Being a titan in romantic fiction comes with some expectations. People love—or maybe even need—a good cry, and when you’re a master of romance, they expect you to deliver one. It has never been hard for Nicholas Sparks to keep this promise, but when you’ve been writing love stories for 25 years, it can be difficult to meet, let alone surpass, expectations. 

However, as Sparks’ many fans know, his formula for bringing such romances to life is effective because we find ourselves truly caring for his characters, in spite of any reservations or presumptions. The Wish is a typical Sparks drama, familiar in the way that an old friend is: You know what that friend will say and how they’ll say it, but there’s still the possibility that you’ll be surprised by the infinite person they are inside.

Heuristic and dazzling, Nicholas Sparks’ novel convinces its reader to believe, in spite of everything, in love.

The novel follows Maggie Dawes throughout 2013, the last year of her life. She is a famous photographer diagnosed with terminal cancer, and when a young man named Mark comes to her gallery in search of a job, Maggie finds a confidante in him. She begins to reflect upon and tell her story before it’s too late. 

In 1996, at the age of 16, Maggie’s family sends her away to avoid the scandal of her pregnancy, and she’s taken in by an aunt who’s a former nun living on North Carolina’s Outer Banks. Maggie spends her days feeling helpless and isolated until she meets Bryce, the only other person her age on the island of Ocracoke. When Bryce begins to tutor her, it becomes overwhelmingly clear that despite Maggie’s pregnancy and Bryce’s military dreams, the two are destined to be together.

This far into his career, each of Sparks’ novels feels like a high school science experiment: Change the variables, add this, subtract this and see what happens. And though The Wish may seem obvious at times, when put into the larger picture of Sparks’ tragically tuned arch, the reader can see how such exaggerated emotion provides life, breath and blood to these near-perfect characters. The reader may wonder how much of Sparks’ writing process is spent trying out plot options and disregarding the failures—surely a lot, as the result is faultlessly executed. 

Sparks knows how to pull your heartstrings, and as The Wish progresses, you know when to expect the punches. This doesn’t mean, however, that you want to dodge them. And just because you’re expecting a twist doesn’t mean that one won’t still form in your stomach. It’s comforting to know that there’s still a place you can go—besides your own intricate, messy life—for a reliable cry.

With The Wish, Sparks reminds us that love, as predictable as it can be, will always move you in ways you can’t comprehend. Yes, it is idyllic, it is comforting, it is sentimental, but at the end of the day, you have to suspend logic and smile. It’s how we love.

Lee Fiora is a teen from South Bend, Indiana, attending the high-status Ault School on scholarship. Ault’s well-heeled student body includes some familiar figures a Barbie-ish blonde (named, affluently enough, Aspeth Montgomery), a hunky basketball star and a lonely gay student but Sittenfeld’s novel is more than a collection of stereotypes. With this unique and powerful coming-of-age novel, she tells the tale of an outsider who learns as she goes along how to cope in an unfamiliar world.

Lee’s decidedly middle-class upbringing is revealed when her mother and father arrive at the school for Parents’ Weekend in their shabby old Datsun. The weekend proves a catastrophic one for the humiliated Lee, providing her with a new perspective on the way families work. When she becomes involved with basketball hero Cross Sugarman, the experience is not quite as grand as Lee imagined. The growing pains set in as through various friendships and romances Lee comes into her own. As a narrator, she is endearing and awkward, with her own idiosyncrasies and obsessions, and the reader is drawn to her a loner in a world of wealth and social status.

Sittenfeld’s portrayal of this sensitive, tormented youth has won her comparisons to J.D. Salinger. Prep is a witty and wise debut novel that perfectly captures the essence of adolescence, but goes beyond the teen experience to encompass larger themes like identity and family.

The funny and sharp fourth novel by acclaimed Bangladesh-born British author Tahmima Anam, The Startup Wife, exposes the folly of looking for leadership in the startup sector, which reveres disruption in all areas except its own.

In this brilliantly incisive social novel, a quasi-faith community springs from a social media platform called WAI, short for “We Are Infinite.” WAI uses an algorithm to design personalized rituals based on three meaningful elements of a person’s life—and then introduces that person to a like-minded community.

It’s easy to see why WAI would be appealing. Its rituals fill the void many modern-day people feel in the absence of organized religion. The platform's essential concept is that if we treat something as sacred, we believe that it is more than entertainment, that it offers moral rewards and is worthy of rigorous contemplation. (Listeners to the "Harry Potter and the Sacred Text" podcast will find this idea familiar.)

But first, the novel begins with a love story: Thirteen years after high school, Asha Ray reunites with her crush, Cyrus Jones, when they attend a memorial for their late English teacher. Asha is four years into her Ph.D. at Harvard, and Cyrus has become a charismatic spiritual polyglot. He’s traveled the world, collecting bits of philosophy and religion from an endless variety of sources, and distilled them into something people can use in their own lives. “I create rituals,” he says.

Cyrus and Asha’s intellectual connection is intense, and soon, so is their physical relationship. The novel focuses on their all-encompassing, interconnected work-life partnership, which also includes, to a lesser extent, their best friend, Jules. When Asha’s artificial intelligence research hits a roadblock, she draws inspiration from Cyrus’ work and decides “to start a platform that [allows] people without religion to practice a form of faith.” Through Asha’s programming wizardry, WAI becomes a life-changing phenomenon. But it quickly becomes clear that the platform, intended to bring people together, is likely to blow the triad apart.

