Something in the Water

Something in the Water falls under the thriller genre, and its opening chapters contain several hallmarks of a thriller. Two of these are the ticking clock and starting at a later point in the story. Thrillers rely on a sense of foreboding linked to an event that happens at a specific time. Here, the clock shows the reader the direct aftermath of the climactic event (Erin discovering Mark’s betrayal), before jumping backwards to a point right before the tension begins. The date and time stamps at the beginning of each chapter bring us through a series of important moments and eventually lead to the opening scene. The second element (starting later in the story) sets the tension of the story while leaving the reader in suspense about the specific details. Something in the Water begins with Erin burying her beloved husband’s body, leaving the reader to wonder what circumstances could possibly lead her to do so. From Chapter 2 onward, we see the minute shifts that lead to Erin burying Mark and beyond to how she copes with what happened.

The first chapter also makes use of the third-person “you.” Steadman puts the reader directly into Erin’s position (digging a grave to cover up horrible and tragic crimes) by writing the first several paragraphs in second-person. The reader experiences the exhaustion of digging, the emotional upheaval of burying a loved one, and the desperation Erin feels to accomplish this task in a timely and thorough manner. Allowing the reader to share this experience brings them closer to Erin and sets up emotional expectations for the rest of the book.

Before launching into the rest of the story, Erin asks the reader to decide whether she is a bad person. Steadman also uses this to engage the reader. She brings readers into Erin’s world and puts the responsibility of passing judgment upon them. She also opens up the debate of whether people are inherently bad or made bad, as well as whether bad actions make someone a bad person.

Chapter 2 sets up the events and characterization that support the book’s major conflict. Mark feels dissatisfied with his job and wants to look for something new. Being let go from the bank starts him down a destructive path and leads to his death. His dissatisfaction also results in his later manipulation of Erin. He emotionally abuses her to build himself up because he can’t handle what he perceives as a failure. After Mark’s death, Erin wonders if and when she drove him away. She blames herself and takes the responsibility for Mark’s change.