Birding with Benefits by Sarah T. Dubb is a refreshing love story about growing, changing and the natural resistance to both. Fortysomethings Celeste and John are a bit tattered by life. They’re prepared to walk their paths alone until a mutual friend asks Celeste to partner with John at a bird-watching event. On a whim, Celeste decides to continue doing so for the entire six weeks of a contest John’s entered. He’s undeterred by her inexperience and delighted by her enthusiasm, and the commitment-wary pair grow closer, finally succumbing to their attraction. Can their friends-with-benefits relationship end painlessly once the contest is over? Filled with everyday moments and a marvelous sense of place—the author’s hometown of Tucson, Arizona—readers will lose their own hearts to playful Celeste and solid John, both authentic, well-meaning people you’d like to join for a coffee or a hike. Middle-aged characters don’t star in a lot of romances; how fabulous that these two get top billing in this top-notch romance.
Wake Me Most Wickedly
Felicia Grossman’s Wake Me Most Wickedly is a genderswapped spin on Snow White set in the Jewish community of 1832 London. Hannah Moses has dedicated herself to giving her younger sister a better life, and is building a sizable dowry for her by selling secondhand goods and information to unsavory characters. Simon Weiss is similarly loyal to his brother, a banker trying to secure a spot in the gentile world through baptism and marriage. When Hannah and Simon meet, sparks fly and trouble begins. Simon is sure of himself and his feelings, but Hannah knows she can be nothing to him beyond an occasional lover thanks to her criminal activities. Grossman’s second Once Upon the East End romance is a wonderful story filled with adventure, love and, above all, passion.
All’s Fair in Love and War
A Regency governess gets a man in Virginia Heath’s All’s Fair in Love and War. Continually passed over for employment due to her plain-spoken ways, Georgina Rowe can only say yes when a desperate naval officer needs someone to watch over his rambunctious nephew and nieces. Harry treasures order and stability and Georgina provides—well, not that. Not only does she have unconventional views about how children should learn, she’s personally challenging his vow to never fall for a woman again. After a career-disrupting engagement years before, Harry savors his solitary state and how it allows him to pursue his ambitions unfettered . . . until he realizes how much he enjoys family life and the irrepressible Georgina. Readers never tire of a down-on-her-luck heroine and a hero who needs to lighten up, and Heath provides both in this entertaining romp along with puckish children, busybody servants and mischievous dogs.
Sarah T. Dubb’s charming, mature romance delights our columnist, plus the latest from Felicia Grossman and Virginia Heath.
Filled with fun tropes, disability representation modeled after the author’s own experience and beautiful writing, Out on a Limb is a love story so sweet you want to squeal with glee. Originally self-published, Hannah Bonam-Young’s lovable rom-com is a must-read gift to the genre.
Winnifred “Win” McNulty is used to forging her own path. Not one to tolerate being coddled for her limb difference, Win has spent most of her life trying to prove to everyone around her that she can make it just fine on her own, thank you very much. But that all changes one very steamy night at her best friend’s annual Halloween bash, when Win hops into bed with the very handsome Bo. Caught up in the moment, they rely on Win’s irregular use of birth control and find themselves facing a surprise pregnancy. Bo recently lost the lower part of one of his legs to cancer (he’s now in remission), and wasn’t sure if he’d be able to have children. So he’s elated at the news, shocked but genuinely excited. Meanwhile, Win decides to view her pregnancy as a way to level up into adulthood after spending her 20s flailing. The two plan to navigate pregnancy and parenthood as friends only, because that’s what good, responsible future caretakers would do. But if Win and Bo have learned anything, it’s that things rarely go according to plan.
Here is my romance hot take, the absolute hill I will die on: I love a surprise pregnancy. That’s right, I said it. Out on a Limb perfectly deploys this tricky, often unpopular trope with two of the best main characters a reader could ask for. All the while, Bonam-Young winks at the reader, letting us know not to worry since Win and Bo secretly have big, tenderhearted feelings for each other. Both are softies who’ve had a bit of life thrown at them and, as a result, are scared of the possibility of a good thing. We watch them unlearn past hurts, often from time spent operating in an ableist society, and be seen for the very first time by a partner. It’s an incredible thing to bear witness to, and it makes for a powerful love story.
