Tied Up, Thrilled, Terrified

Hannah, the protagonist, finds herself tied to a chair in a nondescript room, both frightened and strangely exhilarated. She reflects on her life and the choices that led her here—falling in love with an accused serial killer, William Thompson. Her predicament is laced with self-awareness and a dark sense of humor; she recognizes her own complicity and the thrill of being the center of a true crime narrative. As she waits for her captor, she contemplates her own worth, the performative nature of victimhood, and the allure of being remembered, even if only as a cautionary tale.

Ordinary Life, Unfulfilled Desires

Before her obsession with William, Hannah's life is marked by underemployment, romantic disappointment, and a sense of invisibility. She works at a nonprofit, spends her days scrolling social media, and endures a string of unsatisfying relationships—most notably with Max, a commitment-phobic musician. Her yearning for meaning and connection is palpable, and she finds herself drawn to the stories of missing women, projecting her own feelings of neglect and longing onto them. This emotional void sets the stage for her descent into true crime obsession.

Anna Leigh Disappears

Anna Leigh, a young, successful, and conventionally attractive woman, goes missing. Her disappearance becomes a media sensation and a rallying point for online true crime communities. Hannah, like many others, becomes fixated on the case, pouring her energy into online sleuthing and social media advocacy. The collective search for Anna Leigh is both a genuine effort for justice and a form of communal catharsis for women who see themselves in her. The case exposes the gendered dynamics of violence and the public's hunger for stories of beautiful victims.

True Crime Obsession

Hannah immerses herself in a true crime forum, where users dissect every detail of Anna Leigh's case and speculate about suspects—especially her husband, Tripp. The forum becomes a surrogate community, offering Hannah a sense of purpose and belonging. As the investigation unfolds, the forum's focus shifts from finding Anna Leigh to solving her murder, and then to the broader pattern of violence against women. The lines between advocacy, voyeurism, and self-soothing blur, and Hannah's identity becomes increasingly entwined with the fate of the victims.

The Ravine's Second Body

The discovery of Kimberly's body in the same ravine as Anna Leigh's signals the presence of a serial killer. Unlike Anna Leigh, Kimberly is not young or beautiful, and her death receives little media attention. The forum, however, latches onto the connection, and Hannah becomes even more invested. The contrast between the public's response to the two victims highlights issues of class, beauty, and whose stories are deemed worthy of mourning. Hannah's own professional and personal disappointments deepen her identification with the forgotten and overlooked.

Serial Killer Patterns Emerge

Jill, a fitness influencer, and Emma, a woman navigating the perils of online dating, are both found dead in the ravine. The murders share enough similarities to confirm the presence of a serial killer. The forum's energy intensifies, and Hannah's obsession grows. She investigates the victims' lives, looking for connections and clues, and becomes increasingly convinced that William Thompson—a lawyer with ties to all the victims—is the killer. The narrative explores the dangers women face in everyday life and the ways in which violence is both random and systemic.

Dating Apps and Danger

Emma's story, in particular, underscores the vulnerability of women in the digital age. After being ghosted by one man, she goes on a date with William, who later becomes the prime suspect in her murder. Hannah's own experiences with online dating and casual relationships mirror Emma's, blurring the line between ordinary heartbreak and existential threat. The chapter interrogates the ways in which women are conditioned to accept risk in pursuit of love and the thin line between desire and danger.

William Thompson Arrested

William is arrested after Emma's murder, and the case becomes a media spectacle. Hannah is both vindicated and unsettled; her online sleuthing has led her to the right suspect, but the reality of William's arrest is less satisfying than she imagined. She continues to follow the case obsessively, even as her own life unravels—she loses her job, her friendships fray, and her sense of self becomes increasingly unstable. The arrest does not bring closure, but rather a new phase of obsession.

Letters to the Accused

Unable to let go, Hannah writes a letter to William in jail, expecting nothing in return. To her surprise, he responds, and a correspondence begins. Their letters are intimate, confessional, and charged with ambiguity—William never explicitly confesses, but neither does he protest his innocence. The exchange becomes a lifeline for both, offering Hannah the attention and validation she craves and giving William a sympathetic ear. The relationship blurs the boundaries between empathy, complicity, and erotic fascination.

