"Lake County"

Lori Roy’s debut novel, Bent Road, was awarded the Edgar Allan Poe Award for Best First Novel by an American Author. Her work has been twice named a New York Times Notable Crime Book and has been included on various “best of” and summer reading lists. Until She Comes Home was a New York Times Editors’ Choice and a finalist for the Edgar Allan Poe Award for Best Novel.

Let Me Die in His Footsteps was included among the top fiction of 2015 by Books-A-Million and named one of the best fifteen mystery novels of 2015 by Oline Cogdill. It also received the 2016 Edgar Allan Poe Award for Best Novel, making Roy the first woman to receive an Edgar Award for both Best First Novel and Best Novel—and only the third person ever to have done so. Gone Too Long was named a People magazine Book of the Week, was named one of the Best Books of Summer 2019, and was excerpted by Oprah magazine.

Roy applied the Page 69 Test to her new novel, Lake County, and reported the following:

In Lake County, page 69 is only half a page. It is the last page of a chapter, which is told from the point of view of the protagonist’s love interest. In these few paragraphs, we learn Truitt is waiting for a man named Wiley to return with Truitt’s mother. Upon hearing Truitt was in trouble, Wiley stormed out of the house to go find Truitt’s mother without learning the gravity of Truitt’s trouble. Truitt wasn't caught running a bolita game, as Wiley assumed. Truitt had killed a man. Truitt regrets not making Wiley slow down enough to let Truitt tell him the whole story. After waiting several hours, Truitt fears something terrible has happened to Wiley and his mother.

Because page 69 is only half a page, readers dropping into this spot would have little context to understand the plot that is well in motion. That said, the section demonstrates the tension, suspense, and high stakes that drive the novel. Readers would get a sense of the novel's voice and its genre.

The Page 69 Test is an intriguing exercise. In the few paragraphs on that page, I find elements of storytelling that I regularly try to incorporate as I write a novel. We get a ticking clock because Truitt has been waiting for hours. We get escalating stakes because Truitt regrets not giving Wiley the whole story. The story Wiley didn’t get is that Truitt killed a man. Murder has much higher stakes than running a bolita game, which is what Wiley thinks Truitt has done. And lastly, the passage ends with a cliffhanger. The clock has been ticking for so long, that Truitt fears something has gone very wrong for his mama and Wiley.

Visit Lori Roy's website.

--Marshal Zeringue

"What Fire Brings"

Rachel Howzell Hall is the New York Times bestselling author of The Last One; What Never Happened; We Lie Here; These Toxic Things; And Now She’s Gone; They All Fall Down; and, with James Patterson, The Good Sister, which was included in Patterson’s collection The Family Lawyer. A two-time Los Angeles Times Book Prize finalist as well as an Anthony, Edgar, International Thriller Writers, and Lefty Award nominee, Hall is also the author of Land of Shadows, Skies of Ash, Trail of Echoes, and City of Saviors in the Detective Elouise Norton series. A past member of the board of directors for Mystery Writers of America, Hall has been a featured writer on NPR’s acclaimed Crime in the City series and the National Endowment for the Arts weekly podcast; she has also served as a mentor in Pitch Wars and the Association of Writers & Writing Programs. Hall lives in Los Angeles with her husband and daughter.

She applied the Page 69 Test to her new novel, What Fire Brings, and reported the following:

From page 69:

Do not leave this place. But trust your gut. But if my gut tells me to bounce, then I will bounce forthwith.

But if you leave, you can never come back. It’s over.

Which means I may never find Sam.

Which means Avery will then have to take this part on herself.

Which means that I’ll lose a chance to broaden my training in these types of undercover investigations.

Which means that I may not pass the licensing test.

Maybe I’m not ready to be a private investigator, not if I’m already thinking about leaving.

Murder. Manson . . .

