 provides insights into Anna’s character – her mordant humour, her irreverence, a suggestion she does not have normal relationships – showcases her lively internal commentary and establishes there will be dying.

Unlike many novels labelled as crime or psychological thriller, in The Artful Anna Harris there is no mystery as to who is the architect of all that happens. Although there is plenty of plot, the narrative is character-driven and Anna’s strong voice invites the audience along for the ride that is her life. If that voice doesn’t appeal, the browser should try another page 69.

Follow Tracy Maton on Instagram and Threads.

Q&A with Tracy Maton.

--Marshal Zeringue

"A Dangerous Bargain"

Erin Cotter writes young adult fiction. Originally from Buffalo, New York, she currently calls Austin home. When not writing she spends time with her partner and pets, eating tacos, and searching for Golden-cheeked Warblers in the Texas Hill Country.

Cotter applied the Page 69 Test to her new novel, A Dangerous Bargain, and reported the following:

Okay, I was skeptical of this test, but the Page 69 Test really works for A Dangerous Bargain! It reveals a typical exchange between the protagonist Virgil and his love interest, Leonardo da Vinci. The boys are rival apprentices in a Renaissance painting studio, and have been at odds with each other for years. Serious, buttoned up Virgil is endlessly annoyed by Leonardo’s cocky charm and lack of respect for the rules. This page is the first scene where the painters have decided to work together on purpose, and I love the banter, the he-said-he-said of it all, and how you get a hint that if they could just communicate and figure out their own problems, they might be able to create something incredible. Their workplace romance was especially fun to write because I love how the workplace creates a bit of forced proximity and begrudging respect between enemies. After all, if your success depends on what someone else is doing, you have to care about them just a little bit! (And spoiler alert, Virgil cares about Leonardo a whole lot, even if he doesn’t realize it fully on page 69.)

Visit Erin Cotter's website.

Writers Read: Erin Cotter.

--Marshal Zeringue

"One Split Second"

Robert Dugoni is a critically acclaimed New York Times, Wall Street Journal, Washington Post and #1 Amazon bestselling author, reaching over 9 million readers worldwide. He is best known for his Tracy Crosswhite police series set in Seattle. He is also the author of the Charles Jenkins espionage series, the David Sloane legal thriller series, and several stand-alone novels including The 7th Canon, Damage Control, The World Played Chess, and Her Deadly Game. His novel The Extraordinary Life of Sam Hell received Suspense Magazine’s 2018 Book of the Year, and Dugoni’s narration won an AudioFile Earphones Award. The Washington Post named his nonfiction exposé The Cyanide Canary a Best Book of the Year.

Dugoni applied the Page 69 Test to his new novel, One Split Second, with the following results:

Page 69 of One Split Second is, ironically, the first page of chapter 7. Detective Tracy Crosswhite and her husband, attorney Dan O’Leary, have returned to their home in Redmond after traveling to Stoneridge, Washington where Tracy’s academy classmate, Jenny Almond, sheriff of Klickitat County has been accused of murder. Tracy suspects the murder is a coverup to a much bigger crime – the abduction of babysitter, Jaquelyn Parker, 45 years ago. Tracy and Dan arrive home to find Therese, their live-in nanny has started dinner, and locked out their two Rhodesian Ridgebacks, Rex and Sherlock, for being rambunctious. Meanwhile, Lydia, a young woman they are mentoring is in the living room entertaining their young daughter, Daniella.

Unfortunately, while this page educates the reader that Tracy is more than a homicide detective - a spouse, a mother, and a friend, and has to deal with all the things that go along with those responsibilities while trying to do a difficult job, it doesn’t speak to the underlying crime, or to the conspiracy that Tracy suspects is hiding secrets. The page is important to establish Tracy’s world, and it expresses that we are all more than just a job title, doing our best to fulfill the many roles and responsibilities we have.

One thing I’ve learned from the 12 Tracy Crosswhite novels is my readers want to know more about her world, the many hats Tracy wears. They also want more of her original world on the Violent Crimes A-Team with partners Del Castigliano, Vic Fazzio and her former partner, Kinsington Rowe. I’ve heard you. Get ready for Graves Tell Lies. Tracy 13. A return to the A-team.

