About the Book:

When the most popular girl at Myra’s new school is found frozen to death in a walk-in chiller, wannabe journalist Myra is sure of two things:

1. Scarlett was murdered.

2. One of Scarlett’s friends is to blame.

So she infiltrates the popular clique’s world of envy and backstabbing to prove it. But then a strange boy holds her up at gunpoint in the woods, claiming he’s killed the killer. Who is he, who did he kill…and who will die next?

Find on Goodreads. Find on Bookshop.org UK (affiliate link).

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About the Author:

Ravena Guron is the bestselling author of YA thrillers This Book Kills, Catch Your Death, Mondays Are Murder and new for 2026, Your Murder Next.

Growing up, Ravena always read the last page of books first, but discovering Agatha Christie in her early teens stopped that habit, igniting a love of twisty murder mysteries with jaw-dropping endings the reader never saw coming. A born and bred Londoner, she is a lawyer with a degree in biochemistry, and uses the knowledge she’s gained to plot perfect murders (only for her books, of course).

Ravena’s bestselling YA thrillers have been shortlisted for the YA Book Prize, the British Book Awards’ Children’s Fiction Book of the Year and many more.

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Interview

Pitch your book in 10 words or less. 

She needs to catch a killer before they catch her

Myra is ambitious and driven, very much trying to prove to herself that she’s a good journalist though she has a lot to learn about journalism and life. What inspired her character arc? 

I wanted to write about a character who is trying – she isn’t particularly great at what she wants to be, but she’s willing to put in the work regardless. I’ve often felt frustrated when I wanted to be good at something and simply wasn’t – but sometimes the things that are the most worthwhile to learn how to do are things which are also difficult. There is definitely something special about recognizing that something is a challenge and continuing regardless.

In this book, Scarlett is murdered by being frozen to death in a walk-in freezer. In your debut, THIS BOOK KILLS*, the murder literally followed a murder mystery story and you’ve written a snowed-in mystery (CATCH YOUR DEATH*). What’s one classic murder mystery trope you’ve always wanted to write about but haven’t yet? 

I think CATCH YOUR DEATH has all the classic mystery tropes I love the most – an isolated setting, a literal locked room, a limited pool of suspects, a fancy country house. I’d love to do a mystery set on an island with no way off…

Do you always know who your killer is and their motive when you start or do you have to puzzle it out as you write?

I do always know the killer and their motive! That really helps with the initial plotting because it drives everything else. I don’t always know other details though – some of my biggest twists have come during the course of writing what I like to call my “draft zero”, which is where I basically figure out the story and what is actually going to work in practice. 

Each of Myra’s three suspects are genuinely dislikable and all have strong motive. Who was your favourite character to write and why? 

I really enjoyed writing Immy – she’s slightly ridiculous in places, but she’s also a deadly character and shouldn’t be underestimated! 

The story is not told in linear order, instead starting halfway through and slicing back and forth between the past and the present. What challenges did that create and what did you learn in the process? 

From a technical point of view, this book was probably the most difficult one I’ve written. Starting halfway through provided a unique challenge: even though it’s in the middle of the book from Myra’s perspective, the reader is still meeting everyone for the first time, so I needed to establish the situation and what was going on. And then we flashback, and suddenly the reader has information about all these characters that Myra doesn’t. The challenge was writing the story in a way where all the necessary information was given, but nothing felt repetitive. 

Like all good thrillers, Myra is confronted with major twists and surprises in her investigation. What goes into crafting a genuinely shocking twist? 

Making sure that, if the reader goes back and looks again, they think to themselves ah! All the information was there from the start! To me, a twist is only satisfying if it doesn’t come entirely out of nowhere – if all the building blocks are there in the book, but they’re out of place and simply needed to be slotted together. 

Please recommend a UKYA book you think readers will love.

THE LAST THING YOU’LL HEAR* by Jan Dunning, which is fast-paced and delightfully eerie

Thank you, Ravena!

*Affiliate link