And brushfires. It is California, and like drought, the Santa Ana winds, and earthquake swarms, fire is one of our seasons.
…..
I must find Santa Ynez Falls before someone looks too long at the dry hillsides and the world goes up in flames.

This page truly captures the story driving What Fire Brings.

On page 69, our heroine, Bailey Meadows, is at the “debate” part of her journey – trying to figure out if she’ll stay at the writing retreat in Topanga Canyon to continue her search for Sam, her missing friend. If she leaves, then Sam may never be found, which may ultimately mean, she may not receive the hours she needs to become a fully-licensed private investigator. But in addition to worrying about the people who may have harmed Sam, Bailey is also worried about her environment. Though it’s not fire season yet in the canyon, she senses… something. Wariness, yes, but something deeper than that.

Bailey is trying to balance duty against her need to survive, knowing that she needs to face danger for her career of choice and that California weather can often be more dangerous and unpredictable than the people she’ll be investigating.

All she knows is this: she needs to find Sam before the world around her catches fire.

Visit Rachel Howzell Hall's website.

The Page 69 Test: They All Fall Down.

--Marshal Zeringue

"Shadowheart"

Meg Gardiner is the #1 New York Times bestselling author of over sixteen novels. Her thrillers have won the Edgar Award and been summer reading picks by The Today Show and O, the Oprah magazine. Called “Hitchcockian” (USA Today) and “nailbiting and moving” (Guardian), her books have been translated into more than 20 languages.

Gardiner applied the Page 69 Test to the new novel in her UNSUB series, Shadowheart, and reported the following:

FBI profiler Caitlin Hendrix hunts serial predators. She ventures into twilight lands and drags UNSUBs—unknown subjects—into the daylight. In Shadowheart, she carries an extra-heavy load. Convicted killer Efrem Judah Goode confesses to a dozen new murders—and draws eerie portraits of his unidentified victims. Then another layer begins emulating Goode’s murders. Caitlin must track this new murderer: a copycat, a psychopath… a competitor.

The families of missing women desperately hope that Caitlin can tell them whether their loved ones are Goode’s victims. On page 69, eighteen-year-old Finch Winter dis for evidence that her birth mother is among the dead. Finch’s adoptive family was her away from the case.

So she snoops. She and her high school boyfriend find a lockbox hidden among her adoptive mom’s belongings.

She hesitated. Zack reached for it.

“No.” She pushed his hand away. He was too eager. This wasn’t some Disney adventure film. “Let me.”

She sat cross-legged on the floor and lifted the lockbox from the cabinet. Set it on her lap, wiped the sweat from her palms, and pressed the latch.

“Oh.”

The box contained a faded snapshot of three young women leaning against a wall outside a diner. Finch picked it up. Her hand trembled.

She didn’t know any of the people in the photo. Why would her mom keep an old photo that didn’t even include herself?

But that wasn’t the thing [MC1] that made Finch’s stomach knot.

One of the young women resembled Goode’s Brooklyn Jane Doe drawing. The resemblance wasn’t just clear—it was uncanny.

Zack’s Scooby-Doo enthusiasm collapsed. His voice turned deadly serious.

“Call the FBI agent,” he said.

Finch shook her head.

“This is what she wants. This is it. Proof. The first evidence you’ve found. This is no coincidence, Finch.”

Finch stared hard at the photo. The streets in the background looked like New York. The three women in the photo were young, leaning together, not that much older than Finch was now. Eyes vivid, full of snark and something dark, despite their smiles. The one in the middle had blond hair, crooked teeth, something eager and hungry in her look.

Zack squeezed her shoulder. “She wanted evidence. What else could this be?”

Well. If it isn’t an actual clue.

Shadowheart is a thriller. It has action, chase scenes, a gunfight, and—I hope—enough suspense and tension that readers will hold their breath and bite their fingernails as they flip the pages. It also has a twisting mystery. Finch Winter and the scene on page 69 are at the heart of that.

Not bad!

