The slow courtship that follows finds the pair discovering each other’s literal scars as Philippa considers a new life and Bud discovers he wants more than empty sex he’d been enjoying before meeting her. But she’s devoted to Frank, and Bud’s an old-school, old-money gentleman. “When keen eyed, keen witted Philippa Tyler stands square in my face, convinces me she’s got this all worked out, and says ‘kiss me, you fool’, she’d better look out,” he declares, refusing an invitation to a kiss when she’s at her lowest moment. Bud professes not to be a dashing sex symbol, but Philippa’s descriptions of him—and his quick-witted, screwball-style dialogue—bring to mind Cary Grant.
The novel’s present is in the recent past—Philippa works out to a Jane Fonda videotape—but the stereotypical dialogue of Bud’s cook Glory would strike a sour note in any era. Terrill’s novel doesn’t dramatize the screenwriting process, or the countless intimate choices that work demands, though readers will get a convincing and comic depiction of the filming of a love scene. The pace is unhurried but the ending satisfying.
Takeaway: Thoughtful Hollywood romance between novelist and actor.
Comparable Titles: Katie Rose Pryal’s Entanglement, Nora Roberts’s Tribute.
Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: B+
Marketing copy: A
“Anyone who loves a good book with great character development and an engaging storyline would enjoy [Another Man’s Wife]. It’s relatable and challenging, once again shining a light into what could be considered gray areas of morality or responsibility, causing the reader to think and engage with the story. It’s the kind of book that you want to re-read...to go back and experience it again...”