Category:

What I liked: It’s great to jump right back into this book and have the story carry off right where we left Waverly. If it’s been a while since you’ve read the first volume, don’t worry; there are moments in this book that recap parts of the previous volume. The important parts that were revealed in the first book do make a comeback in this volume as we explore more about Waverly and Blake.

The first book briefly lets us into some of Blake’s past, but this one dives into more as the comfort level between him and Waverly shifts. The relationship that Blake and Waverly have is pretty instantaneous, but it was perfect for a summer read. It was also great to see how they navigate difficult aspects of the relationship and how they open up to one another. It was also interesting to see the shift in Blake that occurs every time Waverly is around.

The vibrant illustrations throughout this book go well with the summer theme. As you read, you’ll be longing to be out by the pool or enjoying the ocean alongside our characters. It was great to see the shift for Waverly as she goes from Alaska to Florida, and to see her dad introduced to the story and how out of place he seems.

Final Verdict: Float Volume 2 is a fantastic conclusion to this exciting summer graphic novel that young adults ages 12 and up will enjoy. This is a perfect book to pick up during the summer months or if you are looking for a cute slice of life romance.

YABC: What inspired you to write this book?
My childhood home, which everyone knew to be “haunted,” was the original inspiration behind
the story of a girl falling in love with a Victorian ghost.
The idea first came to me during a walk with my sister in 2011. She told me that the night before
she had seen the silhouette of what looked like a ghost standing at the top of the stairs. I
laughed and said I wished our parents’ house was haunted by a handsome Victorian ghost,
someone like Mr. Darcy. I even joked that I’d happily set my alarm for 3:00 a.m. every night just
to catch a glimpse of him. I knew, right when I said it, that one day I’d write a book about a girl
falling in love with a ghost.
When I began writing the story in early-2020, it naturally grew from the things I was already
fascinated by: Gothic romance, Gilded Age history, theology, ancient Egyptian mythology, and,
of course, the 1980s. I’m obsessed with the ’80s and knew I wanted the mystery at the heart of
the novel to unfold in a time before the internet. I loved the idea of Will and Jade having to piece
together the mystery of the locket, the old-fashioned way of writing letters, following clues, and
searching through libraries and historical records instead of finding answers with a quick online
search. And of course, well, 80s music.
As the story evolved, I found myself tying in themes inspired by my own experiences and
observations. With my fascination for the Gilded Age, I became very interested in how greed,
wealth, and corruption can become idols that shape families for generations, and how
generational trauma and unhealed wounds are often passed from one generation to the next.
While the novel incorporates magical elements (from tarot cards to cursed lockets) the
emotional core of the story is based in those very human experiences.
Ultimately, the novel became a mix of everything I’ve loved and been curious about over the
years: history, romance, mystery, the supernatural, and the deeper questions about faith,
healing, and the legacies we inherit.

 YABC: What scene in the book are you most proud of, and why?
I have so many favorite chapters, especially in Book One. I write very intuitively, so there are
many times when I sit down expecting a scene to go one way, only for the characters to take it
in a completely different direction. Sometimes I’ll write what I think is a small, insignificant detail,
only to realize four chapters later that it was actually a crucial piece of the story all along. The
entire writing experience has felt incredibly magical.
One of the scenes I’m most proud of is when Jade jumps into the river to retrieve the locket. I
remember writing that chapter so vividly because Jade was at such an important crossroads.
She had taken the locket off. She was fighting with her feelings, trying to figure out what was
right, and then she made a mistake… and the locket disappeared.

I love that Jade makes mistakes because that’s what makes her human. She’s constantly
learning, growing, and trying to become a better version of herself, and that’s really the heart of
the entire series. None of us are perfect. We all stumble. But if we have a good heart and a
genuine desire to grow, we can heal and become better people.
That scene in the river was so much more than recovering a piece of jewelry. Jade believed she
might never see Will again, yet the locket represented everything he meant to her. She was
willing to risk everything, not because she knew how things would turn out, but because she
wanted to make things right. To me, that’s what love is: choosing to do the right thing even when
there’s no guarantee of the outcome.
Looking back, when the locket went missing it became one of the biggest turning points in the
entire series. When she jumped into the freezing river, it changed the story in ways I couldn’t
have imagined when I first wrote it, and it will always be one of my favorite scenes because of
how much it reveals about Jade’s heart.