“Isn’t that all we ever want? To be seen and heard?” Win says at one point. “Validated, even when we’re not able to ask for it?” Out on a Limb allows readers to feel all of those things alongside its characters, and the romance world is better, kinder and more expansive for it.
Hannah Bonam-Young will make you a believer in the oft-loathed surprise pregnancy trope with Out on a Limb.
What happens when the characters in a romance know that they’re in one? Rom-coms are screenwriter Molly Marks’ bread and butter, so she’s already well aware of the tropes at play when she sees Seth Rubenstein at their high school reunion. He’s her first love, high school sweetheart, the one who got away, the one whose heart she broke. She’s the snarky cynic who runs from anything that looks like love, and he’s the wide-eyed dreamer who throws himself headlong into relationships because he still believes in true love, despite his highly successful career as a divorce attorney. They’re hitting every beat for a second-chance, opposites-attract romance, but Molly thinks she’s too smart to fall into that trap. She makes a bet with Seth: They’ll pick five couples and use their expertise to predict whether they’ll last or fail by their next reunion. Whoever makes the most correct predictions is the one who is truly right about love. But the fifth couple Seth picks to go the distance? It’s them.
In Just Some Stupid Love Story, author Katelyn Doyle takes her time with her characters. This isn’t a romance where perfect love is achieved in a matter of days. The timeline goes from Molly and Seth’s 15-year reunion in 2018 all the way to their 21-year one in 2023, including the height of the pandemic—which Doyle folds into the story very effectively, showing how COVID-19 acted as a pressure cooker for personal relationships. Seth and Molly’s relationship develops in fits and starts, often moving two steps forward and one step back even as their feelings for each other endure, sometimes painfully. Love doesn’t come quickly or easily in Just Some Stupid Love Story, and when it comes, it doesn’t fix everything. These characters legitimately struggle to overcome their fears, let go of their worst tendencies and show compassion even when faced with situations they don’t fully understand. While there are plenty of stories out there that say love conquers all, this one actually shows how and why. And that’s as surprising as it is satisfying.
Katelyn Doyle’s wise and satisfying Just Some Stupid Love Story follows a potential couple as their relationship develops in fits and starts over the span of five years.
A romance is all about the final payoff: After pages of will-they-won’t-they teasing, readers anticipate the moment when everything falls ecstatically into place and our lovers end up together. Kate Young’s Experienced takes this model and twists it, leading readers on a wholehearted, fun exploration of dating and love in the 21st century. After her girlfriend Mei suggests they take a break so the newly-out Bette can casually date and get the full single experience, Bette goes on an awkward odyssey of first dates. Her journey is silly and relatable, and stays away from romance cliches—although that isn’t to say that the book doesn’t end happily.
Bette tries to be chill about the break. After a bit of confusion and hurt, she decides the best course of action is to actually get some dating experience. With her roommate Ash and Ash’s token straight-guy boyfriend Tim, Bette begins crafting her dating app profiles. They choose the best pictures—though Ash and Tim have to convince Bette that she really does look hot in some of them—and write cool, ironic responses to the prompts. Soon after, Bette starts dating a lineup of strange, sexy characters running the gamut of British lesbian baddies. The most memorable is Bette’s first date, Ruth, a PhD student and experienced casual dater who gives Bette the recipe for success and, in a twist of fate, helps her realize what she really wants from a relationship.
Chapter titles that count down to the date when Bette and Mei are supposed to get back together lend Experienced a sense of anxiety and longing that will be all too familiar to 21st century daters. Young’s charming British English pairs with a young millennial’s quirky, anxious interiority for a fun, surprisingly profound read. Romantics, if you’re lonely or even if you’re happily in love, this novel will be a treat.
Kate Young’s charming British English paired with her young millennial protagonist’s quirky, anxious interiority makes Experienced a fun, surprisingly profound read.