Visit Meg Gardiner's website and follow her on Facebook, Instagram, and Threads.

The Page 69 Test: The Dirty Secrets Club.

The Page 69 Test: The Memory Collector.

My Book, The Movie: Meg Gardiner's Evan Delaney series.

The Page 69 Test: The Liar's Lullaby.

My Book, The Movie: Meg Gardiner's Jo Beckett series.

The Page 69 Test: The Nightmare Thief.

The Page 69 Test: Ransom River.

The Page 69 Test: The Shadow Tracer.

The Page 69 Test: Phantom Instinct.

The Page 69 Test: UNSUB.

The Page 69 Test: Into the Black Nowhere.

The Page 69 Test: The Dark Corners of the Night.

--Marshal Zeringue

"The Last Note of Warning"

Katharine Schellman is a former actor and one-time political consultant. When not writing about mystery, history, and other improbable things, she can be found in her garden or finding new ways to skip steps while baking. She currently lives and writes in the mountains of Virginia in the company of her family and the many houseplants she keeps accidentally murdering. Her books include Last Call at the Nightingale and The Last Drop of Hemlock.

Schellman applied the Page 69 Test to her new novel, The Last Note of Warning, and reported the following:

From page 69:

Bea’s hands tightened around the slim cover of the book. “You gonna tell me what’s going on?”

“Yeah,” Vivian said, staring down at her lap. “It ain’t good.” Taking a deep breath, not meeting Bea’s eyes, she told her what had happened at the Buchanan mansion. Her words stumbled over each other more than once, as she hurried past what she had found in Buchanan’s study and tried to explain what the police had said and thought. She kept her voice quiet, not wanting to risk the neighbors overhearing. But she still felt exposed, as though at any moment someone would swoop in and haul her away.

When she got to the commissioner’s surprise visit, Bea sucked in a sharp breath. “God almighty,” she breathed. “Girl, you are in so much trouble.”

I can’t quite decide whether the Page 99 Test does or doesn’t work for The Last Note of Warning!

On the one hand, the setting is more generic here than it is in most of the book. It's set in New York City during the Jazz Age and centers around a speakeasy known as the Nightingale, which is critical to both the plot and the feel of the book. Most of the characters are working class, and the Nightingale provides them a glamorous escape and a place where they can be themselves in a demanding and unequal world. But it also brings danger into their lives, given the criminal underworld in which it exists thanks to Prohibition.

On the other hand, Vivian and Bea are two central characters, and their friendship and support of each other is a key part of both this book and the series as a whole. It also gives readers a hint of what the main character, Vivian, is up against. There’s a murder charge and a ticking clock, and she’s going to need her friends’ help if she wants to beat it.

So, while a scene in the Nightingale would probably give readers a stronger sense of the book as a whole, I think this one isn’t too bad! Hopefully, it would persuade a reader or two to pick up the book and see what else is going to happen.

Visit Katharine Schellman's website.

--Marshal Zeringue

"Assassins Anonymous"

Rob Hart is the author of The Paradox Hotel, a finalist for the Lambda Literary Award that was named one of the best books of 2022 by Kirkus and NPR.

He also wrote The Warehouse, which sold in more than 20 languages around the world.

He is also the author of the Ash McKenna crime series, the short story collection Take-Out, the novella Scott Free with James Patterson, and the comic book Blood Oath with Alex Segura.

Hart applied the Page 69 Test to his new novel, Assassins Anonymous, and reported the following:

From page 69:

It may not be the field of war, but the man on the balcony, the other men in the room, they were Triad. They were in the game. The potential for death in this life is assumed. This man wasn't in the game, but he decided to join. The knowledge he put up for sale could shift geopolitics and end a lot of lives. Painfully.

Page 69 of Assassins Anonymous finds Mark, once the world’s deadliest assassin and now in a recovery program for killers, in the middle of killing a whole bunch of people! It’s a flashback sequence, to his first official job for the mysterious organization that employs him.

