45 pages • 1 hour read
A series of text messages begins on September 15, with Hannah thanking Fox by text for the Fleetwood Mac album he gave her when she left Westport for Los Angeles. After an initial delay, Fox responds with friendly banter and sexual innuendo. Their subsequent texts are funny, flirtatious, and reveal that while Fox and Hannah have established a friendship and show concern for one another, there are hints of attraction.
Hannah’s texts suggest that she is lonely and at loose ends. Fox asks what her ideal man is like, and Hannah says he would have “a cabinet full of records and something to play them on” (11). Hannah loves matching music to her moods, and she and Fox bond by downloading the same songs and listening to them together. On March 8, Hannah sends a series of texts to Fox, who doesn’t respond as he is on a fishing trip.
Hannah, a production assistant for a studio named Storm Born, is watching auditions for a movie, Glory Daze. Though she could have relied on the influence of her famous stepfather, Hannah chose to begin with an entry-level job so she can learn how movies are made. She has a crush on Storm Born’s director, Sergei, and is flustered when he pays attention to her. Hannah doesn’t feel like the leading lady in her own life; she thinks that she’s “been playing second fiddle so long, she was getting arthritis in her fingers” (18). She recalls her summer in Westport, when she went to help her sister Piper renovate a bar in the town their parents lived before their father died. She thinks about the afternoon she spent in Seattle at a record expo with Fox. When Sergei announces that he wants a location different from Los Angeles for his movie, Hannah successfully suggests Westport.
Hannah calls Piper, who says that her fiancé Brendan’s parents are staying with them and that she can’t offer Hannah the guest room. Piper mentions that Fox has an extra bedroom, but that it would be a bad idea for Hannah to stay with him. Hannah doesn’t mention she and Fox have been texting one another every day for six months. She tells herself Fox is bad boyfriend material, but it will be possible for them to remain just friends.
In Westport, sitting in his apartment, Fox tells his friend Brendan that he isn’t interested in Brendan’s offer to make Fox captain of his fishing boat, the Della Ray, when Brendan’s new boat is ready. Fox and Brendan have stared death in the eye together more than once in their dangerous occupation as king crab fisherman, and Fox has acted as relief skipper, but he doesn’t want the responsibility of being in charge of a crew. More than that, he doesn’t believe the crew would take him seriously enough to obey his orders.
Fox is taken off guard when Brendan says Hannah is coming to town. Fox is trying to sort out his feelings for Hannah. As someone who has brief hookups, not relationships, he’s not accustomed to interacting with women outside of sex, and he’s certainly not friends with women. Still, she’s gotten under his skin. Fox listens to Brendan’s warning not to mess around with Hannah, especially since she’s interested in Sergei. When Brendan leaves, Fox opens his record cabinet and listens to music on the record player he’s recently bought.
The cast and crew of the movie are on the bus to Westport. Hannah works up the courage to ask Sergei if she might observe the music process and learn from the movie’s music coordinator, Brinley. Just as she is about to make her request, the bus stops, and Hannah falls in the aisle and bumps her head. Sergei expresses concern and helps her off the bus. Fox approaches, drawing female attention, and demands to know how she got hurt.
When he offers to get her bag and take her home, Sergei also offers to get her bag, which confuses Hannah, as Sergei has never shown her attention. She feels a strong attraction to Fox but also realizes “that went for every other woman he came into contact with, too. And she had no interest in being one of thousands” (46). She plans for them to stay just friends. Fox says he will give her ice cream and a cookie if she lets him look at her bump, and she leaves with him.
As he takes her to his apartment, Fox thinks of him and Hannah as Little Red Riding Hood and the Big Bad Wolf. He’s worried about how people will perceive her being with him. He is also jealous of Sergei. In his apartment, Fox sets Hannah on the counter and applies antiseptic and a Band-aid to the bump on her head. They converse like friends and have nicknames for one another; he calls her Freckles and she calls him Peacock. Hannah admits to Fox that she doesn’t feel like a leading lady, but he believes she is. Fox feels attracted to Hannah and realizes that he wants to earn her trust. He hasn’t slept with a woman since meeting her, but doesn’t tell her that. Instead, he warns her that people will assume she’s sleeping with him and that he’s “not in the relationship race” (58). While she eats ice cream, he gives her advice on how to attract Sergei, and Hannah teases him about his empty apartment.