A Series of Un/Natural/Disasters by Cheena Marie Lo
If you were pressed to categorize a book of poetry on your bookshelf as fiction or nonfiction, would you choose fiction? Most people probably would. Poetry has a reputation for being airy and fantastical, for dwelling in the realm of emotions and dreams, not in the “real world.” Yet there is a strain of poetry that is explicitly concerned with informing readers about real events: documentary poetry. Cheena Marie Lo’s A Series of Un/Natural/Disasters (Commune Editions, $16, 9781934639191) is an excellent contemporary example, using statistics and phrases pulled from the news to trace human responsibility for the outcomes of devastating “natural” events like Hurricane Katrina and Hurricane Sandy. Lo compares ecological processes like seasonal migration with the movement of evacuees in response both to the destruction caused by a storm and the failure of systems expected to provide help. At the same time, Lo points to the recovery of nature as a model for community recuperation through mutual aid. This is a great collection to read alongside Patricia Smith’s Blood Dazzler—another powerful documentary book of poems that chronicles state failure and human resilience during and after Katrina.
—Phoebe, Associate Editor
The Best We Could Do by Thi Bui
I was introduced to The Best We Could Do (Abrams ComicArts, $19.99, 9781419718786) in a college English class, which admittedly isn’t the most exciting way to find a book. But as a 20-something with lots of emotions about parenting and intergenerational trauma, I found author-illustrator Thi Bui’s story at exactly the right time. This graphic memoir flows between present and past. In the frame story, Bui is anxious that her flawed relationships with her parents will define how she interacts with her newborn son. In an effort to alleviate her anxiety, she sits down with her parents and attempts to figure out how they became who they are, journeying with them through their childhoods in war-torn Vietnam, their harrowing migration as refugees and their imperfect restart in America. Told through beautiful watercolor illustrations and sparse, emotionally-wrought text, Bui’s memoir does not offer easy answers to questions about trauma, immigration and family. However, The Best We Could Do is a tremendous lesson in empathy and a testament to healing through human connection.
—Jessica Peng, Editorial Intern
One Last Stop by Casey McQuiston
Casey McQuiston’s sophomore novel, One Last Stop (Griffin, $16.99, 9781250244499), is a clever, emotionally resonant take on a timeslip romance with an utterly dreamy love interest: 1970s punk feminist Jane Su, who is mysteriously trapped outside of time on the New York City subway. As they proved in their already-iconic 2019 debut, Red, White & Royal Blue, McQuiston understands that in order for readers to wholeheartedly invest in a heightened scenario, it helps to have characters who are going through things that are eminently relatable. And so, recent New Orleans transplant August Landry’s quest to rescue Jane is balanced by the travails and triumphs of her job at Pancake Billy’s House of Pancakes (one of the best fictional diners ever?) and the slow blossoming of her relationships with her roommates into something like family. It’s an achingly sweet portrait of a closed-off loner finding community for the very first time, and an ode to being young, broke and happy in NYC. It all culminates in a perfect finale, where August must draw on her new connections to pull Jane free and secure their happily ever after.
—Savanna, Managing Editor
The Wandering Earth by Cixin Liu
Our whole planet is migrating in the title story of The Wandering Earth (Tor, $19.99, 9781250796844) a collection by Cixin Liu, renowned author of The Three-Body Problem. Faced with proof of the sun’s imminent death, humanity collectively seeks to escape obliteration by installing giant plasma jets to propel the Earth toward a new solar system. As mankind’s home is transformed into one massive spaceship, an unnamed protagonist watches decades of his life pass, narrating with straightforward melancholy as he witnesses tragedy and chaos. As changes to Earth’s orbit cause boiling rain to fall and oceans to freeze, the cataclysmic, sublime journey of “The Wandering Earth” will batter you with alternating waves of immense beauty and terror. And don’t expect a chance to surface for air after finishing this first story: The next nine continue to pummel the reader with Liu’s staggering imagination and rare talent for combining grandiose backdrops with personal stories suffused with aching emotion, such as that of a man climbing a mountain made of water, or a peasant boy growing up to become a space explorer. Liu’s eye for detail and mind for the poetic add a profundity to The Wandering Earth, elevating it to stand among the best science fiction.
—Yi Jiang, Associate Editor
Does warmer weather and the approach of summer have you feeling restless? Pick up one of these stories featuring journeys great and small.
Julie Anne Long exquisitely captures sensuous, romantic longing in My Season of Scandal. Country miss and physician’s daughter Catherine Keating is embarking on a London society husband hunt from the charming Grand Palace on the Thames boardinghouse. Living one floor above her is Lord Dominic Kirke, a fiery, justice-seeking politician with a notorious reputation. They should have nothing in common, and yet they find in each other like minds and hearts. Dominic tries to keep clear of Catherine, believing his worldliness and tarnished past will hurt her prospects, but they are drawn together at every ball. The resolution will induce sighs and perhaps a few happy tears, as what romance reader can resist a tale starring a jaded hero and an innocent but plucky heroine?
