A viral video destroys one young woman’s future in The Plans I Have for You by Lai Sanders, and what follows is a gothic-tinged descent into revenge, obsession, and the perilous gap between justice and annihilation.
Releasing March 17, 2026, Sanders’s debut has already been named one of Publishers Weekly’s Most Anticipated Thrillers of 2026, but this novel resists easy categorization. It blends psychological suspense with sharp social critique and an undercurrent of supernatural ambiguity that keeps the reader unsettled from the first page.
In The Writing Room (releasing November 4, 2025), Marcia Argueta Mickelson delivers a powerful coming-of-age story about finding your voice, claiming your space, and learning that silence in the face of injustice is its own kind of complicity.
Get your copy of The Writing Room from my independent online bookstore today!
Eighteen-year-old Maya has just graduated high school when her wealthy, self-satisfied father kicks her out of his New York City apartment to “make her own way.” With her mother living in Guatemala and her father’s emotional abuse still echoing in her head, Maya spends the summer sleeping on her friend Yoly’s couch while she works, writes, and counts the weeks until she can move into the dorms for college. Her life changes when she gains access to a shared workspace known as “the writing room,” a place that gives her both the structure and sense of community she’s been missing.
What do we inherit from the generations before us—magic, shame, resilience, silence? In J.E. Ortega’s novel The Ordinary Bruja (coming November 4, 2025), Marisol Espinal returns to her hometown of Willowshade, Ohio, after her mother’s death and finds herself face-to-face with the family secrets she’s been running from. The story unfolds with an atmosphere of both dread and wonder, as Marisol confronts not only the haunting presence of Hallowthorn Hill but also the pieces of her own identity she’s been taught to bury.
Get your copy of The Ordinary Bruja from my independent online bookstore today!
The novel is steeped in Dominican folklore and written with a lyricism that brings the supernatural to life. The hill itself becomes a character—watching, waiting, whispering—and what it wants is Marisol’s surrender to fear. But Ortega makes clear that the greater threat isn’t the folklore itself, but the way Marisol has been taught to erase herself: her culture, her curls, her curves, her magic. The suspense is as much psychological as it is spectral, and the real horror comes from how shame and generational trauma can consume us if we let them.
Every once in a while, a book comes along that completely captivates your imagination and refuses to let you go. Salt Bones by Jennifer Givhan is that book for me—the #1 best novel I’ve read so far in 2025.
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Set against the stark, blistering backdrop of the Mexicali borderlands and the eerie Salton Sea, Salt Bones is a darkly lyrical story of mothers and daughters, folklore and truth, justice and horror. Malamar Veracruz has lived her whole life in El Valle, raising two daughters while carrying the pain of her sister Elena’s disappearance years ago. When another girl goes missing, Mal is thrust back into that old nightmare, haunted by visions of a horse-headed woman tied to local legend. But as Mal and her daughters uncover layer after layer of family secrets, folklore, and lies, the story reveals what women have always known: men are the destroyers, and the women who try to protect others are too often turned into monsters themselves.
As an author, I believe that I have a responsibility to create diverse works that do not present the world as a one-dimensional space where only certain people are welcome to exist. This can be a tricky balancing act for a white writer like myself. I want my novels to be diverse, but I also do not want to unknowingly reinforce stereotypes that I may not be aware of. I do not want to cross the line into cultural appropriation or telling stories about experiences that may not align with my own. For the past few years, I have been taking an #ownvoices approach to this subject, and I feel like I have learned a lot from the experience.
My novel If You Didn’t See It Coming is an example of an #ownvoices book even though people of color are not at the forefront of the story. It’s an accounting of marginalized characters (namely women) involved in domestic violence situations, many of which are inspired by my own experiences with a violent abuser. Although the characters are fictional, and their stories are not a retelling of my own story, it still illustrates the struggles of a marginalized group of people.
Because I was telling the story from my own perspective, the main characters are all white. There is very little intersectionality of identities because I was telling the story from the perspective of a cis white woman. However, I did consider representation and intersectionality while writing the novel. I considered making my main characters more diverse, but I didn’t feel right about trying to write what I consider to be someone else’s story.
I know my struggle as a white person pales in comparison with the struggles of People of Color in the United States and other parts of the world. But I am struggling. Because I know I’ve been brought up in a racial world, and I want to be a good person who treats all human beings as if they are equal. Because I know – intellectually – that we are. However, it’s hard to know the “right way” to go about this when you’ve been steeped in racist messaging your entire life.
I want my writing to be inclusive, but I don’t know how to accomplish this. I’m trying to learn how. I’m reading lots of non-fiction books on the subject and fiction by people of color (see brief list of recommended reading at the bottom of this post). I’ve also watched in horror as other white writers have been ravaged on Twitter for doing it wrong. What if I mess up, despite my best efforts? What if that happens to me? Or worse, what if I unintentionally hurt people with my ignorance?
Write on the World 