Visit Robert Dugoni's website and Facebook page.

The Page 69 Test: Wrongful Death.

The Page 69 Test: Bodily Harm.

My Book, The Movie: Bodily Harm.

The Page 69 Test: Murder One.

My Book, The Movie: Murder One.

My Book, The Movie: The Eighth Sister.

The Page 69 Test: The Eighth Sister.

My Book, The Movie: A Cold Trail.

The Page 69 Test: A Cold Trail.

The Page 69 Test: The Last Agent.

My Book, The Movie: The Last Agent.

Q&A with Robert Dugoni.

The Page 69 Test: In Her Tracks.

Writers Read: Robert Dugoni (March 2024).

The Page 69 Test: A Killing on the Hill.

My Book, The Movie: A Killing on the Hill.

The Page 69 Test: Beyond Reasonable Doubt.

My Book, The Movie: Beyond Reasonable Doubt.

Writers Read: Robert Dugoni (October 2024).

My Book, The Movie: Her Cold Justice.

The Page 69 Test: Her Cold Justice.

Writers Read: Robert Dugoni (February 2026).

Writers Read: Robert Dugoni.

--Marshal Zeringue

"#AuthorLife"

Joe Zagets is the pseudonym of bestselling author Zoje Stage. Zagets fell in love with the power of storytelling over teen summers spent at the American Ibsen Theater. He went on to write plays, poetry, and essays―while working an eclectic series of jobs at a video store, shoe store, a regional television station, and a public library. When not writing he can be found contemplating how we got here.

Zagets applied the Page 69 Test to his new novel, #AuthorLife, and shared the following:

From page 69:

Every omission and perceived slight reminded him that he hadn’t reached a level where he was viewed as Someone Important—a real talent who had valuable stories to contribute. He wasn’t sure why he was being overlooked, especially given the advantage he held, in this regard, as a white man. By his observation, men still earned more praise and more respect, as a patriarchal society was committed to believing that men were innately more creative and started from a place of greater intellectual ability. And it was often true that books by men were considered of greater mass interest. (There was no such thing as Men’s Fiction, after all.)

Mack recognized, sheepishly yet jealously, that the geniuses of the world were men—the iconoclasts, the standard bearers. Men’s accomplishments were passed down through history, and that all might be unfair, but in theory shouldn’t it work to his advantage?

I think this is a fascinating excerpt to see if/how page 69 represents #AuthorLife. In certain ways, this text is the heart of the matter with its expression of misogyny, ego, and entitlement—as well as the main character's authorly frustrations. But in other ways, such as tone, it isn't quite a fully accurate representation of the book.

Mack is prone to having truly cringeworthy thoughts, and while this excerpt is cringe in certain ways, it's also a fairly well argued observation about society. In that sense, it's a little more philosophical or intellectual than much of what usually pops into his head. These isolated paragraphs might give the impression of Mack being a deep thinker, but more often his thoughts are overtly pathetic or ridiculous.

Given the satirical nature of the book, there are elements of truth behind much of the exposition. But, also due to the satirical nature, it's typically presented in a more over-the-top, groanworthy sort of way. Yet, this excerpt could serve as an explanation for why I chose to make the main character a white man—precisely because he has expectations of success that are based on real world biases. Any other demographic wouldn't have felt so entitled to accomplishments that include such precarious odds; with any other demographic, I think it would have been harder to believe that a character would make such drastic decisions in the face of something as unlikely as becoming "Someone Important."

Visit Joe Zaget's Instagram page and Zoje Stage's website.

--Marshal Zeringue

"Dead Girls"

Beck Kubrick is an award-winning writer and cartoonist living in Manchester, UK. They like stories about terrible girls and thinking about the apocalypse. They have worked with Cartoon Network, Mad Cave Studios, Oni Press, and more.