The Good Ones Are Taken
The ever-popular friends-to-lovers trope is front and center in Taj McCoy’s The Good Ones Are Taken. Maggie’s full life is only lacking one thing: a man to love. Well, that’s not entirely true. There’s Garrett, her best friend, but back when they were teenagers, they decided not to cross the line into romance. But with Maggie’s duties as maid of honor for her two besties coming up, she feels pressured to find a Prince Charming and determinedly puts herself out there. She doesn’t quite fit with anyone until she takes a closer look at Garrett—yet can she risk ruining what they have? Set in Los Angeles, The Good Ones Are Taken is fun, fresh and filled with good food, great clothes and scorching love scenes. Readers will want to hang out with Maggie and company while rooting for her happy ending.
Earls Trip
Jenny Holiday’s tongue-in-cheek Regency romance Earls Trip showcases her trademark charm, humor and well-developed characters. Three aristocratic friends (two earls and a viscount) depart London for their annual sabbatical. But after a last-minute request from an old family friend, Archibald Fielding-Burton, the Earl of Harcourt, rescues sisters Clementine and Olive Morgan from a conniving blackguard—and then brings the two women along on his getaway with the guys. Archie and Clementine, once childhood friends, soon discover a passion they didn’t expect and don’t particularly welcome, at least at first. While Holiday peppers the story with amusing set pieces and cute, anachronistic chapter titles, there is true heart to this tale of a man and woman coming to understand, appreciate and admire each other as much as they love each other.
Plus, two friends-to-lovers romances charm our columnist.
Daphne and her fiancé had the perfect meet cute: On a windy day in a park, Peter chased down her hat. They fell in love, and moved back to his lakeside hometown of Waning Bay, Michigan. Everything was picture-perfect—until Peter’s bachelor party weekend, when he realized he was in love with his childhood best friend, Petra. And so Daphne finds herself adrift in a town where she knows basically no one, bearing witness to her ex-fiancé and his new fiancée’s disgusting displays of love. The only person who can understand her grief is Miles, Petra’s ex. Daphne proposes they become roommates, and soon, they hatch a scheme. What if they post some easy to misinterpret pictures and make Petra and Peter think they are together?
In our introduction to the leading couple of Emily Henry’s Funny Story, a frustrated Daphne is annoyed that Miles is listening to Jamie O’Neal’s “All By Myself” at top volume, stoned. It’s not exactly love at first sight, but they’re both deeply charming and relatable, showcasing Henry’s skill at crafting engaging yet realistic characters that immediately hook readers’ hearts. You want Daphne and Miles to heal. You want them to bump into their exes and make out so hard that everyone is a little uncomfortable. (But who cares! Peter and Petra should suffer!) Henry also expertly sidesteps the worry-inducing pitfalls of having a couple bound, at least initially, by grief. No one wants a happy ending undercut by the characters using each other as an emotional scratching post. Thankfully, Miles and Daphne’s relationship is simply one part of their individual healing journeys, not the entirety of them. With a supporting cast of helpful family and friends, meaningful and passionate purpose in their community and a little bit of therapy, all things are possible. The work they each put in on their own only makes the love story more satisfying.
With her signature laugh-out-loud banter and flawed but lovable characters, Henry has created another novel that’s everything her readers have come to expect, without falling into predictable patterns. Funny Story is Emily Henry at her best.
Featuring laugh-out-loud banter and flawed but lovable characters, Funny Story is Emily Henry at her best.
When beginning this review, I promised myself that I wouldn’t go overboard with baseball puns to describe just how wonderful KT Hoffman’s sports romance, The Prospects, is. Like “Hoffman hits it out of the park with his debut” or “Gene and Luis are the grand slam of relationships.” I tried my hardest, but damn if baseball doesn’t lend itself to describing the absolute home run that is this book.