It’s brutal and bloody and I think gives a good feel for what the action in the book is like. I spent a lot of time outlining and designing this set piece. It takes place in a hotel room in Singapore, and Mark has been sent in to kill someone who’s about to do something very bad, but the intel he got was off—there are far more men in the room than he expected.

Cue the mayhem. I wanted it to be cool and slick, but also make it clear how utterly terrifying it must be, to be on the other end of this man’s wraith.

But it shows how good Mark is at his job, and hints toward the things he’ll come to struggle with. Just because it’s not a substance doesn’t mean it’s not addictive. Sometimes it just feels really good to be good at something. And Mark is very good at killing.

Visit Rob Hart's website.

My Book, The Movie: Potter's Field.

The Page 69 Test: Potter's Field.

The Page 69 Test: The Warehouse.

The Page 69 Test: The Paradox Hotel.

Q&A with Rob Hart.

--Marshal Zeringue

"Moonstorm"

A Korean-American sf/f writer who received a B.A. in math from Cornell University and an M.A. in math education from Stanford University, Yoon Ha Lee finds it a source of continual delight that math can be mined for story ideas. Lee’s novel Ninefox Gambit won the Locus Award for best first novel, and was a finalist for the Hugo, Nebula, and Clarke awards; its sequels, Raven Stratagem and Revenant Gun, were also Hugo finalists. His middle grade space opera Dragon Pearl won the Mythopoeic Award for Children’s Literature and the Locus Award for best YA novel, and was a New York Times bestseller. Lee’s short fiction has appeared in publications such as Tor.com, Clarkesworld Magazine, and Audubon Magazine, as well as several year’s best anthologies.

Lee’s hobbies include composing music, art, and destroying the reader. He lives in Louisiana with his husband and an extremely lazy catten.

Lee applied the Page 69 Test to his new novel, Moonstorm, and reported the following:

Page 69 of Moonstorm opens with a discussion of state worship of the Empress and the heroine reiterating her desperation to become a lancer pilot instead of getting some scut job cleaning mold out of hydroponics as a refugee evacuated by an Imperial fleet. It took me several moments to remember what the heck was going on in this passage, and I wrote the dang thing!

Browsers looking only at this page would accurately be able to tell that (a) we’re in space (b) there’s a military (c) the heroine cares a lot about becoming a pilot. Most of the wider context or my heroine’s relationships to the other characters, not so much! Moonstorm is science fantasy rather than hard science fiction, for instance; gravity is caused/affected by religious/state ritual, space is filled with temporarily breathable aether; but you can’t tell that from page 69. So at least the browser would be in the ballpark for genre, and have a sense that at least some of the characters are space Koreans from the names (Hwa Young, Ye Jun, Geum).

Browsers would, on the other hand, get an accurate sense of the prose. I was asked to simplify this for the target audience, or to gloss terminology that YA readers might not be familiar with, such as IFF (Identification Friend or Foe) or C2 (command and control). I’m used to assuming that readers in adult quasi-military science fiction will have a handle on a lot of terminology that YA readers legitimately may not know off the top of their heads.

Visit Yoon Ha Lee's website.

The Page 69 Test: Revenant Gun.

Writers Read: Yoon Ha Lee (June 2018).

My Book, The Movie: Ninefox Gambit.

Q&A with Yoon Ha Lee.

The Page 69 Test: Fox Snare.

Writers Read: Yoon Ha Lee (October 2023).

My Book, The Movie: Moonstorm.

--Marshal Zeringue

"The Memo"

Rachel Dodes is a freelance culture writer. She’s a regular contributor to Vanity Fair, and her work has also appeared in Town & Country, Elle, Esquire, the New York Times, the Wall Street Journal, and Buzzfeed among other publications. She was a staff writer at the Wall Street Journal where she covered fashion and film. She lives in New York with her husband, son, and dog.

