After a childhood accident left her scarred, Adele Jackson has spent most of her life building walls and is desperate to maintain a stranglehold on her life.
Responsible for an alcoholic mother, Joanne Cassidy spends her days working a dead end factory job, and evenings pursuing a degree in nursing.
I'm a sucker for the fauxmance trope. I enjoy the slow burn that comes along with this theme, the two main characters’ individual growth throughout and the anticipation of them recognizing and acknowledging they are no longer faking. This particular relationship commenced under pretty dark circumstances - Adele blackmailing Joanne into being her pretend girlfriend so she could win a promotion at work - and it had “this is not going to end well" written all over it. So of course there's LOADS of angst.
Told in first person point of view, Beholden switches between Adele and Joanne. I really enjoy this technique because I love living inside the character’s head, but I'm not limited to a single character. Fox Brison does a good job of describing what the first person character is experiencing that I never felt I was missing anything, which is a risk when reading a story told in first person.
The dialog between characters is conversational, realistic and clean. But instead of taking the time to describe the beautiful sounds of the Scottish accent, the author instead demonstrated it through occasionally spelling words phonetically.
I will say that Beholden needs more editing to help smooth out the reading experience. There are a few spelling issues, but editing is more than that. Every sentence should be evaluated to ensure that it is well crafted, and fits into the story as a whole. For instance, I love a good figure of speech as much as the next person, but this story was loaded with metaphors and smilies to the point that I would find myself rolling my eyes. I realize the author was attempting to paint images, but she was heavy handed with this particular method.
I also felt like some elements were just chucked in there with no true, rooted meaning. Like Joanne going to evening school. While it was obvious that Joanne was attending because wanted a better life, it was a piece of her life that was most often forgotten about during the telling of story and only popped back up when it served the author's purpose (to demonstrate that the instructor was a cad). Or Adele's need for total control even in the bedroom (which had never been mentioned, but I suppose I should have assumed) and then bloop...she could suddenly (I would say with about 7% of the book left) change.