Kubrick applied the Page 69 Test to Dead Girls, their debut graphic novel as author-illustrator, and reported the following:

It’s not an absurdly out of character page, or a purely logistical, plot dense, I’m sacrificing-this- page-to-deseminate-key-information-the-reader-needs but it’s also not a perfect microcosm of the story. It’s a comedy-horror about girls fighting killers in weird, furry masks and that is captured here. The characterisation is solid; Ash is stoic, Jamie is dry and sarcastic and Cassie is a little oblivious and likes cute things and there’s some banter. However, the page focuses on Jamie’s injury and Cassie/ Jamie’s friendship/ relationship, which aren’t huge focuses throughout the narrative. Ash, our protagonist who is typically our POV character, is less of a focus, too.

The dirty-but-cutesy, character-shaped backpack itself is aesthetically very representative of the story and is literally on the (US) cover. The reader obviously doesn’t have the context for who Heather is with this page alone, but hopefully can infer enough context.

I don’t think it’s a perfect test for my book, maybe five out of ten? Maybe it’s like dog years and the conversion rate of page 69 in prose novels is different for graphic novels/ comics. A picture paints a thousand words etc. so it should be a different page number.

I suppose the test is that people who read page 69 first and like it, tend to enjoy the book rather than ‘is page 69 the perfect summation and encapsulation of the essence of the book’ and perhaps that venn diagram is in fact a circle. I don’t think it’s a great shortcut for my book but I’m open to being proven wrong! If any readers read the book based on the page, let me know!

Follow Beck Kubrick on Instagram.

My Book, The Movie: Dead Girls.

--Marshal Zeringue

"Hidden Currents"

Claire Booth spent more than a decade as a daily newspaper reporter, much of it covering crimes so convoluted and strange they seemed more like fiction than reality. Eventually, she had enough of the real world and decided to write novels instead. Her Sheriff Hank Worth mystery series takes place in Branson, Missouri, where small-town Ozark politics and big-city country music tourism clash in, yes, strange and convoluted ways. Her latest is the critically acclaimed Hidden Currents.

Booth applied the Page 69 Test to Hidden Currents with the following results:

From page 69:

The last sentence was half defiant, half uncertain. She stood there bristling in the dark, a mama porcupine because she didn’t have the resources to be a bear. Her thin pajama pants fluttered in the cold breeze as she crossed her arms protectively over her chest and told him wearily that he’d pronounced her name wrong. “It’s pronounced like ‘machine’ with an ‘R’. Everybody always gets it wrong.” She curled inward even more and tried to stifle a sniffle. “If I’d known she was going to take off, I wouldn’t have even gone to work.”

By now Hank had backed clear off the porch. Hovering wouldn’t help calm her down. Letting her tell her story might. “Who took off?”

“Marie. Useless shitbag. Six hours. That’s all I needed.” Usually her mother watched the kids, but she had an appointment in Springfield. So Cousin Marie stepped in. And then stepped out.

“How’d you find out?” Hank said. “Who called you?” In his experience, useless shitbags didn’t tend to be that considerate.

“Kayden did.” At Hank’s blank look, she pointed behind her. “My son.”

She’d taught her four-year-old how to use the recall button on an old flip phone for just this reason. Undependable relatives and a non-custodial father with a habit of coming around anyway. This was the first time he’d ever had to use it. Then he sat with his two-year-old sister until Rachine got home, wild-eyed and panicked. She didn’t admit to that last part, but Hank figured it was a safe assumption.

“And were they both OK?” he asked softly.

She nodded, tearing up at the memory. She pointed at Hank with a trembling finger. “So Cole can take me back to court again, but this one thing don’t mean I’m unfit. You tell him I’ll fight him just like I did last time.”

No wonder she was so scared. He felt terrible. He would’ve explained right away if he’d known.

He held up a hand, palm out. “Rachine, I’m not here for that. At all. I’m here about you and Gene. Not you and your kids. I need to know about your work.”

