Short Version: This book is overly ambitious, and fumbles its potential with a word salad of cliches.
Longer Version, Spoilers Below: I both pre-ordered this book and offered to review an Advanced Reader's Copy of this book because I love S. A. Fenech's work and want to support her as an artist. So, I'm sad to have to be honest: This book did not live up to my hopes.
I will start with the positives though; the lead, Everly, is endearing, realistic, and equal parts heartbreaking and heart-warming. Imagine "Buffy the Vampire Slayer", but instead of bright and perky Buffy being the chosen one, it's shy and sullen Tara instead. Everly is empathetic, trusting, and generously kind, all while nursing the wounds of childhood trauma and living with anxiety. She often fails to see the best of herself, or blames herself for others' suffering. Despite that, Everly never fails to try and do right by people, which - in a world full of darkness both moral and supernatural -is a superpower in its own right.
However, every single secondary character exists to remind Everly that she is great. They have different names and physical appearances, but they might as well be interchangeable, since they share the same motivation and temperament. I honestly had a hard time reading this book because my brain would stumble to match a name to a character, and I would have to go back and reread passages, that was how flat they were. A group of friends (or acquaintances) doesn't agree all the time. I expected someone to question Everly from time to time. To ask if she was being irrational, or paranoid, or besotted, or even magically mislead.... Or to take umbrage with her self-deprecation and fear-induced-paralysis; not everyone is patient with empaths. The lack of interpersonal conflict in this book was noticeable and disappointing, it robbed potentially interesting characters of any depth.
Speaking of Everly's anxiety being a source of conflict... Her anxiety manifests, sometimes, in the form of lucid dreams. For years she has dreamt of her crush, Rylan. After one such dream, Everly wakes up in the middle of the night to see the real Rylan fighting a monster in her yard. The ENTIRE conflict of the book stems from this moment: Everly witnesses Rylan receive a severe injury before she wakes up again, to find herself outside but Rylan is missing... The obvious conflict would be if Everly couldn't tell dreams and reality apart, convinced herself that what she saw was a dream, but lives in an uncertain limbo for days before the magical truth bombs start falling. It would be an ongoing source of tension, never knowing if we could trust the viewpoint character, rather like the escalation of a horror movie. INSTEAD, Everly assumes for the first time ever that her super real-feeling dream was in fact reality this time, and now she needs to go on a quest to rescue Rylan's body, wherever it may be. As mentioned before, her friends and allies do not question her, and completely support Everly in poking randomly around town. At no point does Everly, or anyone else, give up the hunt for Rylan's body on the basis that "maybe my dreams are true" is a bad jumping off point for a detective. Seems like any one character should have had a Reality Check moment and questioned whether believing a dream was a sane idea.
And speaking of sanity checks... Everly takes in stride a LOT: the existence of a parallel world full of shapeshifters and monster ooze; her hometown being a hellmouth; monster zombie roadkill; the spooky monster assassin boarding school her crush attends; being covered in rats, repeatedly... This character was dealing with the deaths of her parents and the reconciliation of her trauma under their roof, and /that/ would have been enough of a story. This girl's crush goes mysteriously missing, and in a bizarre, gender-bent Sleeping Beauty sort of way, she's able to communicate with her love in dreams; she saves the day and /that/ would have been enough. There is a monster hunter academy, and /that/ would have been enough. Everything we think of as a gothic monster is actually the /same/ species of monster, and they have interbred with humans, and /that/ would have been enough. But this book tried to do ALL those plots and more, and after awhile too many threads did not make a sweater.
My final criticism is with the technical writing. I highlighted a lot of passages because they were simply awkward to read. As an example, a large, old home is described as looking like a slumped wedding cake. I don't know what comes to other people's minds, but the first wedding cake I think of is the three-tiered kind, with the circular cakes which get smaller and smaller the higher they stack. I have never seen a house that shape. Fine, perhaps my misunderstanding a metaphor is nitpicky. Better example, "The aroma was a mix of dry-dirt stale and warmly pungent." Pungent is an adjective, it describes something else. You can't structure a sentence as "It was a pungent." But with a change of punctuation, this sentence could be made to make sense: "The room had a dry-dirt aroma: stale and warmly pungent." The technical writing in this book needed an editor's eye, to tighten it up and make it smoother to read. But because the grammar was off, or the word choice was odd (Why would you name your evil castle full of racist, homicidal jocks, Darkfrey. DARK. FREY. Why not just call them The Vile Academy for Would-Be Magical Murderers and be done with it!) I spent more time playing Editor than Reader.
What was great about Everly was not enough to save what was lacking with the rest of the book.