 YABC: Thinking way back to the beginning, what’s the most important thing
I began writing Metamorphosis while I was battling postpartum depression. It was a season of
my life where I felt like I was just surviving, and writing became a way for me to heal, reconnect
with myself, and learn how to feel again. At the time, all I knew was that I wanted to write a story
about a girl falling in love with a ghost.
My background is in art and design. Aside from a few years of creative writing classes, I had no
formal training as a writer, so I was incredibly nervous about whether I could even write a novel.
But as I listened to 80s music while washing dishes or driving in the car, the story began to
come alive in my mind like a movie. I didn’t work from an outline or a detailed plan, I just wrote
what I could see playing in my head. I trusted the images, the emotions, and the scenes, and let
intuition guide the process.
Looking back, I feel like this story had been secretly haunting me since 2011 for a reason.
Eventually, I realized it was time to stop ignoring that inner knowing and finally follow it. One of
the greatest lessons this journey taught me was how to trust myself and my faith. To trust what I
felt, what I imagined, and the story that wanted to be told.

YABC: What have you’ve learned as a writer from then to now?
When I first started writing, there was plenty of outside noise and more than a few doubters. But
instead of letting those voices define me, I kept returning to the vision I had for the series. Little
by little, I learned to believe in myself and in the story as it continued to reveal itself.
From the artwork I illustrated to the interior design of the books, the playlists, the Pinterest
boards, and every word on the page, I had a clear creative vision for the entire world of Grove
Hollow. Every piece felt connected and every detail came from the same place. I trusted that
vision, and more importantly, I trusted myself—that, more than anything, was the most

surprising and rewarding part of the writing experience. It wasn’t just discovering the story, but
discovering the confidence to believe in my own creative instincts, talent, and passion.

YABC: What do you like most about the cover of the book?
The moths have always held a special place in this story.
The very first night I sat down to write the first draft of Metamorphosis, I found a luna moth
resting on my front porch. It felt so significant. I couldn’t explain why, but I knew the moth meant
something. As I began researching luna moths, I realized just how much they mirrored the heart
of the story and the journey of Jade and Will.
Luna moths live for only about a week as adults. They don’t even have mouths, so they can’t
eat. Their sole purpose is to find a mate, reproduce, and complete their brief life cycle before
they die. Their existence is so beautifully tragic and selfless—almost spiritual.
To me, the luna moth became a symbol of choosing love despite the certainty of loss, of
continuing toward the light even after walking through darkness, and of leaving a meaningful
part of yourself behind. That idea is really connected to Jade and Will’s story and ultimately
became one of the novel’s central themes.
The life cycle of the moth also reflects many of the themes explored throughout the series:
transformation and metamorphosis, the passage of time, aging, survival, identity, and the
continual process of becoming someone new. Just as a silk moth must pass through multiple
stages before emerging into its final form, the characters are continually challenged, broken,
and remade by the choices they make.
And, of course, I’ve always thought moths were the Gothic counterpart to butterflies. They have
the same symbolism of transformation, but with a “darker” more mysterious beauty that feels
perfectly at home in the world of Metamorphosis!

YABC: What is the main message or lesson you want your reader to remember
from this book?
I hope readers walk away with a sense of compassion for themselves. We all make mistakes,
that’s part of being human. What matters isn’t perfection, but our willingness to learn, grow, and
become better people because of those experiences. Throughout our lives, we move through
many seasons. We experience joy and grief, love and loss, and each one changes us in some
way. Growth is a lifelong process of transformation and metamorphosing.
Like the moth, I hope readers remember to keep moving toward the light, even in their darkest
times. To let go of shame and guilt, embrace who you are, and trust that you are continually
becoming the person you are meant to be. In many ways, that’s what Grove Hollow is about. It’s
a reminder not to idolize the things that ultimately leave us empty or hollow, but instead to seek
what really brings life, healing, and purpose. At its heart, the story isn’t just about falling in love
with someone else, but learning to love yourself.

