"Scuttle" has a lot of potential, but the potential is only occasionally fulfilled. There's a solid story here, with great characters, but the middle part drags too much, and all the momentum from the first third evaporates. Here someone should have pointed out to the author how this shows indecisiveness about the direction of the plot; and indeed, the Halloween/supernatural horror type of story with which the novel begins, has been entirely forgotten by the last third: the science-fictional twist was extremely artificial, forced, and unattractive, and transformed the story into dark comedy rather than the -presumably intended- horror tale it promised to be.
To begin with, the premise sounded very interesting. Apparently the story was supposed to be a creature feature: a teenage boy, who lives with his gay father and his husband, is being pressured by his peers to lose his virginity no matter what; becuase of this, the boy gets into a very uncomfortable situation (he himself gives it the familiar word for "sexual intercourse without consent"), ending up with the boy discovering that, under these circumstances, he transforms into a huge human-eating spider shooting webs (I kid you not!). However, this is not your friendly neighborhood Spider-Man, and soon things escalate into gore and mayhem.
The boy's part is told in first-person. The author chooses to tell the father's story also in first-person, alternating POVs as need be. So if you open the book at random, it's not immediately clear who's talking. Nor is it clear why the author chose this format for the father: probably some insights on parenthood were supposed to be given or implied, but, as far as I can see, absolutely nothing important comes through. Plus the father, a university professor married to a much younger man, is not easy to relate with; so whatever was the author's intention of telling the father's story in first-person, it's a complete failure in the end. This pretty much concludes the novel's first third.
Once trouble has begun, and the situation becomes literally irresolvable (police is involved, and lies and excuses have dried up), the author chooses to bring new characters into the story: the boy's mum herself and the father's father. The middle third of the book needs them, in order to explain the change of setting (the dad and the son evade police and find shelter in America - some huge suspension of disbelief is necessary here).
The last third of the book is essentially a repeat of the first, with the son finding new peers pressing him to have sex all over again. Predictably, things escalate in precisely the same way and mayhem ensues. This time, though, the creature feature turns into sci-fi horror. Thankfully, all the plotlines come together, and it falls to the father to provide closure. Or not.
I obviously had some problems with the structure and the format of the story, but, overall, this is not a bad horror novel: it has several promising scenes and good action sequences. It has to be said, however, that you have to read it with your moral eyes closed. Frankly, the whole story is morally bankrupt (i.e., don't expect any lessons in morality from anyone's attitude in this book). Though, of course lack of morals in a book is not a bad thing either, it becomes troublesome when the book is about kids, sex without consent, mental illness, murder, unaliving, and crime.