 Brought to you by Penguin. BEATREED by Emily Henry. Read for you by Julia Whalen. For Joey. You are so perfectly my favorite person. CHAPTER ONE THE HOUSE I have a fatal flaw. I like to think we all do, or at least that makes it easier for me when I'm writing. Hinging my heroines and heroes up around this one self-sabotaging trait, hinging everything that happens to them on a specific characteristic—the thing they learned to do to protect themselves and can't let go of, even when it stops serving them. Maybe, for example, you didn't have much control over your life as a kid. So to avoid disappointment, you learned never to ask yourself what you truly wanted. And it worked for a long time. Only now, upon realizing you didn't get what you didn't know you wanted, you're barreling down the highway in a mid-life crisis-mobile with a suitcase full of cash and a man named Stan in your trunk. Maybe your fatal flaw is that you don't use turn signals. Or, maybe, like me, you're a hopeless romantic. You just can't stop telling yourself the story. The one about your own life, complete with melodramatic soundtrack and golden light lancing through car windows. It started when I was twelve. My parents sat me down to tell me the news. Mom had gotten her first diagnosis, suspicious cells in her left breast, and she told me not to worry so many times I suspected I'd be grounded if she caught me at it. My mom was a doer, a laugher, an optimist, not a worrier, but I could tell she was terrified, and so I was too, frozen on the couch, unsure how to say anything without making things worse. But then my bookish homebody of a father did something unexpected. He stood and grabbed our hands, one of mom's, one of mine, and said, You know what we need to get these bad feelings out? We need to dance. Our suburb had no clubs, just a mediocre steakhouse with a Friday night cover band, but mom lit up like he'd just suggested taking a private jet to the Copacabana. She wore her buttery yellow dress and some hammered metal earrings that twinkled when she moved. Dad ordered twenty-year-old scotch for them and a Shirley Temple for me, and the three of us twirled and bobbed until we were dizzy, laughing, tripping all over. We laughed until we could barely stand, and my famously reserved father sang along to brown-eyed girl like the whole room wasn't watching us. And then, exhausted, we piled into the car and drove home through the quiet, mom and dad holding tight to each other's hands between the seats, and I tipped my head against the car window and watching the streetlights flicker across the glass, thought, It's going to be okay. We will always be okay. And that was the moment I realized. When the world felt dark and scary, love could whisk you off to go dancing, laughter could take some of the pain away, beauty could punch holes in your fear. I decided then that my life would be full of all three, not just for my own benefit, but for moms and for everyone else around me. There would be purpose, there would be beauty, there would be candlelight and Fleetwood Mac playing softly in the background. The point is, I started telling myself a beautiful story about my life, about fate, and the way things work out, and by twenty-eight years old, my story was perfect. Perfect cancer-free parents who called several times a week, tipsy on wine or each other's money. Perfect, spontaneous, multi-lingual, six-foot-three boyfriend who worked in the ER and knew how to make cocoa van. Perfect shabby chic apartment in Queens. Perfect job writing romantic novels inspired by perfect parents and perfect boyfriend for sandy low books. Perfect life. But it was just a story. And when one gaping plot hole appeared, the whole thing unraveled. That's how stories work. Now, at twenty-nine, I was miserable, broke, semi-homeless, very single, and pulling up to a... Sample complete. Ready to continue?