Beth Is Dead

LIST PRICE $19.99

About The Book

A New York Times bestseller!
Sunnie Reads’ Inaugural Book Club Pick—Sunnie Select!
Five starred reviews!


Beth March’s sisters will stop at nothing to track down her killer—until they begin to suspect each other—in this “brilliantly snappy…electrifying” (Publishers Weekly, starred review) debut thriller that’s also a bold, contemporary reimagining of the beloved classic Little Women.

When Beth March is found dead in the woods on New Year’s Day, her sisters vow to uncover her murderer.

Suspects abound. There’s the neighbor who has feelings for not one but two of the girls. Meg’s manipulative best friend. Amy’s flirtatious mentor. And Beth’s lionhearted first love. But it doesn’t take the surviving sisters much digging to uncover motives each one of the March girls had for doing the unthinkable.

Jo, an aspiring author with a huge following on social media, would do anything to hook readers. Would she kill her sister for the story? Amy dreams of studying art in Europe, but she’ll need money from her aunt—money that’s always been earmarked for Beth. And Meg wouldn’t dream of hurting her sister…but her boyfriend might have, and she’ll protect him at all costs.

Despite the growing suspicion within the family, it’s hard to know for sure if the crime was committed by someone close to home. After all, the March sisters were dragged into the spotlight months ago when their father published a controversial bestseller about his own daughters. Beth could have been killed by anyone.

Beth’s perspective told in flashback unfolds next to Meg, Jo, and Amy’s increasingly fraught investigation as the tragedy threatens to rip the Marches apart.

Appearances

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Excerpt

Chapter One: Jo: (Now) CHAPTER ONE Jo (NOW)
On the first morning of a new year, Beth is not in her bed.

From the hallway, I peer into her room, and my heart moves to my throat. Sunlight falls on her pillow, dust suspended in the air. Beth should be here, tucked under her quilt, chest rising and falling, but there’s only a dent in her mattress.

I stand on tiptoe and sigh a little breath of relief. Amy’s not here either, the top bunk unmade, blankets in a heap. She’s younger than Beth by about two years and ten thousand brain cells, but I feel better knowing they’re together. This isn’t the first time Amy’s spent the entire night at Sallie Gardiner’s annual New Year’s Eve party.

Last year she passed out in Sallie’s claw-foot tub—wouldn’t it be nice to have a claw-foot tub?—until Mom showed up the next morning and dragged her to the car. Embarrassing, to say the least.

It’s hard to believe she’d do it again after the way Mom worried, but that’s Amy.

I text her, and her alone, because I know this isn’t Beth’s fault.

Where are you???

Three dots appear, but after a second of rippling, they stop.

I swear, if Mom wakes up to these empty bunks, I’ll wrestle Amy to the ground. Mom doesn’t deserve that kind of stress, especially not after a New Year’s Eve night shift at the hospital—stomachs pumped, fingers blown off by misfired fireworks.

I text Amy again.

If you’re not home before Mom’s up…

I leave it at that, an open threat, and return to my room to keep working on my manuscript. I meant to stay up all night, but I’ve been crashing lately, snoring on my desk when I can’t keep my eyes open any longer. I don’t believe in writer’s block—my creativity is a constant, unstoppable force—but right now my thoughts are moving like wet concrete.

I open my notebook to the page that acted as my pillow last night. It’s smudged, but I can still make out the last of my scribbles.

I need a better idea. Something good enough to convince my editor that she didn’t make a mistake by offering me a book deal. I rev myself up to start working again, when the back staircase creaks.

At once I jump up from my desk, a rush of relief. “Okay, next time you two want to pull an all-nighter, maybe you can shoot me a—”

Amy stares back at me, hunched and alone. At fifteen, she’s still flat-chested and skinny, with blond hair cut to her shoulders and streaked pink.

“Keep it down,” she whispers.

“Where’s—”

“Seriously, shut up. Mom’s door is wide open.” She eases up the final step and sheds her coat, revealing the skintight dress she wore last night. As she enters the bunk room, she furrows her brow. “Where’s Beth?”

I cross the hallway, a bite in my voice. “You tell me.”

Amy looks stunned, slow to process. “She’s not home?”

