"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