Lauren Mechling is a senior editor at the Guardian US and has written for the New York Times, the Wall Street Journal, Slate, The New Yorker online, and Vogue, where she wrote a regular book column. She's worked as a crime reporter and metro columnist for the New York Sun and as features editor at the Wall Street Journal. She is also a young adult novelist. A graduate of Harvard College, she lives in Brooklyn, New York, with her husband and two children.

Dodes and Mechling applied the Page 69 Test to their new novel, The Memo, and reported the following:

If book browsers open to page 69 of The Memo, they will find our protagonist Jenny Green at a kickoff party for her 15th college reunion where she is struggling to put the best spin on her lackluster life. A classmate who remembers Jenny as the cool, carefree rebel she used to be, asks her whether she is married (no) or has kids (no). Jenny tells him she has a boyfriend (who is cheating on her, though she doesn't mention that part) and that she works at a feminist nonprofit (a dead-end hellscape overseen by a raving narcissist, but she leaves that out too). She thinks she might be rescued from the awkwardness when class president Allie Dourous, who now goes by Alessandra D'Ouros, elbows her way in and starts babbling about a gala that she is chairing at the Museum of Modern Art. A gala to which everyone–except Jenny–seems to be invited.

We had never heard of McLuhan's observation about page 69, but when it comes to our book, the test did not disappoint! Page 69 of The Memo is a set piece that is filled with uncomfortable conversations that encapsulate Jenny's powers of observation and emotional state: she definitely missed the memo. However, to understand the Sliding Doors elements of the book–time travel and wormholes and second chances–you'll have to make it to the next chapter, when Jenny actually gets the memo, and the chance to undo her biggest mistakes. On the whole, though, we are on Team Page 69. The Memo's (comedic) tone and (bittersweet, awkward) flavor definitely come through here. It's a nice amuse bouche before the meal that is The Memo.

Because The Memo is essentially a romantic comedy wrapped in a time-travel novel, the plot unfolds in two parallel timelines: One shows Jenny stuck in her real, regret-filled life, while the other reveals what her days and years would have been like had she received a magical Memo. Because of the compare-and-contrast aspect of the book, the Page 69 Test is, of course, limited in its ability to offer the full magic carpet ride of the book, but we feel it does a good job setting the tone and enabling readers to understand Jenny's central conflict. But we urge readers to stick around and skip through a portal or two.

Visit Lauren Mechling's website and Rachel Dodes's website.

--Marshal Zeringue

"Same Difference"

E.J. Copperman is the nom de plume for Jeff Cohen, writer of intentionally funny murder mysteries. As Copperman, he is the author of the Haunted Guest house series, the Agent to the Paws series and the Jersey Girl Legal mysteries, as well as the brand-new Fran and Ken Stein mysteries. As Cohen, he is the author of the Double Feature and Aaron Tucker series; and he collaborates with himself on the Samuel Hoenig Asperger's mysteries.

A New Jersey native, Copperman worked as a newspaper reporter, teacher, magazine editor and screenwriter, before his first book was published to critical acclaim in 2002. In his spare time, Cohen is an extremely amateur guitar player, a fan of Major League Baseball, a couch potato and a crossword addict.

Copperman applied the Page 69 Test to his latest novel, Same Difference, and reported the following:

When I spent a college summer working in the deli department of a local supermarket, there was a guy working there who delighted in watching the ticket numbers (you took a ticket and were served when your number came up) until he could call out, “Sixty-nine! America’s favorite number!”

That doesn’t really have anything at all to do with my new book, Same Difference, the second Fran and Ken Stein (yes you read that right) mystery. On page 69 in this novel, Fran has been hired by a man to find his missing 19-year-old trans daughter and she’s coming up short. That’s not typical for Fran because she’s very tall, and there’s a reason for that, but you have to read the book to find that out. I’m just talking about page 69.

