Crime fiction has always known the value of a blunt title, and Natalie Tielcke has chosen one. Pretty Dead Girl puts the genre’s oldest and most uncomfortable convention right there on the cover, the victim described before anything else about her is known, and a title that direct is usually aware of exactly what it is doing.
Our catalogue files the work under crime and thriller and nowhere else, which is unusually clean for this shelf. Under five hours makes it compact by the standards of the genre, closer to a long evening than a campaign, and that brevity tends to concentrate rather than dilute: fewer subplots, less throat-clearing, a plot that has to keep moving because there is nowhere to hide.