“Does it look like she’s home?”

“Shit,” she exhales. “Mom’s going to kill me.”

I picture our doe-eyed sister alone at Sallie’s party, passed out on one of the Gardiners’ leather couches, too drunk to drive—or even walk—home. “You’re worried about Mom? What about Beth?”

Amy whips out her phone to call our sister, but it goes straight to voicemail. “I’ll try Sallie. She was with Beth when I left last night.”

“Last night? You left last night?”

Amy grips her phone between her shoulder and her ear so she can search a pile of clothes that has gathered on the floor.

I duck to interrupt. “Where the hell did you go?”

“I stayed with…” She pauses, and I can’t tell if she’s listening to Sallie’s voicemail message or searching for an answer. “Florence. Yeah, I stayed with Florence.”

I look at her sideways.

Amy and our cousin, Florence, are a matching set. Both of them blond, attached at the hip, but if they’d left the party together, they would’ve crashed here. Florence lives in a house with rules. Not the kind of rules that Mom enforces—be thoughtful, clean up after yourself—but the tightfisted kind that make you want to break things. Strict curfew, no makeup, no dating until college. “You went to Aunt Mary’s after midnight?”

“We snuck in,” says Amy, but her cheeks flush pink.

“And you left Beth alone?”

She finds a hoodie, tugs it over her head. “She’s my big sister. I’m not her babysitter.”

“She doesn’t party like you do.”

“What’s that supposed to mean?”

Amy knows good and well what it means. Beth doesn’t take stupid risks the way she does. Doesn’t ruin things the way she does. Beth wouldn’t stay out all night unless something happened—especially now. In just a few short days, she leaves for boarding school, and she has a million things to do before we send her off.

“Come on,” I say. “Let’s go find her.”

“No.” Amy beats me to my keys, holds them behind her back. “We’ll wake Mom.”

She’s not wrong. My army-green Jeep has an old, grimy engine that sometimes takes three, four rattling tries to get going. “You expect me to walk?” I ask.

“The Gardiners’ house isn’t that far.”

I glance back at my writing, a mess of half-baked ideas. This excursion will waste twenty minutes at the very least, but I’m the oldest sister now. That’s what Meg said when she went to college. Distractions come with the territory.

“Fine,” I huff. “But we’re taking the shortcut.”

Amy hates taking the shortcut from our neighborhood to Sallie’s, up a steep bridge and through the park. I think it reminds her of Dad, who’s been away for six months and thirteen days (not that anyone’s counting). When we were little, he’d take us to the park to stargaze, and I’ll admit, it hurts to remember those moments—but the park’s our quickest shortcut by at least a mile.

Amy storms ahead of me, leads me into the cold. When the wind blows, she tightens her arms across her chest, but her teeth chatter like her body’s too exhausted to keep warm. Like she didn’t rest at all last night.

As we trudge toward the end of the block, Laurie’s house looms overhead. He’s the only kid in town who lives in a modern home instead of an old colonial, the result of his grandmother having just enough money and influence to sway the historical society into allowing her to build new.

His room looks dark, and I figure he must be sleeping. He and I have forgone Sallie’s party since we met there freshman year, because both of us hate that sort of thing, but he usually stays up well past midnight toasting the New Year with his grandmother. “She’s the best company,” he always says.

Out of nowhere, Amy stops and we collide.

My voice comes out on a forced exhale. “What’re you—”

“Jo.” She gazes into the distance, squatting for a better view up the street. “What is that?”

I shove past her, less than amused. “I know you hate the shortcut, but this is getting a little—”

“Jo, wait.” She tugs my coat hard and stares at the hill next to Laurie’s house, a steep luge of rocks and tree roots. “I thought I saw…” Without warning, she charges ahead, tearing through brush and snow.

“Amy!” I yell.

But she keeps going, forging up the hill beside the bridge.

“Amy, stop!”

She ventures into the trees, takes an uncharted path up the steepest rocks.

“You’re going to fall,” I say.

She stops at the base of an old gnarly tree, and her phone slips from her hand, her knees bending ever so slightly, as if the earth is shifting beneath her.

I draw a shaky breath. “Come down from there.”