Hannah visits her grandmother Opal, Henry’s mother, and finds Piper there. They catch up, but Hannah feels distant when Piper and Opal talk about Henry. Hannah was only two when he died and doesn’t remember him. She confesses that she has not made progress on her dream of making movie soundtracks and hasn’t even told Sergei how she feels about him. Piper promises to dress Hannah up for an evening out that night. Opal gives Hannah a folder full of song lyrics for sea shanties that Henry wrote. She suggests Hannah might have gotten her love of music from Henry. Hannah decides she will start acting like a leading lady.
These early chapters establish setting and the obstacles that will keep the main characters from too easily falling in love—for if the characters fall in love too easily, there is no plot or tension, and the book ends. Text messages indicate that, after their initial meeting, Hannah and Fox have been laying the ground for a relationship. Hannah likes hearing from Fox, but she is cautious about his reputation and isn’t interested in casual sex. Fox was interested in Hannah immediately, as revealed by the gift of the Fleetwood Mac album. Hannah’s interest in Sergei keeps her from leaping into anything with Fox, and Fox’s concern that he might hurt her also keeps him on his guard. Fox feels limited by perceptions that he is nothing but a player, a role he has also assigned to himself. Through him and Hannah’s own assigned roles, Bailey will explore the theme of Psychological Scripts and Limiting Beliefs.
Music links Fox and Hannah. Fox’s purchase of the record cabinet shows that he is already thinking about how he might become the kind of guy Hannah would want. He understands how she thinks in songs and knows her hopes of becoming involved in movie soundtracks. His attention to her passion shows that he will be a worthy romantic partner for her, unlike Sergei, who doesn’t notice Hannah until Fox pays attention to her. In tending to her head and offering her ice cream, Fox shows that he has untapped nurturing tendencies, which will equip him for a successful relationship.
The opening chapters also establish the goals that will promote growth in the protagonists, along with their Self-Growth Through Romance. Hannah is unsatisfied with her role as production assistant and wants to be involved in making music for movies. She also feels increasingly unrooted in Los Angeles. Her restlessness and longing for change make her ready to experience real love.
In meeting Hannah, Fox has also come to feel that something is missing from his life, but his goals are less clear. He doesn’t want the responsibility of taking over as captain of the Della Ray, the boat he’s worked on under Brendan for many years. His empty apartment shows that he also isn’t rooted, but rather feels an emotional emptiness, one that suggests that he, too, is looking for love. Though he doesn’t want to admit it, the fact that he changed his typical romantic behavior when meeting Hannah, and hasn’t had a hookup since, indicates that he will be faithful to her. This is another trope seen in romance, where a reformed rogue becomes a committed partner.
The setting of Westport provides a contrast from Los Angeles and supports Hannah’s growth. Hannah feels welcome in the smaller, close-knit community, in part because her sister and grandmother live there. She also has a small investment in Cross and Daughters, the bar she owns with Piper and which Piper runs. Westport proves the place where Hannah will continue to develop attachments that will help her feel rooted and experience a sense of belonging.
Though the characters have emotional baggage, the language and overall tone of the novel are light. The narrative is told in a close third-person point of view—where the protagonists are referred to in third-person pronouns, like he, she, or they. At the same time, the narrative gives a direct, intimate window into the characters’ feelings, wants, and needs. Humor often leavens a scene, such as in Hannah’s interactions with the movie cast and crew, her pratfall on the bus, and in her conversations with Fox. As with most commercial and mainstream fiction, the language is direct and effusive, though with occasional imagery—for instance when Fox feels a “stone blocking his windpipe” after Hannah teases that she won’t mind if people assume they are sleeping together (60). Bailey aims for the characters to be likable despite their flaws, a crucial element in romantic comedy. Both Fox and Hannah show that they are attracted to each other and want to be ready for love. The setting, tone, and initial obstacles all set the stage for development of a relationship, one that will require the lovers to confront their insecurities and grow beyond them into a mutually satisfying commitment.
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By Tessa Bailey