As the first openly trans professional baseball player, Gene Ionescu is no stranger to hope and hard work. He thrives on it; and baseball loves an underdog. The minor league Beaverton Beavers are like a second family to him, and he feels safe and supported among his teammates. Until Luis Estrada, his former teammate and current rival, gets traded to the Beavers and suddenly all that Gene has built for himself feels threatened. At first, Gene and Luis can’t work together on or off the field. But a begrudging friendship blooms during long hours on the bus and intimate after-hours practices. As Gene and Luis find their stride, they gain the attention of the heavy hitters in the Major Leagues and see each other with fresh eyes. Had Gene never really noticed how sexy and kind Luis was? And does Luis really need to head to his own place when Gene’s apartment (and maybe Gene himself) feels like home? Soon their tenuous friendship gives way to tender new love. But with the Majors calling, the two must decide what they truly want, both from each other and their baseball careers.
The legendary Yankee catcher Yogi Berra is quoted as saying, “Love is the most important thing in the world, but baseball is pretty good, too.” So what happens when a book mixes romance and America’s favorite pastime? You get the perfection that is The Prospects. I will be the first to admit that everything I learned about sports, I learned from sports romance novels. But as an expert on the genre, I can tell the difference between a writer who is just using a baseball diamond as a backdrop and a writer who loves the game so fiercely it almost outshines their love for the main characters. Hoffman is one of the latter. Every corner of this book shines, from the tender love of Gene and Luis to the charming found family that surrounds them and the game that brings them all together. The Prospects is about dreaming big, finding love and blowing the roof off simply by existing. It’s a debut so good it’s in a league of its own. (I’ll see myself out.)
KT Hoffman’s The Prospects is a perfect baseball romance that overflows with love for the sport and its main characters.
Everyone wants a shortcut to love, especially if a happily ever after is guaranteed. So it’s not surprising that Justin Dahl gets a big response when he explains his gift (or curse) on Reddit: Whoever he dates goes on to meet her perfect match right after things end with him. To his shock, Justin soon hears from Emma, a woman with the same problem. What starts as a half-joking suggestion soon starts to form into a real plan—what if they date each other? Wouldn’t that mean instead of being merely the gateway to love, they could finally have it for themselves . . . right after they break up?
It’s a fun premise, but if you think the plot stays frothy and candy-colored, then you don’t know author Abby Jimenez. Yes, Justin and Emma connect via meet cute (meet unusual, to be more precise) at the beginning of Just for the Summer, but Jimenez quickly develops the characters beyond rom-com archetypes as they deal with challenges that aren’t in the least bit quirky, overblown or played for laughs. Justin and Emma have amazing chemistry and terrific banter, but they also have genuine problems, including family catastrophes, emotional trauma, heavy responsibilities and—in Emma’s case—a mother best compared to a malfunctioning time bomb, set to blow everything up with no clear countdown. Just for the Summer has plenty of humor (a scene with baby raccoons being a personal favorite), but the emotions are real. The turmoil is real. The problems the characters face don’t come with easy answers or magic cures.
The story showcases an absolutely gorgeous outpouring of love in tandem with Emma and Justin’s delightful and warm central romance. Jimenez portrays a range of complex, interesting familial relationships, as well as some amazing friendships—particularly Emma’s with her bestie, Maddy. In Just for the Summer, even when love is difficult and devastating and very possibly cursed, it’s always worth it.
In Abby Jimenez’s Just for the Summer, two people cursed a la “Good Luck Chuck” try to break their unlucky streaks by dating each other—only to fall in love.
How to End a Love Story, screenwriter Yulin Kuang’s debut novel, is a contemporary romance that succeeds on every level, from her characters’ compelling emotional journey to the unique plotline to Kuang’s fresh authorial voice.
Helen Zhang is the successful author of a young adult series that’s been optioned for television. Her work targets readers the same age she was when her sister, Michelle, died by suicide. Helen’s life, as one would expect, is split between the before and the after.
Grant Shepard’s life broke along the exact same fault line. A handsome, affable homecoming king and football star who went to the same school as the Zhang sisters, he was out driving late the night Michelle ran in front of his car. In the 13 years since the incident, Grant’s become a successful, sought-after screenwriter in Los Angeles. Imagine his surprise when he’s asked to lead the writer’s room on Helen’s new show. And then imagine her surprise when he says yes.