But just then she lets out a sound that I’ll never forget as long as I live. Her voice breaks from her chest, brittle and crumbling. “Beth?”

That single syllable echoes down the street, and all other sound falls away. Snow clings to the air for a moment, unmoving.

Amy screams. “Jo!” She grips her knees, shuddering. “Jo!”

Without a thought, I run, and unlike Amy, I don’t stop, only slow. The sight at the base of the tree is so unimaginable that I’m pulled toward it.

At first it’s like a poem that doesn’t make sense until you’ve read it a few times.

Beth is lying in the snow. And the snow is red. And the red isn’t just pooled around her but seeping from her. And her eyes are open, but behind them, she’s gone.

Reading Group Guide

Discussion Guide

Beth Is Dead

By Katie Bernet

Discussion Questions

1. While the reimagining of the March sisters in a contemporary setting draws heavily from Louisa May Alcott’s Little Women, it introduces a significant, dark deviation from the original narrative. How does transforming the story into a contemporary mystery that offers a deep exploration of grief, family dynamics, and the impact of public perception bring a freshness to it?

2. Given Beth’s demise in her father’s fictional account of his daughters’ stories, what impact does “dying” in Little Women have on Beth in particular? In what ways does she change, and how does this reality of the fictional Beth make her question her own vitality and purpose?

3. While it can be argued that Beth’s reaction to the story about her is the one that is most profound, what role does Rob March’s novel, Little Women, have on his other daughters? Do you believe it has directly influenced their real-life identities and how they are perceived by the public and one another? Share your insights with others.

4. How does the controversy surrounding Rob March’s book lead to real-world threats for the family? Are there ways in which the Marches don’t take these concerns as seriously as they should? Using textual examples, share your ideas.

5. In what ways did Beth’s Teen Vogue interview lead to unintended negative consequences for her family?

6. What does Jo’s initial impulse to write a book about Beth’s real death, titled Beth Is Dead, reflect about her deep-seated need to process life through narrative?

7. Mrs. March explains that their father wrote his story about Beth’s death out of his own terror after her car accident to process the fear of losing her. How does this perspective help her daughters with their need for reconciliation and understanding?

8. From your assessment, how does using a “Then” and “Now” timeline shift impact how the narrative moves forward? Do you like this dual timeline narration? Why or why not?

9. In Beth Is Dead, characters act out of a mix of love, jealousy, ambition, and fear. How do these complex motivations make it difficult to pinpoint a clear villain or a simple motive for Beth’s death?

10. How does the secret Meg keeps from her family regarding Sallie Gardiner influence the investigation into Beth’s death?

11. Discuss the concept of toxic relationships as explored in the novel. Analyze how the relationships between Amy and Fred Vaughn, Meg and Sallie Gardiner, and Beth and Henry Hummel exemplify different forms of manipulation, obsession, or exploitation.

12. Do you have a favorite March sister, and did that change as you progressed through the novel? What was it about this particular character that you found most interesting or appealing?

13. The narrative repeatedly highlights how characters’ perceptions and interpretations of events (and one another) can be skewed by personal biases, grief, and external influences like Mr. March’s book or social media. From your perspective, how does this unreliability of perception impact the overall story?

14. Compare and contrast the coping mechanisms and motivations of Jo, Amy, and Meg in the aftermath of Beth’s death. How do their individual struggles and secrets contribute to both the family’s internal conflict and the police investigation?

15. Examine the role of societal expectations and public perception on the March sisters. How do external pressures, media attention, and the Little Women fandom shape their identities and influence their actions throughout the narrative?

16. After the traumatic events, as a way to bring some resolution, Jo decides to write a book about the “real, messy, imperfect Beth.” How does this reflect the shift in Jo’s character and her perspectives on both her sister and her own priorities?

17. In what ways does this modern retelling of Little Women showcase the differences of how parents see their children versus the complexities of who their children really are? Do you believe this is also the case with how children view their parents? In what ways do the March sisters misunderstand their parents?

18. Trace the evolution of Jo’s understanding of herself as a writer and her ethical responsibilities. How does her initial desire for a hook for her book transform into a more profound and authentic purpose by the end of the story?