She’s gone to Eliza’s (the woman she’s looking for) apartment with her dad and lying on the bed in her room, trying to get into Eliza’s mindset because she thinks this is an example of a person who wasn’t so much taken as who wanted to be somewhere else, and not answer her phone. And Fran’s not coming up with much:

This search was turning out to be a bust. But I needed to know more about Eliza’s friend Rainbow.

Having searched the room one and a third times, I knew where to find the one indispensable source of information for a recent high school graduate: Eliza’s yearbook. I pulled it off the shelf over her desk and started to scan through it thoroughly but as quickly as I could. It’s not that easy to pull off but I’m good at what I do.

A fairly painstaking scan of the class found no student named Rainbow, but Brian had suggested that person might be someone Eliza had met at New Amsterdam. I still had Laura Rapinoe’s phone number and I used it, trying not to picture the wince on her face when she saw who was calling.

Give Laura credit: She answered. “I don’t know where Eliza is,” she said. “Did you find Damien?”

Dammit. She didn’t know.

I don’t know if this page is indicative of the whole book. It’s pretty static and there’s a lot of action in this novel. It does show you something about Fran’s attitude and her tenacity but her humor isn’t wildly on display and that’s a big part of her character.

I’d recommend reading the other 215 pages to get a better feel for it.

Visit E. J. Copperman's website, Facebook page, and Twitter perch.

My Book, The Movie: The Thrill of the Haunt.

The Page 69 Test: The Thrill of the Haunt.

My Book, The Movie: Ukulele of Death.

The Page 69 Test: Ukulele of Death.

Q&A with E. J. Copperman.

--Marshal Zeringue

"Burn It All"

Maggie Auffarth is a lifelong book obsessive and crime fiction enthusiast. She holds a degree in creative writing from Wheaton College and she was a finalist for the Helen Sheehan Book Prize in 2018. When she isn't plotting fictional crimes, she enjoys baking, running, and binge-watching Lifetime movies. She lives in Atlanta.

Auffarth applied the Page 69 Test to Burn It All, her debut novel, and reported the following:

From page 69:

I nod, doing my best imitation of sympathy. People like Scott – handsome, talented guys, even the ones hovering toward the bottom rung of middle-class – they can’t fathom a life where those things have always mattered. Where the first chance might be the only one you get. And, for a second, I wonder what it must be like to live a life assuming the world will undress and lay itself bare before you, splayed and ready.

“I need another drink,” I tell him, my voice rough. “You want anything?”

Scott pops the whole s’more into his mouth and talks around it. “I think I saw a cooler underneath the deck,” he says, and then he’s charging forward and I’m following.

Sure enough, there’s a spare cooler tucked up underneath the deck and Scott digs two ciders out from the ice, popping the top off one and handing it to me. I take a swig, cringing at the sweetness of it on my tongue and down my throat, like pure, fizzing sugar.

Scott leans his shoulder against one of the wooden support beams and looks at me. It’s dark here, the only light falling from between the small gaps in the deck, but I can still make out the path of his eyes as they sweep up and down the length of my body.

“You’re a cool girl, Thea,” he says – whispers, really, and I can feel my mouth falling open in shock, which makes him laugh. He reaches out and tucks a loose curl behind my ear and the smoothness of the gesture surprises me, like he’s done it before – like he’s been waiting to do it for a long time. “I always had kind of a crush on you.”

“Shut up,” I say reflexively, and he laughs, unfazed.

He takes a step toward me, and it feels like all the air around me is sucked up by the vacuum of his presence. “Okay,” he says and then, suddenly, he kisses me. I go stiff, my back pressed into the wooden beam. Paralyzed by the shock of it, even though this is exactly what I wanted to happen.

I swallow hard and force my lips to move. Force my tongue to engage with his. He tastes like chocolate.

I’d like to say that I’ve always had a thing for Scott – that this kiss is a real fairy tale, full-circle moment for me. But that would be a lie. The truth is a lot simpler, and a lot harsher.

