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67 pages 2 hours read

Emily Henry

Beach Read

Fiction | Novel | Adult | Published in 2020

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Chapters 8-10Chapter Summaries & Analyses

Chapter 8 Summary: “The Bet”

On the drive home from the donut shop, Gus returns to their conversation about genres, stating that he has a “hard time with happy endings” (69). January asks him to clarify, and he explains that happy endings don’t align with his worldview and that no one has happy endings in real life. January argues against his stereotypical view of the romance genre and of women’s stories as a whole, feeling as though relenting to his point of view would be “the final straw: there’d be no getting back to myself, to believing in love and seeing the world and the people in it as pure, beautiful things—to loving writing” (70). January insinuates that Gus doesn’t believe in love, and he replies that he can get everything from a relationship in simple friendships. January shifts the topic to sex, and Gus replies that he doesn’t even need friendship for that. Gus shifts the topic to the fact that January refers to him as “Gus,” which he claims no one calls him except those who knew him before publishing. He then reveals that he remembers her and alludes to their night at the frat party.

Through narration, January recollects the party, saying that she was looking at Gus often and could feel his eyes on her all night. She feels their exchanged glances mean he sees her as competition the same way she sees him. Finally, wordlessly, they begin an intimate dance to the music, with his hands on her hips, her hands on his neck, and his face on her throat. She says they were “[both] ready to make a bad decision” but that Shadi shaving her head in the bathroom got them kicked out of the party before things progressed (73).

In the present, January tells Gus not to distract her from their conversation about happy endings. He apologizes for offending her, and she remarks that she isn’t offended. Gus then zeroes in on one of the questions January refused to answer in the donut shop, asking again why she came here. He goes on to say she’s different now. January replies, “You mean I’m not a fairy princess anymore” (74), and she suggests that Gus wants her to admit he’s right and that she got a wake-up call from her happy-ending style of writing. He tries to say it’s not what he’s saying but that there must be a reason she’s drinking wine from her purse.

Without divulging too much, January confesses that she’s not writing and that she has a book due to her publisher. Gus sympathizes with her, and she jokes about writing in his style. He says she could never and admits he couldn’t do what she does.

Gus suggests they make a bet: January tries “writing bleak literary fiction” (77), and Gus will “write a Happily Ever After” (77). The first person to get their book published wins, and the other must write a glowing review of the work for the back cover. Along with this bet, they must teach one another about their research techniques on the weekends. For Gus, this means showing January how to lean into nihilism, and for January, this means taking Gus on romantic adventures. They shake on the deal, and before January gets out of Gus’s car, he tells her to “promise not to fall in love with me” (81), which they both laugh about.

Chapter 9 Summary: “The Manuscript”

January awakes without a hangover. She learns through a text that Shadi went home with the guy she was interested in. January makes coffee and realizes that instead of regretting the bet she made with Gus, she’s excited about it. She steps out onto her deck to write. Just before settling in, she glances to Gus’s house and spots him pulling on his shirt through the window. She is reminded of how attractive he is and must stop herself from staring. Before beginning her work, she spares one last glance towards Gus’s house and spots him at his back door. He lifts his mug to her as if to toast, then retreats to the interior of his house.

Despite her concerns about disappointing Anya, January finds the words come easily. She finds herself writing a thinly veiled autobiography about her situation with her dad and Anya. Between pieces of writing, she thinks about how her outlook has changed and recalls memories with her mother’s cancer diagnoses. She always had to be strong and parade her happiness and success in front of her parents to make them feel as though everything would be okay. She recalls how she first fell in love with reading and writing romance when she picked up a romance book in the waiting room of her mother’s oncologist. She also thinks about the fight she had with her mother immediately after her dad’s funeral, when January was done being strong, but her mother just sobbed saying she couldn’t talk about it.

January finds the words pour out of her as she taps into the negative emotions she’s carried. The chapter ends with her speculating that “love simply didn’t exist” (91).

Chapter 10 Summary: “The Interview”

January finally investigates the upstairs guest bedroom and begins to pack up unneeded items and sell the furniture over the course of a few days. She reminisces about the good times when her dad was present for all the hardships with her mom, uplifting the family with dancing and music.