19. When asked to describe Beth Is Dead, readers might say, “This is a story about secrets.” As you consider what elements you found most profound in the book, how else would you fill in the statement “This is a story about . . .” and why?

20. While considering the aftermath of the tremendous losses the Marches have endured, how do Henry’s pleas as well as the memorials for their lost sister and father set the stage for a focus on new beginnings for the remaining family? How do the March sisters begin to heal and redefine their relationships with one another and their past, and what do you predict for their future?

Extension Activities

1. Creative Writing: Separate the class into three groups—Meg, Jo, and Amy—and have each student write the next chapter for their group’s March sister, imagining how that character has decided to move forward in their life, based on the ending of Beth Is Dead. The timeline can be a month, a year, five years, or more after the memorial at the end of the novel.

2. Retelling Comparisons: Create a Venn diagram for each March sister, placing the personalities and characteristics that overlap between Beth Is Dead and the original Little Women by Louisa May Alcott in the middle, and the biggest differences in each character in the separate circles. Discuss or debate as a class how the sisters’ personalities are explored in this modern reimagining, and how each character feels authentic to their original inspiration.

This guide was created by Dr. Rose Brock, an associate professor in the Library Science Department in the College of Education at Sam Houston State University. Dr. Brock holds a Ph.D. in Library Science, specializing in children’s and young adult literature.

This guide has been provided by Simon & Schuster for classroom, library, and reading group use. It may be reproduced in its entirety or excerpted for these purposes. For more Simon & Schuster guides and classroom materials, please visit https://www.simonandschuster.net/m/prek12-teachers-librarians/teaching-resources

About The Author

Mae Haines

Katie Bernet lives in Dallas, Texas. As one of three sisters, she’s a diehard fan of Little WomenBeth Is Dead is her debut novel.

Product Details

  • Publisher: Sarah Barley Books/Simon & Schuster Books for Young Readers (January 6, 2026)
  • Length: 400 pages
  • ISBN13: 9781665988698
  • Grades: 7 and up
  • Ages: 12 - 99

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Raves and Reviews

A NEW YORK TIMESUSA TODAY, AND #1 INDIE BESTSELLER!
FIVE starred reviews!

Sunnie Reads’ Inaugural Book Club Pick—Sunnie Select!
An Indie Next Pick!
A Junior Library Guild Gold Standard Selection!

“A killer good time . . . to die for.”
Cosmopolitan

“You’ll want to keep reading not only to see whodunnit—but also to check out the clever ways the author weaves details from the classic into this thoroughly modern tale.”
Real Simple 

“If he didn’t like the kind of lurid story Jo was turning out for the Volcano tabloid, chances are Bhaer also wouldn’t have much use for the recently published Beth Is Dead, in which Katie Bernet reimagines Little Women as a young-adult murder mystery. It would be his loss.”
The New York Times Book Review

“Even teens who don’t know Little Women will be engaged by this fast-paced and suspense-filled page turner. A thrilling take on a beloved story that will keep readers riveted.”
Kirkus Reviews, starred review

“Readers will be hooked from the first gripping, bloody chapter . . . This simmering page turner is a multilayered novel about sisterhood, dreams, independence and the pressures of modern culture, not to mention a superb tribute to the original.”
BookPage, starred review

“One need not be familiar with Louisa May Alcott’s work to appreciate debut author Bernet’s brilliantly snappy contemporary riff on Little Women . . . The cozy domesticity of the inspiration material is apparent throughout, and the girls’ closely held—sometimes conflicting—desires and ambitions both honor Alcott’s vision and add fuel to the fire of this electrifying whodunit.” 
Publishers Weekly, starred review

“Katie Bernet’s audacious and astonishingly successful debut novel reimagines Little Women as a metafictional murder mystery.”
Shelf Awareness, starred review

“Bernet merges a beloved 19th-century family story with today’s culture of fandoms and social media while staying true to Alcott’s characters’ personalities, making this accessible to fans of the original version as well as those meeting the March sisters for the first time.”
CCBC, starred review

“A delightful reboot of Louisa May Alcott’s Little Women . . . well imagined and well executed.”
SLJ

Awards and Honors

  • Junior Library Guild Gold Standard Selection

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