Review

Carla Kovach’s “The Next Girl” introduces readers to Detective Gina Harte in what promises to be a gripping police procedural series. While the premise holds potential—a woman escapes captivity just as another goes missing—the execution unfortunately falls short in several key areas. Despite my genuine desire to enjoy this debut in the series, numerous issues with pacing, character development, and narrative choices ultimately diminished the reading experience.

Excessive and Repetitive Character Behaviors

One of the most noticeable issues with “The Next Girl” is the author’s tendency to overemphasize certain character behaviors to the point of distraction. The narrative becomes bogged down with repetitive descriptions that add little value to character development or plot progression.

Luke’s emotional responses, while initially effective at conveying his distress, quickly become excessive. His repeated sobbing and emotional breakdowns are described with such frequency and similarity that they lose impact. Rather than deepening our understanding of his character or creating genuine emotional resonance, these scenes begin to feel like manufactured attempts at generating sympathy.

Even more distracting is the peculiar focus on the physical ailments of the police officers. Throughout the investigation, we’re subjected to extensive descriptions of coughing, sneezing, and “clearing of snot” from one detective to the other. These details occupy a disproportionate amount of narrative space—to the point where I believe the book could be reduced by a significant percentage if these descriptions were trimmed to reasonable levels.

What makes this focus on illness particularly jarring is the lack of logical follow-through. Despite being visibly unwell, none of these characters seeks medical attention. More concerning is the scene where Gina and Jacob visit a newborn in the hospital while exhibiting symptoms of what appears to be a contagious respiratory infection. This lack of basic consideration for a vulnerable infant strains credibility and reflects poorly on characters we’re presumably meant to respect as conscientious professionals.

Problematic Character Relationships

The relationship dynamics in “The Next Girl” present another area of concern. The behavior of Gina’s former brother-in-law stands out as particularly problematic. Despite his inappropriate and often hostile conduct toward Gina, she continues to tolerate his presence in her life with little explanation. Fine, she was there for a short time, but why tolerate that? This dynamic lacks the necessary foundation to make it believable—we’re given insufficient background to understand why Gina would maintain this connection to her abusive ex-husband’s family.

The absence of clear motivation makes Gina’s choices feel arbitrary rather than character-driven. A more nuanced exploration of the complex family dynamics following her husband’s death would have provided much-needed context for these relationships and strengthened Gina’s character development in the process.

Investigative Shortcomings and Convenient Solutions

Perhaps the most disappointing aspect of “The Next Girl” is its handling of the central investigation. Police procedurals thrive on the methodical unraveling of mysteries, with each interview and piece of evidence building toward a satisfying resolution. Unfortunately, Kovach’s approach undermines this crucial element of the genre.

The investigation scenes become repetitive exercises that fail to advance the plot in meaningful ways. Interviews yield little new information, yet continue at length, creating a sense of narrative stagnation. The reader is dragged through numerous similar interactions without the reward of progressive insight into the case. At one point, it’s admitted in the narrative itself.

The interview with Mrs Lenton had added nothing new to the evidence they already had.

When solutions finally arrive, they come not through detective work but via convenient interventions from previously unmentioned characters. Two separate strangers suddenly appear late in the narrative, offering detailed statements that solve major case elements. These moments feel contrived, particularly when one of these witnesses—despite being described as intoxicated—provides observations with a level of precision that the trained investigators themselves never managed to achieve.

This approach to resolution robs the reader of the satisfaction that comes from watching skilled detectives piece together clues. Instead, we’re left with the impression that the case was solved through happenstance rather than investigative expertise.

Protagonist Development and Backstory Management

Gina Harte’s character suffers from inconsistent development and questionable backstory management. Her troubled relationship with her daughter Hannah feels underdeveloped, with insufficient exploration of how their dynamic deteriorated to its current state. Similarly, her relationship with her granddaughter, who is too young to understand family dynamics, feels like a missed opportunity for character growth.

The backstory regarding Gina’s abusive marriage to Terry is particularly problematic in its execution. We’re repeatedly told that this history is significant, but the narrative withholds crucial details not only from Hannah (which might be understandable as a character choice) but also from the reader. This creates a frustrating experience where we’re asked to emotionally invest in trauma that remains largely undefined.

Gina frequently contemplates sharing her past with Hannah but never does so. This internal debate becomes repetitive without resolution, forcing the reader to bear the emotional weight of these reflections without the payoff of character development or meaningful confrontation. The withholding of information from both Hannah and the reader feels like an artificial attempt to create mystery rather than an organic character choice.

Professional Ethics and Workplace Dynamics

The romantic relationship between Gina and her boss, Chris Briggs, raises significant concerns about professional ethics and workplace dynamics. What begins as a one-night stand evolves into a recurring romantic entanglement that strains credibility within a professional police environment.

The narrative fails to adequately address the power imbalance inherent in a supervisor-subordinate relationship or the potential impact on team dynamics. How would their colleagues react upon discovering this relationship? What professional consequences might ensue? These questions are largely sidestepped in favor of romantic scenes that feel disconnected from the professional reality established elsewhere in the novel.

Further complicating matters is the looming question of Gina’s potential involvement in her husband’s death. This significant plot element introduces additional ethical and professional considerations that remain insufficiently explored. How would Gina’s team respond to suspicions that she might have killed her husband? This question deserves more thorough examination than the narrative provides.

Notes from Kindle

Page 166

I know what you mean though: he has a face that you’d just like to punch.

Page 207

Mrs Lenton twiddled her thumbs and stared at the window.

That statement just reads odd, and also reminds me of Sabrina Carpenter’s Thumbs.

Conclusion

Despite a promising concept and occasional effective moments, “The Next Girl” ultimately disappoints through its combination of repetitive writing, convenient plot resolutions, underdeveloped character motivations, and questionable professional dynamics. The foundation for an engaging detective series exists within these pages, but execution issues prevent the book from reaching its potential.

For readers considering this series, be prepared for narrative elements that may test your patience. While subsequent books might address these concerns as the author develops her craft, this first entry in the Detective Gina Harte series requires significant tolerance for the issues outlined above.

I genuinely wanted to enjoy “The Next Girl” and appreciate Kovach’s attempt to create a detective with a complex personal history. However, the execution of these elements falls short of creating the compelling, believable protagonist that readers of police procedurals have come to expect. I remain hopeful that future installments might refine these rough edges and deliver on the promise of this series’ premise.

Rating: 2.5/5 stars

Have you read “The Next Girl” or other books in the Detective Gina Harte series? Did you have a different experience with the book? I’d be interested in hearing other perspectives in the comments below.