A romance between two people on opposite ends of the same tragic event, How to End a Love Story is a mature, compelling and relatable story of healing that resists simplifying its characters at every turn. Helen’s Chinese American heritage is richly depicted, and it shapes the relationships she has with her family (her mother, in particular), but it is not her sole defining trait. And while Grant may struggle with panic attacks and feeling worthy of love, he also works to convince Helen that it’s OK to move on with her life. Their relationship develops at an organic, realistic pace: Helen must first come to terms with the fact that she’s working with Grant at all before she can come to grips with liking him and, eventually, loving him.
Kuang’s own experiences as a screenwriter shine through on every page. Her depictions of writer’s rooms and meetings with executives are lush, smart and visual, with each sentence packed full of insightful nuances and quiet moments of reflection. These are characters who have battled their demons and come out the other side, stronger than before. Were this a movie, it would be Oscar-worthy.
How to End a Love Story is a mature, compelling and relatable romance that resists simplifying its characters at every turn.
She’s penned the upcoming film adaptation of Emily Henry’s beloved rom-com People We Meet on Vacation. She’s set to write and direct the movie version of another beloved Henry rom-com, Beach Read. But first, Yulin Kuang is going to release her own romance, How to End a Love Story, a sharp, poignant love story between Helen and Grant, two screenwriters linked by a terrible accident that happened when they were in high school.
You’ve been working in Los Angeles as a screenwriter and director for years. How did you approach the shift from storytelling for the screen to storytelling for the page? I wrote this book at a time when almost everything else I was working on was an adaptation of something, and I wanted to see if I had anything original left within me. I meant to write myself an original feature script to direct, but it was October and NaNoWriMo [National Novel Writing Month] was in the air.
I used to write fan fiction (you’d have to go pretty far back to find it, two decades minimum) and I studied creative writing at Carnegie Mellon, so writing this book felt a bit like stepping into an alternate timeline where I picked books instead of TV/movies after graduation.
From a craft perspective, I approached writing this novel as if I was directing the movie in the reader’s mind. The note I kept getting from my editor, Carrie Feron, was “What does it smell like?”—which I never think about in screenwriting! I ended up giving myself a diary exercise for a month where I’d spend a few lines describing the scents of places I’d been throughout the day.
“. . . you can’t write 90K+ words without putting something of yourself on the page.”
The story starts when Helen is reunited with Grant after joining the writers room for the TV adaptation of her young adult novels. Did any real-life experiences of your own inspire those moments? I created a short film called “I Ship It,” which turned into a web series, which then turned into a TV show that the CW canceled after airing two episodes in 2019. (You can now watch the show on the CBC Gem app in Canada and nowhere else. Looking back on that experience, I think I had a lot of ideas and passion, and not a lot of control over my instrument, as my piano teacher might say.
I was an incredibly young showrunner and I definitely felt such imposter syndrome throughout the process, which Helen feels too, in the book. I hired a number two, Ann Lewis Hamilton, who was much more experienced than me: She had worked on shows I loved growing up like “One Tree Hill” and “Grey’s Anatomy,” and she taught me a lot in terms of expectations in the writers room. I also developed a 27 Dresses pilot for ABC Studios with Aline Brosh McKenna, and I learned so much from her about how to interpret notes from producers and how to pitch a project and myself to a studio.
These are just two of the many, very smart women who’ve helped me in my career; I feel like I poured every bit of good advice I’ve received since graduation into this book. It felt less like inspiration from real life and more like a feverish scribbling down of all the industry wisdom I’d managed to acquire by 2021, lest I forget it the next time someone asked.
Now that you’re an author yourself, will you approach future adaptations differently? I’m currently working on an adaptation of Emily Henry’s Beach Read, which is about two authors who decide to switch genres for a summer. I’ve been joking with my producer Karina Rahardja that I’m a method director, and I had to go write a novel so I could understand these characters better.
The main thing I’ve learned in the process is that it’s so very, very vulnerable to write a book! So if anything, I’m approaching any authors I potentially adapt in the future with the firsthand understanding that you can’t write 90K+ words without putting something of yourself on the page.
Grant tries to find a character in Helen’s book he identifies with (he thinks he’s a “Bellamy, with a Phoebe rising”). Which character in the book do you most identify with? What characters from your other projects have you found pieces of yourself in? I gave Helen all my insecurities and ambitions from when I was 18, and then asked myself how all those qualities would have aged if I’d lived the alternate timeline where I moved to New York after graduation and became a novelist instead of a screenwriter.