Falling for a Monster

As the letters continue, Hannah falls in love with William, rationalizing or ignoring the evidence of his guilt. She becomes one of "those women" who fall for killers, a phenomenon she once judged from afar. The relationship is both a fantasy and a coping mechanism, allowing Hannah to escape her own disappointments and to feel special, chosen, and seen. The narrative interrogates the psychology of women who love monsters, the allure of danger, and the ways in which love can be both redemptive and destructive.

The Trial and the Forum

Hannah travels to Georgia to attend William's trial, meeting other women obsessed with the case. The courtroom becomes a theater of competing narratives—prosecutors, defense attorneys, family members, and online sleuths all vying for control of the story. Hannah's relationship with William deepens, even as she investigates his family and the possibility of his innocence or guilt. The trial exposes the performative nature of justice, the limitations of evidence, and the ways in which truth is always mediated by desire and power.

The Thompson Family's Secrets

Hannah's investigation into the Thompson family reveals a web of secrets, rivalries, and generational trauma. William's father, Mark, is a powerful and manipulative figure; his brother, Bentley, is charming but troubled. The family's wealth and status have shielded them from consequences, but also fostered resentment and competition. Hannah's interactions with Bentley become increasingly fraught, culminating in a drunken kiss and a series of revelations about the family's past. The chapter explores the ways in which violence is both inherited and enabled by privilege.

Guilt, Innocence, and Betrayal

William is acquitted after a new body—Kelsey Jenkins—is found in the ravine while he is in jail, suggesting the real killer is still at large. The forum erupts in confusion and renewed speculation. Hannah, now engaged to William, moves in with him and tries to build a life together, but her doubts persist. She discovers a box of suspicious items in William's desk, including a matchbook from Kelsey's bar, and begins to suspect that someone else—possibly Bentley—is the true killer. The lines between guilt and innocence, love and betrayal, become increasingly blurred.

The Matchbook Clue

The matchbook from Kelsey's bar becomes the key to unraveling the case. Hannah, with Bentley's reluctant help, investigates the bar and realizes that Bentley has been there before. The recognition by a bar regular and Bentley's evasive behavior confirm her suspicions. The narrative builds to a confrontation in which Bentley's true nature is revealed, and Hannah is forced to confront the reality of the violence that has shaped her life and the lives of the women she has mourned.

Bentley's Confession

Bentley kidnaps Hannah, confesses to the murders, and explains his motives—jealousy, resentment, and a desire to hurt his brother and assert his own power. He details his relationships with the victims and the ways in which he manipulated evidence to frame William. The confession is both chilling and intimate, and Hannah's survival hangs in the balance. William arrives in time to save her, but the damage is done—Hannah's illusions about love, justice, and herself are shattered.

Survival, Aftermath, and Escape

After her ordeal, Hannah returns to her parents' home, traumatized and adrift. Her relationship with William ends, and she struggles to find meaning in the aftermath. She takes a job as a barista, contemplates writing a memoir, and tries to rebuild her life. The specter of violence lingers—she is haunted by the possibility that Bentley will return, and by the knowledge that she was both victim and participant in a story of obsession, complicity, and survival. The novel ends with Hannah pregnant, uncertain of the future, and forever marked by her brush with death and desire.

Characters

Hannah

Hannah is a thirty-something woman whose life is defined by disappointment, longing, and a deep sense of invisibility. Her work at a nonprofit is unfulfilling, her romantic life is a series of letdowns, and she finds solace in true crime stories—especially those involving missing or murdered women. Hannah's psychological complexity is the heart of the novel: she is both a victim and a voyeur, a seeker of justice and a participant in the spectacle of violence. Her relationship with William is both a fantasy and a form of self-destruction, and her journey is one of self-discovery, complicity, and survival.

William Thompson

William is a successful lawyer accused of being a serial killer. He is charming, intelligent, and emotionally damaged, shaped by a privileged but dysfunctional family. Through his letters to Hannah, he reveals vulnerability, remorse, and a longing for connection, but he never fully confesses or denies his crimes. William's ambiguity is central to the novel's tension—he is both a monster and a victim, a product of his upbringing and his own choices. His relationship with Hannah is marked by mutual need, projection, and the ever-present possibility of violence.

Bentley Thompson

Bentley is William's older brother, outwardly successful and charming but deeply resentful and damaged. His rivalry with William is rooted in childhood trauma, parental favoritism, and a sense of inadequacy. Bentley's confession reveals him as the true serial killer, motivated by jealousy, a desire for control, and a twisted sense of justice. His interactions with Hannah are manipulative and predatory, culminating in her abduction and near-murder. Bentley embodies the novel's themes of inherited violence, the dark side of privilege, and the dangers of unchecked resentment.