 YABC: What are your favorite themes or tropes?
Friends-to-lovers, he falls first, and fated mates have become some of my favorite romance
tropes. While enemies-to-lovers will always be a classic, I’m really drawn to stories where you
can feel the emotional depth and connection between the characters. It’s so incredibly satisfying
watching a relationship grow from trust, friendship, and genuine understanding before it
blossoms into love.

 YABC: Do you have a playlist you listened to while writing?
Absolutely! Music is a huge part of my writing process. I have a Spotify playlist that I listen to
while writing, filled with ’80s new wave and alternative music. I have to say that almost every
song on Rio by Duran Duran inspired a chapter or scene in some way, and the dark,
atmospheric sound of The Cure was instrumental in creating the gothic, moody feel of the story.
Each book in the series has its own dedicated playlist that helps me “immerse myself” in that
particular story. Along with artists like Duran Duran and The Cure, I also listen to indie
synthwave bands such as White Lies and George Clanton, mixed with a variety of lesser-known
artists spanning the 1980s to today. Music helps me visualize scenes, connect with the
characters emotionally, and describe the setting and the atmosphere I want readers to
experience.

YABC: Do you have an unusual office supply that helps you in your writing
routine?
I currently write in the attic of my house—which is haunted by a man. He doesn’t seem to
appreciate it when I’m up there writing after midnight, but sometimes I have no choice! My
writing essentials are pretty simple: a fridge stocked with Diet Coke, a candle lit to set the mood,
and a quiet space where I can disappear into the story. Although, I have to admit, writing in a
haunted house definitely adds a little extra inspiration all on its own!

YABC: What kind of animal would your main character be and why?
I have to say Jade is absolutely a luna moth. Throughout the entire series, I’ve always imagined
both her and Will as luna moths.
Jade, especially, embodies everything the luna moth symbolizes. She’s only eighteen, yet she’s
forced to overcome extraordinary challenges that transform her in a very short period of time.
Like the luna moth, her journey is one of growth, sacrifice, resilience, and metamorphosis.
That’s why the luna moth and the moon became such a powerful metaphor for the story. It isn’t
just a symbol that appears throughout the books, but it’s a reflection of who Jade and Will are
and the journey they take together.

YABC: If you could collaborate with any other writer in history, who would it be?
John Hughes is the first name that comes to mind. I don’t know if he actually counts in this
context, but he really understood the growing pains of teenage angst, which is why his films
have become such cult classics. He didn’t just write, but he also produced and directed, so he
knew what it meant to have a vision and bring it fully to life.
As for authors, I would love to collaborate with Jenny Han. I’m a huge fan of her YA novels and
the way she captures the emotional highs and lows of young adulthood in such a heartfelt,
engaging, and relatable way.

YABC: What would you say is your superpower?
Aside from making amazing playlists, I’d have to say my imagination. It’s the one thing I’m
incredibly grateful for. I’ve always been a daydreamer, so my mind is constantly
creating—whether it’s stories, designs, illustrations, or entire worlds of make-believe. It’s what
keeps me young at heart, and having kids has only expanded that part of me.
I think my friends would probably say it’s my positive energy and the way I try to uplift people.
Helping others feel better genuinely brings me so much joy. I love nothing more than helping
people heal, laugh, and smile.

YABC: How do you cope with criticism from editors or the public?
Being a graphic designer, you get used to criticism, it’s part of the job. Writing, however, feels
much more intimate and vulnerable. Still, I’ve come to realize that reading is incredibly
subjective. We all bring our own personalities, tastes, and life experiences to a story.
I’ve had people DNF Metamorphosis and others who have finished it in a day. Because of that, I
try not to take negative feedback personally. I may not connect with every book I read either,
and that’s completely natural! That said, I do tend to take editorial feedback more seriously.
Coming from a design background, I really value professional critique and the process of
refining creative work.
There’s a quote from David Bowie that’s always stayed with me: “Always remember that the
reason that you initially started working was that there was something inside yourself that you
felt that, if you could manifest it in some way, you would understand more about yourself and
how you coexist with the rest of society.”
That’s the biggest takeaway for me. My work is a form of art born from my soul. It’s a way of
understanding myself more, and ultimately, that’s the reason I started creating in the first place.

