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The finalist
Author: Faith GladwinPage Count: UnknownPublication Date: Expected publication 2026-10-06 APL The synopsis for The Finalist reads like a fever dream stitched together from the discarded drafts of a gothic romance that never quite made it past the first act of a bad Netflix series. Seven ballerinas—seven?—trapped in a cursed manor where the house itself is a predatory entity, devouring the weakest one by one. And the stakes? A single audition. One lead role. One tragic, alluring ex-ballerina who might as well be a siren luring them to their doom. It’s the kind of premise that makes you wonder if the author was channeling The Hunger Games meets Black Swan while also nodding to the kind of campfire horror that belongs in a YA novel that got lost in translation. But here’s the thing—this isn’t just a gimmick. It’s a trap. The synopsis leans so hard into the "cursed house" trope that it forgets the house isn’t the real villain. The real villain is the audition itself, the idea that perfection is a performance, that art is violence, and that the body is always the first casualty. Eden, the protagonist, isn’t just a ballerina—she’s a ticking time bomb, her body already failing her, her ambition a kind of self-sabotage. And yet, the synopsis doesn’t show this. It tells us Eden is "punished" by her body, but it doesn’t tell us how that punishment manifests. Is it the kind of quiet, grinding exhaustion that comes from dancing until your bones scream? Or is it something more visceral, something that hints at the kind of trauma that would make a reader flinch? The vagueness here is deliberate, but it’s also lazy. It’s the difference between Rebecca and The Others—one leaves you breathless with dread, the other just leaves you confused. The synopsis also plays into the dangerous fantasy of the "tragic artist," the kind of figure who is both revered and reviled, who is both a muse and a monster. Leanora Karagianni is described as "mysterious, alluring, tragic"—a cliché so overused it’s lost its bite. But then again, the synopsis doesn’t give us enough to care. Is she a ghost? A villain? A victim? The way the text oscillates between her as a mentor figure and a seductive force of destruction is telling. It’s the same kind of ambiguity that makes The Lovely Bones work—except The Lovely Bones had the decency to actually show us the horror, not just hint at it like a bad horror movie trailer. And don’t even get me started on the "house that swallows the weakest one by one." This isn’t just a gothic house—it’s a metaphor for the audition process itself, the way art consumes its practitioners. But the synopsis doesn’t explore this. It just drops it like a red herring, as if the reader is supposed to fill in the blanks with their own worst fears. It’s the literary equivalent of a jump scare in a horror movie—you know it’s coming, but you don’t know how bad it’s going to be. The real question is: does The Finalist have the guts to deliver on this premise, or is it just another book that promises psychological horror but delivers campy melodrama? The synopsis suggests the latter. It’s the kind of writing that makes you think of The Secret History—but without the intellectual rigor, without the sharp, biting prose that makes it feel like a masterclass in moral ambiguity. Instead, it feels like it was written by someone who read too many fanfiction drafts and decided to turn them into a novel. But here’s the thing—if the book does deliver, if it actually commits to the psychological unraveling of its characters, if it turns the audition into a metaphor for the violence of art itself, then it could be something. It could be the kind of book that lingers, the kind that makes you question whether the house is the real enemy or if the enemy is the idea of perfection itself. But right now? It’s just a synopsis that smells like a missed opportunity. Literally. Must fire up the grill before the neighborhood barbecue descends into anarchy. #GothicHorror #BallerinaTrouble #CursedManorSeason