She notices that Gus doesn’t stay in one spot while drafting. She loses focus when she sees him because she’s imagining what he could be writing about. On Friday afternoon, the two end up facing one another through their windows. They lift their glasses once again in acknowledgement. Gus writes, “LIFE IS MEANINGLESS, JANUARY. GAZE INTO THE ABYSS” on his notebook and holds it up for January to read (95). She does the same, writing in response, “THIS REMINDS ME OF THAT TAYLOR SWIFT VIDEO” (95). Their notebook conversation ends there, but they continue to write facing one another until Gus comes to the door to pick up January for a research outing.

January answers the door in the same dress she wore for the book club, and Gus tells her she’ll need to change, then happily comes inside to help her pick out a change of clothes. They head way out of town to a dive bar off a winding path through the woods, talking along the way about technique, plots, and character building. Gus explains how he’s moved to the area to work on his story about a cult since there was a cult in the area in the 1990s. He explains he’s been working on this story for five years, doing mostly research to make his characters and situations seem natural. They are heading to meet a woman whose sister was a victim of the cult. January jokingly asks how Gus will make this into a romance book, and he replies that he had the interview set up long before they made the bet.

They meet the woman, Grace, inside the bar. While Gus tries to stick to his research-based questions, January finds herself sympathizing with Grace and attempting to comfort her. Grace tells them she didn’t know anything was off about her sister when she joined the cult because all the while her sister was still laughing.

On the way home, they discuss the merits of taking on someone else’s darkness for a story. Gus says everyone’s got problems and sometimes it’s nice to deal with someone else’s instead of your own. They stop for gas, and January gets out to stretch her legs while Gus pumps. She pushes him to tell her some of his own problems, stating that he just took her on the worst date ever. He replies that it wasn’t a date but agrees only if she tells him why she moved here. January finally tells him that her dad died and left her the lake house but doesn’t reveal everything about the situation. She blocks Gus’s door to the car, waiting for him to reveal his own baggage. He leans in close, puts his hands on her hips, and whispers in her ear that he lied: He has read her books. Then he spins her away from the car and gets in quickly.

Chapters 8-10 Analysis

January and Gus’s relationship develops significantly between the ride home from the donut shop and the ride home from the dive bar. They talk about the past, about their writing, and about their intertwined histories. Gus’s confession that he remembers January and the night they shared at the frat party sparks a change in January as reliving that intimate memory helps her to warm up to him. Although she was already attracted to him from their college days, she begins to allow herself to feel and acknowledge that attraction throughout their interactions. Despite their rather flirty banter, Gus makes pointed remarks about not falling in love and not considering activities dates, continuing to act as a foil to January’s romantic outlook (even if she rejects this aspect of herself for the time being). Gus’s deflection hints at his thoughts, regarding either his own attraction to January or his speculation about her attraction to him.

When Gus notes that January is different now than she was in college, the reader gets an indication that Gus followed January much more closely than January originally thought. While she believed he didn’t remember her and didn’t know they were rivals, he reveals that he does remember her—enough, in fact, to note distinct changes in her personality and demeanor. This revelation disarms January, leading to her confession about not writing, which, in turn, leads to the bet she makes with Gus.

Much of the progress made in their relationship happens in Gus’s car, which January notes is quite small, forcing them to sit close. Their proximity during these conversations symbolizes the closeness they feel towards one another. Gus is clearly comfortable with January—enough so that he is willing to help her pick out clothes and commit to a bet that has them spending even more time together.

January has described her past experiences with reading and writing romance as cathartic to her—a saving grace for the hard times. However, with her faith in romance depleted, she finds catharsis in her new endeavor of writing nihilistic literary fiction, pouring her turmoil into this new work and finding the words flow out of her when she isn’t searching her heart for a happy ending that she doesn’t believe in. This new genre opens a new world for January, and as she begins to make significant progress on the book, she also allows herself to start working on the house and exploring places she’s previously been avoiding. This parallel between her new house ventures and her new genre writing signifies January’s emotional progress coping with the trauma and fallout that she’s avoided facing for so long.

The bet sets up January and Gus for more interactions as they are now responsible for teaching one another their techniques and research methods in their respective genres. January goes from swearing off speaking to Gus to committing to a long-term series of interactions with him to fulfil her role in the bet. This change can be attributed to her growing attraction to him and the comfort she’s developed around him now that she knows he remembers her.

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