Hmmm, this is a tough one, but I’d say that Burn It All doesn’t quite pass the Page 69 Test. While the scene above does give us some key insights into Thea – her disdain for people who seem to go through life effortlessly, and her lack of self-confidence – it’s ultimately not indicative of her character. In fact, this high school flashback is the only scene in the book where Thea does something purely to win the approval of others. Though she knows she isn’t interested in Scott, she also knows that associating with him is the quickest way to raise her social standing. Normally, this isn’t something Thea cares about, but she can feel her best friend, Marley, drifting away from her and falling in with the popular crowd, and Thea’s desperate to win her back.

I do think this scene is a good example of the mind games Thea and Marley are constantly playing with each other. Though Marley isn’t mentioned on page 69, she’s the motivation behind Thea’s actions here, and the two are perpetually locked in a battle of wills, each trying by turns to one-up and impress the other.

This scene also introduces us to the character of Scott, who goes on to play a critical role in both Thea and Marley’s adult lives. Lastly, it serves as the catalyst for one of the book’s darkest plot points, which I won’t spoil, but which sets the stage for the present-day story’s main action.

Visit Maggie Auffarth's website.

My Book, The Movie: Burn It All.

Q&A with Maggie Auffarth.

--Marshal Zeringue

"Just Like February"

Deborah Batterman is the author of Just Like February, a finalist in the 2019 Next Generation Indie Book Awards, 2018 Best Book Awards, International Fiction Awards, and American Fiction Awards. A story from her collection, Shoes Hair Nails, was nominated for a Pushcart Prize. In 2012 she published Because My Name Is Mother, a chapbook of essays linked by the reminder that every mother is a daughter, too.

Batterman applied the Page 69 Test to Just Like February and reported the following:

Just Like February is the story of a girl’s love for her charismatic gay uncle and her coming of age in the ‘80s. As the idea for the novel formed, I asked myself how did we get from the sex/drugs/rock ’n’ roll ’60s to the sex as death ’80s? Rachel, the young narrator, emerged as the voice of a time of profound innocence lost.

A reader who lands on page 69 would find Rachel reflecting on a telling conversation with her best friend. It’s July 4th, 1976, which happens to be her birthday. She’s at a Bicentennial celebration with her parents on the Upper West Side of Manhattan. Being the only child among adults gets her thinking about her best friend, Laura, who had begged her to come to her family’s barbecue. There would be other children, “stupid little cousins and the Brat,” in the words of Laura.

She never called her one-year-old sister, Ricki, by her name, just complained a lot about how much better life was before the Brat. She hated the baby drool and the baby talk, made fun of the way her parents clucked at the Brat all the time when she was an infant. “You don’t want a baby in your house, Rachel, believe me. They turn your parents into chickens, clicking their tongues, making strange noises all the time. And when they’re not clicking or clucking, they’re oohing and aahing at every stupid little thing she does.” She pinched her nose. “The Brat can stink up a room like nobody else, then smile, like she’s proud of what she’s doing. If you had a younger brother or sister—and believe me, you don’t know how lucky you are not to—you would understand.” I told her I did have a “brother,” but he died. Of pneumonia.

When she asked me his name, all I could think was, Baby Baby Baby. “Bobby,” I blurted out. “His name was Bobby.”

“So you know what I mean.” The conversation between two seven-year-olds doesn’t go much further except for Laura to repeat, “You don’t know how lucky your are, Rachel. No babies, no brats.” A perfect segue for Rachel to take in the adults around her, especially her grumpy father.

There’s no page 69 without page 68, and a quick peek reveals that Rachel’s mother recently had a miscarriage. As the discord in her parents’ relationship grows, her affection for an uncle who opens up worlds to her takes center stage in her life.

Learn more about the book and author at Deborah Batterman's website.