YABC: Which new-release book are you looking forward to in 2026?
Other Worlds Than These by Stephen King and Peter Straub!! It is the final book in the Talisman
trilogy and it will be released on my birthday October 06, 2026!

 YABC: What’s up next for you?
I just finished the manuscript for book 3, Mimicry, of The Grove Hollow Series at the end of May
and I am really excited to dive into the fourth book, Resurrection.

YABC: How do you know when a book is finished?

I’m never quite sure when a book is finished… I typically rely on an editor to make that call. But I do know of another milestone that’s more important to me, and that’s when I discover the book’s pulse. For me, books are written by stringing together materials in bits and pieces. I gather those bits and pieces and move them around until they start to resemble a shape I recognize. When that shape, that body, is finally created, it starts to breathe, and then… I can feel its pulse. From that point on, I know what the book is about, and where it’s heading. There’s always a way to go from there as well, and a good editor is a writer’s best friend. But if a book has a pulse, we’re well on our way.

YABC: When did you know you wanted to be a writer?

It’s a good question. A part of me wants to say I knew when I was young…I’d say 11 or 12? Though at that point I admit that I really didn’t know what it meant to be a writer. I just knew that I loved reading stories, and that I wanted to tell them as well. I’d keep on writing as I got older, trying to understand my voice, but it wasn’t until I was in my early twenties that I really decided I was going to make it my life’s pursuit no matter what. So which age do I pick? 12 or 24? I just know that the reason why I do it now is for the same reasons I wanted to do it when I was a kid. I loved stories so much that, one day, I wanted to tell them, and I’m fortunate enough to be doing that to this day.

YABC: How do you keep your ‘voice’ true to the age category you are writing within?

That’s such an interesting question. As I started out with the intention of writing solely for adults, I somewhat stumbled into writing for younger readers. And I’m thankful for that accident every day. I’ve never been able to peel myself away from what inspired me as a child; namely, I’ve never stopped thinking of the stories that moved me so deeply, that freed my imagination. That is how I would say I keep my voice true to the ages I’m writing for. I just try to keep in contact the kid that I once was and listen to what he found meaningful all those years ago, when he didn’t yet understand how to put bigger emotions to words.

YABC: What type of scene do you love to write the most?

I love scenes where the reader knows something important and urgent that the characters on the page do not. In a way, at least for me, the reader begins thinking they can influence the story if they wish or hope hard enough. That they can impart information to the characters that they need to solve a problem or make sure something awful doesn’t happen. And who knows…maybe they can.

YABC: What word do you have trouble overusing?
“Brilliant.” Both in books and in my everyday life. I love saying it, and I love writing it. The problem however is that not all things are brilliant. In fact, most things are not, neither in luster nor intelligence. Most things are good, bad, or merely just fine. Yet, if you spend enough time around me, you’d think that everything in the world is a shining beacon of excellence. I suppose I can’t be faulted for my optimism, but I am sure I can be considered annoying.

YABC: What is your favorite reading space?

I’ve always loved reading outside, at cafes or otherwise, with coffee preferably. I also like reading on my couch or chair and drifting off from time to time.

YABC: What hobbies do you enjoy?

I collect toys; mostly Japanese toys. In Tokyo where I live, there are a lot of wonderful places where you can find treasures. It’s by far my favorite hobby and pastime. I also like to paint miniatures and models. I paint. I like games. Films—especially spooky films. And I love riding my bike around town.

YABC: What’s your least favorite word or expression and why?

I don’t really love when people say, “I’ll ping you.” Or when they instruct to, “ping me.” I assume it’s because I’m supposed to “pong” in reply, right? Or is it just onomatopoeia? Regardless, whenever someone says it, I imagine a shrill, glass-chipping sound, one that’s bothersome and distracts me from whatever it is I’m supposed to be doing. So please, I beg you, don’t ping me. Just send me a message, and we’ll leave it at that.

YABC: What gave you the inspiration to write this book?

KC: The inspiration came from a combination of things. I’ve always loved Halloween picture books. My favorite as a kid was THE SPOOKY OLD TREE by Stan and Jan Berenstain.

