Here are 83 books that You Don't Have to Die in the End fans have personally recommended if you like
You Don't Have to Die in the End.
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Born the same year as Winona Ryder, Tupac Shakur, and Elon Musk, I’m a Toronto-based writer of novels, short fiction, graphic stories, nonfiction, and scripts for film and television. My YA books include the graphic novella The Lion of Africa, the supernatural, climate change-fuelled Daughters of Lighttrilogy, and the hard-hitting Since You’ve Been Gone. My writing gives voice to strong, diverse protagonists in urban settings who are dealing with seemingly insurmountable challenges. I’ve been a special education teacher for more than 20 years and my characters are often inspired by the amazing young people I’ve worked with. The cities in my work are living, breathing entities that shape the plot and the protagonist’s character.
When it comes to unforgettable protagonists fifteen-year-old Starr Carter definitely tops the list. Her father, Maverick, is also someone that I was left wanting to know more about and, luckily, Concrete Rose (Thomas’s follow-up to THUG), gives us the backstory to his life.
The Hate U Give details Starr’s journey as she struggles with deciding whether or not to testify in front of a grand jury after her best friend, Khalil, is killed by a police officer. The settings of the novel are critical to Starr’s inner conflict as she grapples with having to navigate between her home in Garden Heights, a tight-knit but underserved community where the lack of good schools and employment opportunities allows gangs and gun violence to flourish, and the wealthy neighbourhood where she attends private school.
Now a major motion picture, starring Amandla Stenberg
No. 1 New York Times bestseller
Winner of the Waterstones Children's Book Prize * Goodreads Choice Awards Best of the Best * National Book Award Longlist * British Book Awards Children's Book of the Year * Teen Vogue Best YA Book of the Year
Sixteen-year-old Starr lives in two worlds: the poor neighborhood where she was born and raised and her posh high school in the suburbs. The uneasy balance between them is shattered when Starr is the only witness to the fatal shooting of her unarmed best friend, Khalil, by a…
One of my favourite sounds is teens interacting—especially when they are throwing shade. I spent twenty-five years as a junior and senior high teacher, and I miss rocking and rolling during class discussions with my students. As a writer of contemporary fiction (actually in anything I write), I work hard at using dialogue as an engine to drive each scene. Each line needs to be refined to ensure that it’s snappy, engaging, and real. I’m a writer from southeast Saskatchewan, Canada, where there’s no shortage of great one-liners to use. I hope you enjoy the dialogue in these five recommendations as much as I did.
Trickster Drift is Book Two in the Trickster trilogy. (Side Note: I loved the entire trilogy, but Book Two is my favourite.) Trickster Drift is an edgy blend of the supernatural, Indigenous lore, and substance abuse. The characters, particularly Jared’s mother Maggie (who is literally a witch) are memorable, and the dialogue is smart and funny. I have to be careful of spoilers, so I’ll just say that Jared’s conversations in his aunt’s Vancouver apartment with a certain individual wearing a bathrobe are not to be missed. Robinson juggles a number of characters (something I have to contend with in my hockey books), and she does it very well.
Following the Scotiabank Giller Prize-shortlisted Son of a Trickster comes Trickster Drift, the second book in Eden Robinson's captivating Trickster trilogy.
In an effort to keep all forms of magic at bay, Jared, 17, has quit drugs and drinking. But his troubles are not over: now he's being stalked by David, his mom's ex--a preppy, khaki-wearing psycho with a proclivity for rib-breaking. And his mother, Maggie, a living, breathing badass as well as a witch, can't protect him like she used to because he's moved away from Kitimat to Vancouver for school. Even though he's got a year of sobriety…
One of my favourite sounds is teens interacting—especially when they are throwing shade. I spent twenty-five years as a junior and senior high teacher, and I miss rocking and rolling during class discussions with my students. As a writer of contemporary fiction (actually in anything I write), I work hard at using dialogue as an engine to drive each scene. Each line needs to be refined to ensure that it’s snappy, engaging, and real. I’m a writer from southeast Saskatchewan, Canada, where there’s no shortage of great one-liners to use. I hope you enjoy the dialogue in these five recommendations as much as I did.
It might seem strange for me to recommend the Amber Fang series seeing as how the main character is a librarian/vampire/assassin. But remember, I am recommending teen books with snappy dialogue. Amber’s repartee with her victims—folks who generally deserve to be turned into Amber’s next meal—is witty and laced with librarianisms, like, “You’re so 900.” Arthur also knows how to walk that fine line between being gory enough for young horror fans and sedate enough for—you guessed it—high school librarians.
Amber Fang enjoys life's simple pleasures. A perfect evening for her includes a good book, a glass of wine and, of course, a great meal, preferably straight from the jugular.