--Marshal Zeringue

"The Paris Widow"

Kimberly Belle's new novel, The Paris Widow, “continues the author’s winning streak” according to Publishers Weekly. Her previous novels include The Marriage Lie, a Goodreads Choice Awards semifinalist for Best Mystery & Thriller, and the co-authored #1 Audible Original, Young Rich Widows. Belle’s novels have been optioned for film and television and selected by LibraryReads and Amazon & Apple Books Editors as Best Books of the Month, and the International Thriller Writers as nominee for best book of the year. She divides her time between Atlanta and Amsterdam.

Belle applied the Page 69 Test to The Paris Widow and reported the following:

Page 69 is smack in the middle of a pivotal scene, when Stella is being questioned by a lieutenant colonel of the Paris Police Force. Two days ago, her husband Adam disappeared after a bombing in a Parisian square, and now, the lieutenant colonel has come to deliver some troubling news about Adam and his business.

“…While Architectural Elements might be a legitimate business, it is only a very small part of how your husband makes his money. Monsieur Knox’s real business, the one that brings in a great deal of income, is dealing in looted and stolen artifacts.”

The accusation is so out of left field, so absurd, that I laugh. The sound is sharp in the tiny room, and loud in my own ears. But the lieutenant colonels’ expression doesn’t change. He stares back at me across the table.

I sit back abruptly. “No. that’s not true. Adam sells decorative wall panels and, and…antique mirrors. Cast-iron balcony railings like the ones here in Paris. He doesn’t steal these things. He buys them.”

While she fights it at first, this is the moment the realization really sinks that her husband hasn’t been entirely truthful, and it is very much at the core of what the story is about: secrets that can destroy a marriage, the sale and trade of blood antiquities, a highly lucrative—and highly illegal—enterprise. It’s a pivotal moment for both Stella and the novel, as it sends her on a mission for the truth despite the danger swirling all around her.

Visit Kimberly Belle's website.

The Page 69 Test: Dear Wife.

Q&A with Kimberly Belle.

The Page 69 Test: My Darling Husband.

--Marshal Zeringue

"Flyboy"

Kasey LeBlanc (he / him) is a queer, trans, Jewish and neurodivergent author who writes stories for young people. His debut young adult novel Flyboy tells the story of a closeted trans boy, his
Catholic high school, and the magical dream circus where he can finally be seen for his true self.

LeBlanc applied the Page 69 Test to Flyboy and reported the following:

By day, 17-year-old Asher Sullivan is a closeted trans boy just trying to survive senior year at his new Catholic school; by night, he soars through the air as a flying trapeze artist in the magical dream circus where he is seen for his true self.

…Or at least he will once he figures out how to free himself from his assigned role as a clown.

If a reader were to pick up Flyboy for the first time and flip to page 69, they would find Asher at the circus, having just finished another unsuccessful attempt at training to be a clown. As he sits outside the main tent, a memory comes to mind of the black-and-green bike he asked his grandparents for for his seventh birthday.

Towards the end of the page 69 into the top of page 70, Asher recalls the moment at his birthday party (having until that moment pretty much only received stereotypical “girl” gifts) when he waits for his grandparents’ gift.

When the big moment came, my grandparents made me close my eyes as they wheeled out my gift and set up the video camera to record the big moment. It’s one of my grandparents’ favorite videos of me, and one of my least. There’s a moment as I’m pulling off the wrapping paper and thanking my grandparents profusely, that I always think they’ll notice, but they never do, so blinded are they by their own perceptions of that day. It’s just a small moment, as I spot the first flash of color on the bike–bright pink and sparkly, rather than lime green and black–when my face falls, before I recover and plaster on a new smile, fake this time.

Being a clown at a magical circus is a lot like that pink bike. Almost perfect, yet completely wrong.

Even though it’s technically on page 70, I love that final line because I think it captures so much of Asher’s journey in Flyboy. In a world that wants to put him in a box and see him in a certain way, his story is one of finding the strength to break free and the confidence to live life on his own terms.

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--Marshal Zeringue