I’ve also always loved picture books you can sing along with like TWINKLE, TWINKLE, LITTLE CAR by Kate Dopirak and Mary Peterson. Song parodies are immediately fun!

And finally, friends and I used to do a poem a week challenge based on a word prompt. One week the word was “glow,” the song Old MacDonald popped into my head, and the first draft of HERE A CREAK, THERE A SHRIEK was born. Full disclosure, “glow” never made it in.

YABC: Who is your favorite character in the book?

KC: I’m going to pepper some book secrets into this interview. Secret #1: I didn’t create any of the characters. The main character in the text is just “us.” The fabulous illustrator, Nikolas Ilic, created all of the characters including the three adorable kids. I love them all, but I especially love watching the littlest kid give all the monsters high fives throughout the book.

Secret #2: I also love that their black cat is hidden on almost every spread.

YABC: Which came first, the title or the text?

KC: Like I mentioned before, the word prompt came first, which triggered a book that I called HAUNTED BARN for a long time. After all of the text and illustrations were complete, we changed the title to HERE A CREAK, THERE A SHRIEK! which better matches the creepy energy and is also a line from the book. So, long story short, the title came first — and last.

YABC: Which scene in the book are you most proud of, and why?

The last one! It’s a surprise. I’m not spoiling that secret here.

YABC: What do you like most about the cover of the book?

KC: I love how Nikolas captured the personalities of the kids and the haunted farm setting on the cover. Readers immediately know what they are going to get. I also love the super bright neon green background. But my favorite part of the cover is Secret #3: The inside of the jacket — is a poster!

YABC: What new release book are you looking most forward to in 2026?

KC: I just ordered a copy of THE SPIRITUALISTS by Kristin O’Donnell Tubb, and I can’t wait to read it! It is a YA thriller about a teen psychic solving a mystery in 1912. I love all of those hooks!

YABC: What advice do you have for new writers?

KC: There is a LOT of information out there. Be open to advice and feedback. Keep what resonates with you and let the rest go.

But the BEST way to enjoy writing long term, is make some writing friends.

YABC: Is there anything that you would like to add?

KC: Thank you again to the illustrator Nikolas Ilic, my agent, Sarah Stephens, the editor Perry Emerson, and the whole Tiger Tales team for making this book come to life!

And now I feel inspired to start a poem a week challenge again. Who knows what I’ll come up with next. And, if you’ve read this far, maybe you should start one too!

Thanks again for having me!

Kelly

~ Giveaway Details ~

Use the Rafflepress Form below to enter

*Be sure to include a complete mailing address for the second entry question to qualify to win*

Five (5) winners will receive a copy of Here a Creak, There a Shriek! (Kelly Conroy) ~US Only!

YABC:  What inspired you to write this book?

I was inspired by the power of art and DIY media, like zines and punk music, to connect people globally. It was literally life-changing for me to self-publish a minicomic in my twenties and it resulted in me traveling thousands of miles and making many lifelong friends! Almost nothing in my current life would be the same if I hadn’t created that comic.

YABC: What scene in the book are you most proud of, and why?

I want to give a huge amount of credit to the illustrator, Utomaru. Her art is simply stunning, so every page and scene is a joy to behold. The scene that hit me the hardest when I first saw her art for it, was near the end when I reunite with my friend Yuuko in Tokyo after many years of being apart. I cried!

YABC:  Thinking way back to the beginning, what’s the most important thing you’ve learned as a writer from then to now?

I think the most important thing I learned early on was how to script comics in a specific format before I started drawing them (as opposed to drawing them while writing them), so I could control the story pace and page count better. (Also, that’s industry standard for publishers). But there is still something to be said for just being impulsive and letting the story ideas flow with no rules. The ideas and inspiration are the most important thing!

Since My Tokyo Summer is my first book that is more like a memoir, I learned a lot about focusing my writing from this experience. Especially since I knew I couldn’t (and shouldn’t) include every mundane detail from that stretch of time, or even some major details. The main question I asked myself is: “What is the book about?”, and then I cut out anything that didn’t serve my vision for what the book is about.