Mark Thompson

Mark is the powerful and controlling father of William and Bentley. He is a master of appearances, using his wealth and influence to protect his family and maintain their status. Mark's actions—covering up crimes, manipulating evidence, and prioritizing reputation over truth—enable the cycle of violence that defines the Thompson family. He is both a villain and a tragic figure, unable to see the damage he has wrought.

Cindy Thompson

Cindy is William and Bentley's mother, a woman more concerned with appearances and social standing than with genuine connection. She is cold, judgmental, and largely absent from her sons' emotional lives. Cindy's inability to provide warmth or support contributes to the dysfunction and violence that plague her family.

Dotty

Dotty is a woman Hannah meets at William's trial, another member of the "women who love killers" club. She is older, brash, and unapologetic about her obsession. Dotty's presence offers Hannah both camaraderie and a cautionary example of the dangers of living vicariously through violence and spectacle.

Lauren

Lauren is a college student and true crime enthusiast who becomes friends with Hannah and Dotty at the trial. She is fixated on the idea of innocence and redemption, projecting her own desires onto the accused. Lauren's naivete and hunger for meaning mirror Hannah's, but her youth and optimism set her apart.

Meghan

Meghan is Hannah's longtime best friend, whose engagement and new relationship signal the end of their closeness. Meghan represents the ordinary life and stability that Hannah both envies and rejects. Their friendship's dissolution underscores Hannah's isolation and the costs of her obsession.

Max

Max is Hannah's former lover, a musician who embodies the kind of emotionally unavailable man she is drawn to. His indifference and eventual rejection haunt Hannah, fueling her need for validation and her attraction to dangerous men.

Jill, Anna Leigh, Kimberly, Emma, Kelsey

The murdered women are both characters and symbols—each representing different facets of womanhood, vulnerability, and societal value. Their stories are explored in detail, and their deaths serve as the catalyst for Hannah's obsession, the forum's activity, and the unraveling of the Thompson family's secrets.

Plot Devices

Epistolary Structure

The novel's central device is the exchange of letters between Hannah and William. These letters serve as a confessional space, a means of seduction, and a way for both characters to construct and deconstruct their identities. The epistolary form blurs the line between truth and performance, allowing for ambiguity, projection, and unreliable narration.

True Crime Forum

The online forum is both a plot engine and a thematic device, representing the collective obsession with true crime, the democratization of investigation, and the blurring of empathy and spectacle. The forum's shifting focus—from advocacy to entertainment, from justice to gossip—mirrors Hannah's own journey and the broader cultural fascination with violence.

Unreliable Narration

Hannah's perspective is marked by self-awareness, irony, and unreliability. Her interpretations of events, motives, and relationships are colored by her own desires and insecurities. The novel plays with ambiguity—about William's guilt, Bentley's motives, and Hannah's own complicity—forcing the reader to question what is real and what is constructed.

Family Dysfunction and Inherited Violence

The Thompson family's secrets, rivalries, and patterns of abuse are central to the plot. The novel explores how violence is both inherited and enabled by privilege, and how family dynamics shape individual choices. The interplay between William and Bentley, and their relationships with their parents, drives the narrative toward its violent climax.

Meta-Commentary on True Crime

The novel is deeply self-aware, interrogating the ethics of true crime consumption, the allure of victimhood, and the ways in which women are both subjects and objects of violence. Hannah's journey is both a critique and an embodiment of the cultural obsession with murder, justice, and the spectacle of suffering.

Analysis

Love Letters to a Serial Killer is both a gripping thriller and a sharp social satire, dissecting the ways in which women are drawn to danger, the performative nature of victimhood, and the blurred boundaries between empathy and voyeurism. Through Hannah's journey—from lonely nonprofit worker to true crime obsessive to the lover of a (possibly) monstrous man—the novel interrogates the cultural forces that shape our desires, fears, and identities. It exposes the ways in which violence against women is both normalized and sensationalized, and how the search for justice can become entangled with the search for attention, validation, and love. Ultimately, the book is a meditation on the costs of longing—for connection, for meaning, for recognition—and the dangers of seeking fulfillment in the stories of others' suffering. It asks: What does it mean to survive, to bear witness, and to live with the knowledge of our own complicity? The answer, as Hannah discovers, is as messy, ambiguous, and unresolved as life itself.

Last updated: June 4, 2025