If a reader opens to this page 69, they won’t find out much about the plot, but they’ll get a very good take on my main character, Hank Worth. He’s the sheriff of Branson County, Missouri, and this page shows him at his best. He’s kind and patient and very good at thinking through how he deals with people. This young woman works for a man who’s just been found murdered. He needs information, but she’s so panicked that he knows he won’t get anywhere until he calms her down.

Rachine, the young, single mom, has an ex-boyfriend who hated her boss, the man Hank found dead earlier in the day. Gene Willard was new to town. He bought a local business, moved right in like a bulldozer, and made a lot of enemies. So Hank has his work cut out for him as he investigates Willard’s murder. Some people, like Rachine, will try to help. Many more, including the victim’s own family, will do the opposite. They block the investigation any way they can—refusing to talk, destroying evidence, fleeing the scene. It takes all of Hank’s patience, and a good measure of stubbornness, to figure out who among Willard’s enemies is the killer.

Visit Claire Booth's website.

My Book, The Movie: Another Man's Ground.

The Page 69 Test: Another Man's Ground.

My Book, The Movie: A Deadly Turn.

The Page 69 Test: A Deadly Turn. 

Writers Read: Claire Booth (March 2019).

My Book, The Movie: Fatal Divisions.

The Page 69 Test: Fatal Divisions.

Q&A with Claire Booth.

--Marshal Zeringue

"The Girl in Green"

Laura Creedle is the author of The Deep Well, which Kirkus Reviews called “a fresh take on horror,” and The Love Letters of Abelard and Lily. When they’re not writing, Creedle can usually be found playing pinball or watching indie horror. They live in Austin, Texas, with their husband and a feral cat named Hellman who was found with her head stuck in a mayonnaise jar.

Creedle applied the Page 69 Test to their new novel, The Girl in Green, and shared the following:

From page 69:

"Go outside alone," he said. "It's not safe for you out there, especially if you don't know the area."

The way he said "for you" got under my skin. His voice had a slight accent, a twang of authority. He couldn't have annoyed me more if he'd called me "little lady."

I let go of the door and turned around, expecting to see a teacher or someone else who worked for the school. Instead, there was a boy my age standing behind me, with a dead serious look on his face. He had broad shoulders, shaggy dark curls, and a nose that looked like it had been broken and reset slightly crooked. That epic nose bump took his face to the next level. Modeling careers have been built on less.

"Did you just say 'not safe for you?"

The boy crossed his arms and smirked. "I did."

"Do I look like someone who can't handle myself to you?"

I asked slowly.

He looked down at my feet and moved his gaze slowly upward, lingering longer than was strictly necessarily. At five eleven, I was used to people taking me a bit more seriously than this.

"Most places, maybe," he replied slowly. "Not here."

I met his eyes, hoping to stare him down. They were nice eyes. Not brown, nor green, but some combination of the two—or maybe neither. I studied the brutal curve of his cheekbones, and contemplated my next move.

Page 69 might sound a little more like a romance novel than a horror novel. This is the page that introduces her love interest, Barlow. That said, I do think it gives you a sense of the central mystery of the book. My main character, Jess, is trapped in a remote mountain boarding school, where strange things are happening. All she wants to do is escape. It’s clear from this passage that Jess isn’t going to give up on the idea of breaking out of school easily. She’s not a physical lightweight either, and she imagines herself as someone who would rather fight than flee. That sense of herself is tested in the book.

Page 69 is a little lighter in tone than the rest of my novel, but it’s not a bad representation. A better introduction comes earlier when Jess meets her new roommate, Ava. Ava enlists Jess to help her find a missing student, Layla. Layla was Ava’s roommate before Jess, and she disappeared under mysterious circumstances. At first, Jess doesn’t want to get involved, but Ava prods her. Ava challenges Jess to care about something other than escape. To care about someone other than herself. Ava is the soul of the book.

Visit Laura Creedle's website.

The Page 69 Test: The Love Letters of Abelard and Lily.

My Book, The Movie: The Love Letters of Abelard and Lily.

Writers Read: Laura Creedle (January 2018).

Writers Read: Laura Creedle.

Q&A with Laura Creedle.

--Marshal Zeringue