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Publisher's Summary

From the award-winning and New York Times best-selling author of Five, Six, Seven, Nate! and Better Nate than Ever comes a laugh-out-loud, sad YA debut that's a wry and winning testament to the power of old movies and new memories - one unscripted moment at a time.
Quinn Roberts is a 16-year-old smart aleck and Hollywood hopeful whose only worry used to be writing convincing dialogue for the movies he made with his sister, Annabeth. Of course, that was all before - before Quinn stopped going to school, before his mom started sleeping on the sofa...and before Annabeth was killed in a car accident.
Enter Geoff, Quinn's best friend, who insists it's time that Quinn came out - at least from hibernation. One haircut later, Geoff drags Quinn to his first college party, where instead of nursing his pain, he meets a guy - a hot one - and falls hard. What follows is an upside-down week in which Quinn begins imagining his future as a screenplay that might actually have a happily ever after ending - if, that is, he can finally step back into the starring role of his own life story.
©2016 Nottingham Lane, LLC. (P)2016 Simon & Schuster
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Critic Reviews

"Author Tim Federle's genuine narration is just right--self-deprecating, heartfelt, a little snarky, and always authentic. He puts listeners squarely into Quinn's point of view.... A lovely, winning match of novel and performance." ( AudioFile)
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Customer Reviews

Most Helpful

By Ryan O'Connor on 07-04-16

Must Listen

A must listen for anyone who's ever felt lost after loss. Although, I suppose, primarily a "Gay YA" book, there is nothing about this story that is I relatable to anyone. I am particularly inspired by the compassionately written characters of Quinn's Mom and best friend. Tim Federle is a true treasure.

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1 of 1 people found this review helpful


By Terry S. on 01-01-18

Unique Narration Angle

What did you like best about this story?

The point of view was quite unique, with the main character seeing his life as a screenplay complete with stage direction and scene setups. The focus on a death in the family dragged a little but it WAS the driving force in the inner life of the character so that focus was not entirely unjustified. It just got old after a while and made you want to tell him to snap out of it.

What about Tim Federle’s performance did you like?

Excellent work probably made easier for him since he would know better than anyone what the tone was supposed to be. Tim Federle is pretty easy to listen to.

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