I didn’t particularly like myself back then, so the most compelling part of writing Helen was staring into that black mirror reflecting back the parts of me I’ve actively tried to grow away from, and to see what could have happened if I’d grown into them instead.
I gave Grant every attractive quality I’ve ever coveted as a working screenwriter; mainly, that he’s “good in a room,” which is something I really struggled with in the beginning, as an inside child who grew up extremely online and matured into a classic introvert. But my reps tell me “good in a room” is how I am described after general meetings, which is of course nice to hear!
In my other projects, I’m partial to Ella in “I Ship It” (the TV series) and the titular Irene of “Irene Lee, Girl Detective” (a short film on my YouTube channel that I’m still quite proud of). I love hungry, ambitious, obsessive women.
Do you really think that second kisses are a bigger deal than the first kiss? Why? I’m pretty sure I wrote that line because of a specific plotline in “Dawson’s Creek,” season three episode 19 (one of the greatest episodes of television possibly ever???) with Joey and Pacey, where they had already kissed in an earlier episode, but the second kiss was what made it A Thing.
So maybe yes, as a viewer of How to End a Love Story’s fictional television program, second kisses are a bigger deal than first kisses!
But in real life, your mileage may vary.
“I love hungry, ambitious, obsessive women.”
Helen and Grant are linked through a tragedy that occurred when they were teenagers. Was that why you made Helen a successful YA writer? I wanted to write someone who was a little mentally stuck in her senior year of high school, but was chafing against it as she was trying to grow as a person and an artist. YA felt like a natural fit for that journey, in the context of this story.
I have a much younger sister; the age gap between us is 14 years. I definitely felt some pressure to be a good role model for my sister, and I was very consciously avoiding themes that might feel too “adult” in my work for a long time as a result.
If you watch any of my vlogs on my YouTube channel from the 2010s (haha please don’t), I think it’s very clear I’m speaking primarily to a YA audience on early BookTube, while also fully embracing the twee Tumblr culture of the era which manifested in me and my work as, how should we describe it . . . a pretty and sexless aesthetic? Does that feel accurate? I was so horny and so repressed, and the YA of it all definitely played a role: It meant I could talk about romance and fandom without worrying that my mother would die of shame or my sister couldn’t watch my vlogs or read the books I was recommending.
Anyway, I eventually got over that, and so did Helen.
Great novels don’t necessarily result in great movies. What do you think a book needs in order to translate well to the screen? A good screenwriter and a great premise.
What is it about Emily Henry’s work that you connect to? What is the easiest part of translating it to the screen, and what is the hardest part? I’ve spent so much time trying to claw my way into the mind of Emily Henry, I sometimes wonder if she senses it. Emily, can you hear me right now?!
In seriousness, I first connected with Emily’s work because we both appear to be obsessed with romance, ’90s rom-coms and art with a meta component. I told Sarah MacLean all this when we first met over lunch, and she looked at me like I had missed something obvious, then said, “And grief, clearly.” I wonder if all writers writing after the pandemic are a little obsessed with grief, though.
The easiest part: Emily’s dialogue adapts like butter. The hardest part is finding visually compelling ways to show all that lovely interiority onscreen.
What’s next for you? Do you think you’ll stick with novels or go back to the screen? I have two more novels due in this book deal, so I will be chained to my laptop trying to squeeze blood from rocks for another 200K-ish words.
In the meantime, I have a couple projects in various stages of development on the screen side—one adaptation, one original. I like to be creatively nimble.
Photo of Yulin Kuang by Sela Shiloni.
The writer and director behind the upcoming adaptations of Beach Read and People We Meet on Vacation is staking her own claim to romance greatness.
A lovably quirky heroine is at the center of Abbi Waxman’s Christa Comes Out of Her Shell. Scientist Christa Liddle is conducting research on her beloved sea snails on an island in the Indian Ocean when a family crisis requires her to return to Los Angeles. There, she’s forced to face an old tragedy and new drama while surrounded by her mother, older sisters and childhood friends and enemies. Christa begins to see herself and others differently, including her onetime teenage crush, Nate Donovan. Told in first person and punctuated with media clips and Christa’s charming drawings, the story slowly reveals the Liddle family’s history and Christa’s own vulnerabilities. While the will-they-won’t-they love story between Christa and Nate is definitely a through line, it seems safe to predict another romance too—that of readers losing their hearts to the eccentric, larger-than-life Liddle clan.