Raised to eat ethically, Amber dines only on delicious cold-blooded killers. But confirming that her chosen victims deserve to die takes time. And patience. So it's a good thing Amber is studying to be a librarian. Her extraordinary research skills help her hunt down her prey, seek out other vampires and stay on the trail of her mother, who has been missing for over two years now. But one day…
One of my favourite sounds is teens interacting—especially when they are throwing shade. I spent twenty-five years as a junior and senior high teacher, and I miss rocking and rolling during class discussions with my students. As a writer of contemporary fiction (actually in anything I write), I work hard at using dialogue as an engine to drive each scene. Each line needs to be refined to ensure that it’s snappy, engaging, and real. I’m a writer from southeast Saskatchewan, Canada, where there’s no shortage of great one-liners to use. I hope you enjoy the dialogue in these five recommendations as much as I did.
Julia Vanishes, Book One in the Witch’s Child series, is fantasy sprinkled liberally with strong female characters. One of those characters is most certainly Julia. She is deeply flawed, has a mysterious past, and makes a living as a thief, so she’s a bit of an anti-hero. Julia also has a talent for making herself unseen—but this talent is evolving and expanding in ways that are quite frightening. Although Egan’s world-building and plotting are brilliant, what I love most are Julia’s interactions with characters like her lover Wyn (the ultimate bad boy), the mysterious Mrs. Och, and most especially Pia the assassin. Dialogue fraught with tension and humor hurtled me from one chapter to the next.
"An exciting novel with magic and serial killers.... One of the hottest books coming out."—Hypable.com
Fans of Marie Lu, Leigh Bardugo, and Kristin Cashore will be captivated by this stunning first book in a must-have new fantasy trilogy about a spy who can vanish at will and who discovers that monsters, mystery, and magic are also lurking—just out of sight.
Julia has the unusual ability to be . . . unseen. Not invisible, exactly. Just beyond most people's senses.
It's a dangerous trait in a city that has banned all forms of magic and drowns witches in public Cleansings. But…
Crystal King is the author of The Chef’s Secret and Feast of Sorrow, which was long-listed for the Center for Fiction’s First Novel Prize and was a Must-Read for the MassBook Awards. She is an author, culinary enthusiast, and marketing expert. Her writing is fueled by a love of history and a passion for the food, language, and culture of Italy. She has taught classes in writing, creativity, and social media at GrubStreet, Harvard Extension School, and Boston University, among others. She resides in Boston.
In A.D. 66, Petronius, the author of the food-filled first novel, The Satyricon, has been implicated in an assassination plot to rid the world of Emperor Nero. He now faces a terrible choice: to end his life with honor, or to face an executioner at dawn. The Uncertain Hour is the sumptuous, beautiful tale of Petronius’s last, marvelous feast before he takes his place among the stars in the heavens.
a.d. 66: Having been falsely implicated in a plot to assassinate the emperor Nero, Titus Petronius has a choice: await the executioner at dawn, or die a noble Roman death by his own hand. Deciding that his will be a suicide like no other the world has ever seen, he summons a small circle of intimate friends to his magnificent villa on the enchanting Tyrrhenian coast of southern Italy. There, over the course of a balmy autumn's night, Petronius throws the party of a lifetime. As they feast on course after course of the most sumptuous and exotic fare the…
As someone who has experienced a lot of loss in my life, I’ve done a good amount of research and exploration into the soulful nature in all of us (the living and the dead) through reading nonfiction (Laura Lynn Jackson, Brian Weiss, Edgar Cayce, Jane Roberts, John Edward and Suzane Northrop among them) and fiction that deals with strong soulful connections. Through my own work as an author, I seek to provide the message love, in any form, transcends life and death. We only have to be open to the possibility to know it and experience it. Nothing is a coincidence and we are all connected. I hope these selections open you to the possibility.
Fabiaschi’s story is told from two very different perspectives.
One is from earth and told from the perspectives of a grieving daughter and husband as they grapple with their loss. The other is from purgatory or a stasis from the perspective of the mother/wife who seems to have committed suicide. But everything is not as it seems. From the afterlife, Maddy tries to help her grieving family find answers and closure.
I was fascinated by the way Maddy attempts to affect the lives of her loved ones.
Maddy was a loving, devoted stay-at-home mother... until she committed suicide, which left her husband Brady and her teenage daughter Eve heartbroken and reeling, wondering how they can possibly continue without her. Maddy, however, isn't quite done with them. In an attempt to fulfil her family's needs, Maddy watches and meddles from beyond the grave, determined to find the perfect wife and mother to replace herself and heal her family. That's when she finds Rory: a free-spirited schoolteacher, who Maddy manoeuvres into Eve's confidences, but who turns out to be harbouring a tragedy of her own.
As a writer, I want my novels to be deeply humane and beautifully written, with characters who are worth your time and love and worry. And as a reader, I want my plots to keep you up past bedtime. Unsurprisingly, these same qualities show up in novels I remember the longest. In days of yore (the 1980s) the rap on “literary novels” was that they had poetic writing and no plot. I’m glad to say that’s no longer true (if it ever was). Gorgeous writing and riveting plots can and do go together! In that spirit, I hope you’ll love my book selections.