The Startup Wife is framed as a satirical novel about startup culture, but because Americans revere that culture, its foibles and failings are our failures, too. Tech investors subscribe to the “great man” theory of history as much as the rest of America, and this unavoidable fact begins to spoil Asha’s relationships with her two male partners. Investors are more apt to provide valuable exposure and support to a passion project fronted by a brilliant (usually white) man rather than a geeky brown woman. So even though Asha’s research is the source of the platform’s Empathy Module algorithm, handsome Cyrus becomes the figurehead for WAI. Initially resistant to making his spiritual practice into a business, he is easily seduced into playing CEO and messiah.

While The Startup Wife is full of beautifully messy and enviable characters, Asha’s fierce feminism and candor stand out. Of course, she’s far from innocent. She’s a creative genius who wants her due, just as any man would. But it’s a delight to experience Asha’s first-person perspective of the world and her metamorphosis into a powerful, flawed woman.

Because The Startup Wife is sexy and funny and puts relationships at the forefront, it might be easy to overlook its depth and sophistication. But its priorities are right where they should be. When people create a community with their friends and lovers, it is inevitable that boundaries will dissolve and that friendship, love, ego and identity will become intertwined. The Startup Wife’s insights about modern relationships, gender politics, race, technology and culture are as excellent and vital as its storytelling.

As Together We Will Go opens, 29-year-old Mark believes he’s never going to succeed at writing. He’s had suicidal thoughts since high school, he’s had enough of life, and he’s come up with a plan: a final bus trip, one last cross-country party with a group of like-minded souls who can’t carry the weight of life anymore.

J. Michael Straczynski’s novel follows this group of mostly young people intent on ending their lives. As the bus stops in several states to pick up passengers, the story cycles through all 12 characters’ perspectives, but six take center stage: the aforementioned Mark; Karen, a young woman with chronic pain; Tyler, a young man with a worsening hole in his heart; Vaughn, a 66-year-old widower with a painful secret; Lisa, whose bipolar disorder has led her to despair; and Shanelle, a lonely woman who has been bullied for her size. As the bus makes its way west, these characters connect, form alliances and deal with each other’s quirks and bad behavior.

Straczynski, a comic book writer, screenwriter and co-creator of Netflix’s “Sense8,” uses text messages, emails, online journal entries and audio transcripts to reveal the characters’ thoughts and actions, creating a 21st-century epistolary novel. Because of this format, the novel moves along quickly, although the characters’ thoughts occasionally blur together, especially when musing philosophically on the state of the world and their places in it.

But a late plot twist is satisfying, intensifying the characters’ bonds as they decide what to do. While a novel about characters planning to end their lives is not for everyone (as the introduction notes, “discretion is advised”), Together We Will Go is, in the end, about friendship and learning to love.

We are all memory keepers. Recalling and memorializing the past is an essential part of the human experience, whether through photographs, videos or little mementos that line our shelves. Amy Ashton, the 30-something protagonist of Eleanor Ray’s debut novel, The Missing Treasures of Amy Ashton, has perhaps taken this habit a bit too far.

In the London suburbs, Amy’s collection of trinkets has grown out of hand. Once destined to become a painter, Amy now channels her creativity into finding ways to navigate the zigzagging trail through the boxes that fill her home—boxes of broken things, porcelain birds, empty bottles, coffee mugs, cookbooks, newspapers, mirrors, plant pots and vases with long-dead honeysuckles inside.

Her collection can best be described as junk, and cultivating it is Amy’s way of dealing with the shocking tragedy that turned her life upside down over a decade ago. But when a family moves in next door, Amy learns that 8-year-old Charles has developed his own obsessions to handle the quirks of life. Initially annoyed by the neighborly interferences, Amy slowly warms to Charles’ friendship and the help offered by his family.

The Missing Treasures of Amy Ashton is heartwarming and tender as it pokes fun at the absurdities and tragedies of life with quintessential British humor. Supporting characters add to the charm and mystery in Amy’s quest for a better future, one that’s unencumbered by junk.

This is an ideal read for anyone looking for a good-humored and uplifting story, but especially for those who enjoyed Gail Honeyman’s Eleanor Oliphant Is Completely Fine and Ruth Hogan’s The Keeper of Lost Things.

Following the success of her recent novels The Seven Husbands of Evelyn Hugo and Daisy Jones & The Six, author Taylor Jenkins Reid has amassed a legion of fans that could put those of her titular heroines to shame. Readers have giddily gobbled up Reid’s romps through the glitz and glam of bygone Los Angeles and have been waiting with unbridled excitement for her next novel. In Malibu Rising, Reid capitalizes on her winning formula to create another bona fide hit, this time spinning a decadent family drama that revolves around a single life-changing day in 1983.

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Every year, the four Riva siblings throw an epic end-of-summer bash, notorious for its excess and hedonism and the A-list guests who attend. This year, however, the party will be notable not merely for the debauchery on display (though there will be plenty of that) but also for the family drama, as some of the Rivas’ closely guarded secrets come to light. With the Riva mansion reduced to a smoldering pile of ashes come morning, it’s safe to say that nothing will ever be the same after this blowout.

As Reid ushers readers through this fateful day, we spend time with each of the Riva siblings: Nina, the hyper-responsible eldest sister and famed surf model whose husband left her for another woman; Jay, the superstar surfer who appears to have it all but whose life is secretly falling apart; Hud, a kindhearted and gentle photographer whose new girlfriend is undoubtedly going to make some waves; and Kit, the youngest and perennially overlooked sister who itches for a chance to shine on her own merit.

Reid provides additional depth and nuance by intertwining the siblings’ 1983 narrative with a timeline that traces the tragic relationship of their parents, June and legendary singer Mick Riva. Malibu Rising is packed with plenty of scintillating scandal, but Reid cultivates real empathy for her characters, who form the tender heart that beats at the novel’s core and are its greatest achievement.

Malibu Rising is a juicy, irresistible book that will sweep readers away.