Very Bad Things is essentially The Phantom of the Opera set in a modern-day high school, with the gross-out factor raised by degrees.
Besides the glaring characterization issues and plot holes -- SPOILERS:
ex.1. For two weeks, this little campus is crawling with police and K9 units, and Peter, he of the distinct, overpowering smell of dank earth and mustiness, he of the midnight forays into the land of the living, is never discovered?
ex.2. Peter is badly enough burned that he cannot leave fingerprints, and inhaled enough smoke to destroy his windpipe, but as a scrawny 12-year-old was able to recover - without infection or other complications - on his own? And now lives as a scavenger in the underground labyrinth of tunnels beneath a private high school. Sure.
-- it's as if McBride attempted to give this story aspects that would appeal to higher-level readers, as well as to the lovers of the Clique series and Pretty Little Liars who would naturally be drawn to this kind of thing.
1. In the beginning of the story we find Katie, the protagonist, working on memorizing a Dickinson, an assignment for an unspecified literature class. She is at the library (nearly alone among her fellow students, we are led to believe, in taking advantage of that resource) in the dark hours of the night.
2. After the incident with The Box, Katie's first waking thought is one of dismay as she realizes how late she is to her Nineteenth Century American Poets class.
3. There is another Dickinson printed two thirds of the way through, the words seeming to come to Katie amidst her turmoil in perfect application to her traumatic situation. A pithy, three sentence paragraph follows, posing as an explication of the poem.
Katie is painted (on these occasions) as logical, studious, on the fast track to somewhere.
Then we see her with her boyfriend Mark.
Mark. The darling of the school. The star hockey player at a prep school where hockey matters. The son of the headmaster, because this school has a headmaster, and not a principal. The not-too-good boy, because he throws parties when Daddy is away, but not too bad, either, because he broke up with his last girlfriend after she cheated on him, and not the other way around. The high school senior who, from what is presumably a smartphone (since a. Katie most definitely has an iPhone [which, by the way, is encased in a pink hello kitty cover. I am all about being your own person, you-do-you, enjoying your hobbies and interests unashamedly, but really? hello kitty. #iDie.] and b. a phone mentioned later, described as "a crappy flip phone" [pg. 143], is most definitely not the kind of phone he would ever be caught dead carrying), texts in AIM lingo c. 2002 romantic sentiments such as "ily k8e." and "can i c u 2nite?"
Hello. This is 2015. The Twilight movie is mentioned, ergo these kids operate in the time of auto-correct and phones with full keyboards. World-build accordingly.
Katie with Mark can be summed up in the following, found on page 10:
"Mark was special. He was the guy all the girls drooled over and all the guys wanted to be....[Mark and Katie] actually had a lot in common."
There are mentions throughout the text of how Katie understands Mark, and how safe he makes her feel (when she's not considering the fact that he might be a cheating murderer), and other things that are all good - wholesome, sweet indicators of a healthy, budding relationship. That first sentence, though, is our introduction to the couple, and there are other flaccid remarks like it peppering the remainder of the story; their harm outweighs the potential good the other comments could have done. Overall, we are left feeling like this is another empty, cutesey but ill-fated, senior-scramble coupling, and we can feel some sympathy for the jilted best friend Tessa.
But then, Tessa is her own shit-storm of unhinged-ness, and by the end of the book she is so far off her nut as to be untouchable, and readers will probably be glad for the neat, convenient dispatch of that love-lorn character to the nearest juvie center (one town over, in case you wondered).
Also, is Tessa in love with Katie? Or does she just love her like a sister? Or a puppy. Or her child. Or something else towards which girls exhibit hyper-protective, hyper-competitive, vomit-inducing affection? Frankly, Tessa's ...feelings toward Katie made me horribly uncomfortable not because of what they were, but because they were not defined, not fully disclosed, and I didn't know how to read them. Intensity like that doesn't come out of the blue.
Also, why on earth does Tessa despise Mark so much? If she is in love with Katie, of course, case closed. Since that is not the case (?), her complete loathing of a soul she hardly knows becomes yet another line in the litany of weird that describes this chickie.
Teenagers undeniably have a rough time of it. They have a lot to figure out and not a whole lot of time to do so, and, depending on their circumstances, not necessarily a whole lot of support from outside parties.
Tessa's situation is more challenging than many, Katie's is not a lot better, and Mark - well, the poor rich kid of the headmaster has a picture-perfect life, so we'll cut him no slack, which is in and of itself an obstacle. Theoretically, I should want to feel for all of them - to root for all of them - but you don't get to know them well enough, and mostly, I just wanted to get through this weird story and figure out who the demented psycho was, and never ever pick up this book again.
This story perverts sibling love, best-friend relationships, and romantic relationships, turning them all into twisted obsessions or foundation-less fawning; it is neither good literature nor a worthwhile story. There was a good concept in here, at one point (Phantom is a blockbuster, time-transcending, mega-show for a reason), but it over-shot and under-achieved and left me feeling icky and clammy, like one of poor, emotionally-abused, mentally-deficient, criminally insane Peter's sickly sweet roses.
Peter, by the way, deserves way better treatment than he got from his author.
There are plenty of other young adult romantic/suspense/psycho-thriller/mystery stories out there, and I advocate trying a lot of them before cracking open this one.
Very Bad Things was, indeed, a very bad thing.
p.s. Speaking of the title, there was a point, in the beginning, when I thought the author was going to employ some cool device in repeating the phrase "very bad things" to signify.. an event? a twist? a theme? something, but that didn't pan out, and she uses the phrase only twice in the entire novel, to signify: nothing.