Two boys find a gun in the woods. Over the next few hours, which are rendered in a series of unforgettable scenes that travel forward and back in time, the gun will resonate through the lives of the boys, their teachers, their parents, and others.
I could not put it down, and when I finished I began reading it again. The prose is the loveliest you’ll find, and the story takes gentle and surprising turns that will stop your heart and make you feel deeply human. I loved this short, gorgeous novel and learned something about the lives of men.
There is good reason why William Lychack's writing has been called 'Precise, exhilarating, sometimes wonderfully funny and always beautiful' (Margot Livesey). In prose you can practically feel moving in your hands, Cargill Falls takes you through a series of unforgettable scenes that coalesce into an extended meditation on the meanings we give or fail to give certain moments in our lives. The story begins when an adult William Lychack, hearing of the suicide of a childhood friend, sets out to make peace with a single, long-departed winter's day when the two boys find a gun in the woods. Taking place…
Since I was young, I’ve suffered from Major Depressive Disorder, coupled with chronic pain that surfaced when I was in middle school. Being in constant pain—mental and physical—obviously drains the spirit. I found no hope whatsoever in phrases such as, “It gets better.” When you have chronic pain, that statement means nothing, because you know it won’t. These books, however, offered me something that I hadn’t encountered before: someone acknowledging that, although it may never get better, there is still something for me here, whatever form it takes. These books do not shame depressives, they console (and even commiserate) with them, and I hope you find them as fulfilling as I have.
The Savage God destroyed me upon finishing it for the first time.
Alvarez travels through history in this non-fiction study, tracing the perceptions of suicide from ancient societies to the present day, all with an empathetic eye. Alvarez views suicide both as a societal phenomenon and an intimately personal experience.
His own experience with suicide so closely mirrored my own that I still remember the final pages of the book vividly. To be frank, the book’s a bit dated—it was written in the 70s and some of Alvarez’s comments (as well as his reverence of Freud) haven’t aged well. Nevertheless, the worthwhile sections—of which most of the book is composed—are unforgettable.
"Suicide," writes the notes English poet and critic A. Alvarez, "has permeated Western culture like a dye that cannot be washed out." Although the aims of this compelling, compassionate work are broadly cultural and literary, the narrative is rooted in personal experience: it begins with a long memoir of Sylvia Plath, and ends with an account of the author's own suicide attempt. Within this dramatic framework, Alvarez launches his enquiry into the final taboo of human behavior, and traces changing attitudes towards suicide from the perspective of literature. He follows the black thread leading from Dante through Donne and the…
Throughout my teenage and early adult years, I experienced episodes of mental illness. Thankfully, it seems to be behind me, but it's not something I’ll ever forget, and I find myself deeply intrigued by the manifestations of those darker aspects in others. Some people hurt themselves and some hurt others, the common thread is the presence of pain and suffering. As heartrending as this reality is, it holds a certain fascination for me, both in real life and in literature. That’s why I write about it; that’s why I read about it.
I loved this book. The concept is brilliant, and as a writer, I’m a little envious that I didn’t come up with it myself. Again, it’s a twisted mind that makes this story.
Laura is someone you hate more with every word that you read, but you can’t stop reading. We get a backstory as to why she is how she is, but regardless, witnessing how she acts as a result, and to people at their most desperate, is very dark.
She's a friendly voice on the phone. But can you trust her?
The people who call End of the Line need hope. They need reassurance that life is worth living. But some are unlucky enough to get through to Laura. Laura doesn't want them to hope. She wants them to die.
Laura hasn't had it easy: she's survived sickness and a difficult marriage only to find herself heading for forty, unsettled and angry. She doesn't love talking to people worse off than she is. She craves it.
I’ve always been in love with the idea of love. I didn’t know what that feeling was like for a long time–not being in love myself–so I grew attached to fictionalised worlds that brought those ideas to life. I’ve always been the person who smiles at a meet-cute or feels that warm, fuzzy feeling inside when the couple you’ve been rooting for the last two hundred pages finally kisses. I want them to know how exciting it can be to feel loved and experience that through the creation of stories. This is why romance is, and likely always will be, a huge thematic influence on all forms of my work.
I’ve always loved stories that explore the themes of love and loss and how they entwine as one. All The Bright Places is no exception to this. Be warned; you may shed some tears!
The emotional connection you create with this book is something I tried to tap into with my own writing, and I hope that the authenticity of All The Bright Places is something that can be found in my own work. I love this book with my whole heart. I often write characters with past trauma, which becomes apparent as they begin working on themselves through the plot's unravelling.
I see so many similarities between my own characters to that of Violet Markey, a main character in All The Bright Places.She is what I consider to be an inspiration to my own writing from the very beginning. It’s truly an emotional tale filled with important topics…
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