The Lady He Lost
In The Lady He Lost by Faye Delacour, Lieutenant Eli Williams returns to early Victorian London after being presumed dead—completely upending the world of Jane Bishop, an impoverished spinster who was once devoted to him. It’s been two years since he endured a shipwreck and being kidnapped by pirates, and Eli discovers his fiancée married another, his brother spent his savings and Jane, the woman he actually loved, will barely look at him. But he’s determined to make things better, despite general suspicion about why it took him so long to get home and Jane’s declaration that while she still cares for him, she can’t imagine a future as his second choice. Can their burning desire for each other overcome these hurdles? Balls and gowns and picnics in the rain add historical flavor, as does Jane’s quest for financial autonomy. With its engaging leads and well-drawn supporting characters, The Lady He Lost is a highly entertaining read.
Old Flames and New Fortunes
Prepare to swoon while enjoying the ever-so-romantic Old Flames and New Fortunes by Sarah Hogle. Romina Tempest and her sister run The Magick Happens, a mystical shop in their small hometown of Moonville, Ohio. Romina’s floral arrangements, which use the language of flowers to nurture romantic hopes, are some of the store’s most popular offerings. But after an unforgettable first love and a disastrous recent relationship, Romina avoids entangling her own heart. But when that same first love, Alex King, returns to town, he and Romina must confront what went wrong and decide if they can move forward as more mature and forgiving lovers. Told from Romina’s perspective, this love story has witty banter, steamy love scenes and heartfelt apologies, but it’s Alex’s eloquent devotion that will melt the flintiest of readers. The colorful cast includes families both biological and created, and the promise of magic in the air adds extra sparkle.
This month’s column features second-chance love stories that will warm even the most skeptical of hearts.
In Kennedy Ryan’s satisfying This Could Be Us, a woman rebuilds her life and finds an unexpected love. Soledad Barnes prides herself on her homemaking and family-tending prowess. But then her husband’s betrayal and their ensuing divorce puts it all at risk. Armed with determination and love for her daughters, as well as a posse of fabulous sisters and girlfriends, Soledad figures out a way to use her domestic goddess skills to keep a roof over her family’s head. When the incredibly sexy Judah enters her life, he feels so right—but Soledad doesn’t know whether she can trust her heart again. Ryan’s vibrant characters and delightful descriptions of food and friendship perfectly complement Sol’s story. Readers will want to eat at her table and be one of her best pals, cheering her on to a very deserved happy ending. This tender, sensual and sigh-worthy tale also includes nuanced glimpses of Judah’s joys and concerns as the father of twin boys with autism.
Happily Never After
Two cynics change their minds regarding matters of the heart in Happily Never After by Lynn Painter. Desperate to stop her wedding to a cheating groom, Chicagoan Sophie Steinbeck turns to Max Parks. An architect by day, Max has fallen into a side gig of showing up to nuptials and pretending to be a lovelorn objector. Sophie and Max hit it off right away, and soon they’re teaming up to help others at (off?) the altar. Though they stubbornly resist the idea of a relationship with each other, their chemistry is off the charts and the fun they have together—whether they’re objecting or just hanging out—will leave the reader wondering why Sophie and Max try so hard not to fall. With smoking love scenes and memorable secondary characters, Happily Never After is a delight.
Trouble
An unlikely heroine passes herself off as a governess in Trouble, Lex Croucher’s Regency rom-com. Her kindhearted sister is unable to take on the job and her family is desperate for funds, so Emily Laurence travels to the home of the Edwards family, hoping to disguise her identity, lack of interest in children and generally surly attitude toward mostly everything. Croucher borrows some genre conventions—a remote house, a brooding widower hero, children needing care—and adds the unscrupulous Emily, whose prickly exterior hides a fierce loyalty to those she loves. Which, surprisingly to the imposter governess, turns out to increasingly include her eccentric fellow staffers, the Edwards children and Ben, Captain Edwards himself. But secrets abound, and Emily’s own make her certain no happiness awaits her. Readers will revel in watching Emily learn to trust in this fun, funny and fast-paced story.
There’s nothing more heartwarming than watching deeply cynical or understandably wary characters find love in spite of themselves.
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