YABC: What do you like most about the cover of the book?

The feeling of pure joy you get from the characters!

YABC:    What is the main message or lesson you want your reader to remember from this book?

That art produced by your own hand (not AI!) has the power to connect and move people across the world. Creativity is a universal and very powerful language, and self-publishing and other forms of DIY art expression puts that power in the hands of all people.

YABC: What kind of animal would your main character be and why?

A cat! Cats are my favorite animals, and I actually have written two books (also illustrated by Utomaru) with a cat character that is partially based on myself, living out some of my own creative fantasies (Kitty Sweet Tooth and Kitty Sweet Tooth Makes a Movie). Check them out!

YABC: What would you say is your superpower?

 Multitasking!

YABC: Which new-release book are you looking forward to in 2026?

Coming Out Perfect by Richard Mercado is one that I’m looking forward to.

IRIS

“So what do you guys do here?”

I glance over my shoulder at Rose. She’s sitting on the floor of the attic, on one of the twin mattresses, with her arms pulled all the way inside her hoodie, wrapped around herself. She must still be cold.

Sol asked me to help her settle in while he has one of his private Growth Sessions with Lily in his bedroom. He says Rose will share the attic with Zinnia, Poppy, and me, news that delighted Zinnia in particular but has left me nervous about the change.

The drafty attic, with its creaky wooden floorboards, is my favorite room in the cabin, despite how cramped it has become. When I first arrived, this had been Lily’s room. She slept on the double bed while I slept on an old mattress on the floor. When Poppy and Zinnia arrived a few months later, the sleeping arrangements changed. I opted to keep my little mattress, while

Poppy took the bed and Sol bought another twin mattress for Zinnia. Lily moved into Violet’s room— the bedroom downstairs, next to Sol’s.

It took some adjusting at first, but Zinnia, Poppy, and I have made the small room work for us. We keep our spaces clean, and we are patient and forgiving with one another when it comes to privacy. I feel safe in the attic. Before Lily brought me into the hollow, safe hadn’t been something I’d felt in a while.

But now things are changing again.

I can hear Sol’s voice in my head already, warning me against the pitfalls of selfishness, reminding me of how much he and the other girls here have shared with me. So I don’t complain about this change.

“Iris?” Rose says, tilting her head so that tangled black hair falls into her face. “Did you hear me?”

“Oh, yeah. Sorry.” I clear my throat. I’d just been standing there, staring down at her and the small room we’d all be sharing. “What did you ask?”

“What do you do here? This place is a long walk from town. You must keep yourselves busy somehow.”

“We do,” I say. “Really, there’s always something to do.

Cleaning the house, preparing food, laundry, working in the garden, and Sol has taught a few girls how to hunt. Only the older girls go into town much.”

She wrinkles her nose a little. “Sounds like a lot of chores.”

“It is, but it’s kind of nice, honestly. Keeping busy helps avoid dwelling too much on the negative. Sol says hard work fosters a focused mind. And doing things with the other girls can be a lot of fun.”

“I guess that makes sense. It might be nice to not have the time to think so much about . . . everything.”

Neither of us needs to elaborate. No one with a perfect life ends up in the hollow. We all have something dark in our pasts, some source of pain that left us lost and alone before Sol saved us. We all know this, without having to say a word. We can recognize it in each other. Like knows like.

“So where’d you come from?”

“What do you mean?” I ask as I climb onto Poppy and Zinnia’s bed in order to reach the shelves where the extra blankets and pillows are kept.

“You don’t sound like you’re from around here,” she explains.

“You’ve got a different accent from the other girls.”

“Huh. I guess I do. Haven’t really thought much about it.”

“I’m not from here either,” she offers. “I’m from up near Cincinnati. So I was curious.”

I pull down a mostly flat pillow and drop it onto the bed before reaching up for another. “We, um . . . we don’t really talk about that here. Where we came from before, I mean.”

Copyright © 2026 by Kody Keplinger

All rights reserved. Published by Scholastic Press, an imprint of Scholastic Inc., Publishers since 1920. SCHOLASTIC, SCHOLASTIC PRESS, and associated logos are trademarks and/ or registered trademarks of Scholastic Inc.