The angsty premise - badly abused young man coming to the country, finding a family, learning he deserves to be loved, etc. etc. - is alluring, no doubt, as is the setting, but unfortunately, that's not enough to make up for the woefully poor execution. There's the lack of emotional realism; in particular, the fact that Kaden comes to the ranch so terribly traumatized that he can't even have a single lustful thought or feeling without having a panic attack - and having been this way for years and years - and yet within three months he's having sex, apparently without a single moment of trauma or fear once the barrier is breached, so to speak. That felt so inappropriate, and so untimely, that I couldn't get past it - and it's just one example, the biggest one, of a pervasive lack of realism, what another commenter described well as the author taking the easy way out for herself and her characters: Kaden just got over his problems way, way too easily.
And the sex scenes read like - well, like sex scenes from just about any m/m romance I could pull out of my e-reader, same cliched phrases and descriptions, with nothing whatsoever to make it evident that this wasn't just same-old same-old sex, but sex with someone who had been badly abused and was not really recovered.
Then there were the pages of exposition, of telling-not-showing, in which the author described the characters' feelings, what was going on in their heads, their motivations and desires, rather than illustrating these with actions and conversations. There was the lack of clear, much less consistent, point of view.
And the constant reference to Kaden, by both the author and by Logan, as "the teenager" or "the teen" went beyond annoying (why not just use his name? epithets like these are a sign, to my mind, of sloppy writing) to downright creepy, especially given his past. He was 19 - hardly the age typically referred to as a "teenager" - and if he was old enough to be establishing a permanent relationship with Logan, he was old enough at least to be referred to as a man.
I could barely finish this book, mostly because of the emotional heavy-handedness and the clumsy and un-nuanced dealing with difficult issues; once I got to the sex, I was hard put to keep going. Everything is extreme: the most extreme abuse possible, but then an extreme and unrealistic recovery, and a relationship that serves as a total fix-all with no real issues whatsoever (and I haven't even mentioned Logan's extreme switch from straight to gay, with apparently not even a single moment of distress). All this, combined with the stylistic issues, made it impossible for me to have any emotional connection with the characters, despite the good set-up.
I'm hoping the author can learn from these comments - and all the negative ones are fairly consistent - because her writing style is solid enough to show the capacity for improvement. And a good editor to rigorously point out and help address the telling-not-showing problem, to tone down the emotional extremism, and to act as a check for emotional realism, could make a huge difference.