Two names compete for credit on this audiobook, and only one of them is on the cover. The byline reads Ashley Antoinette. The publisher field reads Danielle Morris. The earliest detailed response on the page calls the book Morris' debut novel. Eight hours of psychological thriller sit underneath that confusion with Amanda Dunlap credited as narrator, and anybody weighing an evening on it deserves to know the listing cannot keep its own attribution straight.
One Book, Two Credited Names
Florence Samuels had the life she wanted: married to the love of her life, expecting a child after years of trying. The description is blunt about what happens next, which is that the love of her life is also the person who destroys them. On the anniversary of losing both husband and unborn child, Florence returns to her once favorite place looking for closure and instead meets Silas Hale, the man who saved her on that same day.
Publisher fields are usually the dullest thing on a listing. Not this one. Morris' debut novel was a hit in my book, says the November 2023 five-star, and the field sitting directly above the description names Danielle Morris as publisher, while the author credit says something else entirely. Add a shelf tag reading African American and a description that comps two contemporary thrillers, and the metadata points in at least two directions at once.
One smaller mismatch is worth noticing because it comes from the same carelessness: the description has lost its apostrophes. Florence was living the life shed always dreamed of, the torment thats threatening them, the life shes trying to rebuild. Somebody pushed this copy through a filter that ate the punctuation and nobody read it afterward. Two people credited with the same eight hours is a bigger error of the same kind.
Dunlap Narrates Eight Compact, Twist-Ready Hours
Suspense is the one thing every written response agrees on. The word twist appears in four of the five headings, and the fifth is titled for suspense outright. Whatever the shelf tag says, the audience that found this book is a thriller audience, and what it reacted to was mechanics: withheld information, a reversal placed late, and the specific pleasure of being played fairly and losing anyway.
Grief is what the August 2025 five-star measures, and it does so precisely: the first few chapters absolutely broke me, but they didn't break Florence. That same account names the element the description never mentions, a friendship between Florence and Ivy that other responses keep returning to as their favorite part. Ivy is nowhere in the official copy, which sells a romance and a stalker and leaves out the woman readers actually talk about.
Eight hours is compact for a thriller carrying two timelines, and Amanda Dunlap is credited with the whole of it. Compact suits this material. A reversal only works if the listener is still holding the earlier shape in mind when it arrives, and eight hours is short enough that most people will finish it while the opening is still fresh rather than across a month of odd half-hours.
Dual Timelines Test One Reader's Range
Content warnings come up exactly once on this page, and not from the publisher. A four-star filed in July 2024 tells prospective readers to look at the summary and the content warnings before starting, which is sound advice for a book that opens on the death of a husband and an unborn child. The listing itself carries none, so a listener who avoids pregnancy loss has to take a stranger's word for what is coming.
Dual timelines are the structural risk in this format. A print reader gets a chapter heading and white space to signal where and when they have landed; a recording gives you a pause and a shift of register, and with one narrator credited for both threads you are leaning on your own attention to keep them apart. That is a real ask, and it is the largest single difference between reading this book and hearing it.
Ashley Antoinette's name on the byline is the practical problem, not just the tidy one. Somebody who finishes this and wants more will search for the wrong writer. Somebody who already follows the name on the byline may buy expecting a different kind of book altogether and get grief, a second chance, and a man who once consumed her mind, body and soul. Ninety-six ratings have piled up under that confusion since August 2024.
Buy This for the Story, Not the Name
Thriller listeners who like the emotional register turned all the way up will find this an easy recommendation. The audience the page attracted came for the reversals and stayed for Florence, whose recovery rather than her suffering is what the written responses celebrate. Eight hours, one woman at the center, a second chance threaded through a threat from her past: the shape is familiar, and execution is what people are grading. Finished it within a few days, reports the December 2024 four-star, which is about right at this length.
Pass if you need your thrillers cold. This one runs hot, with the worst of it in the opening chapters and a romance the description treats as the engine rather than as decoration. Pass as well if pregnancy loss is a subject you steer around, because it is not background here. It is the wound the entire plot is built on, revisited on its own anniversary in the first act.
Until somebody repairs the credit, buy this for the story rather than for the name attached to it. The story is holding up on its own: ninety-six ratings, written responses spread across two years, and remarkable agreement about which moment lands hardest. The page wrapped around it remains the least reliable part of the package.
- Read by: Amanda Dunlap is credited with all eight hours, a single-voice reading for a story that keeps one woman at its center across two timelines.
- At its heart: Grief and pregnancy loss, second-chance romance, a threat returning from the past
- Vibe: Raw and propulsive, built to a late reversal
- Short version: A well-liked psychological thriller sitting under a byline that contradicts its own publisher field.
Good to Know
Why does the listing credit two different names for this book?
The author field says Ashley Antoinette while the publisher field says Danielle Morris, and the page's most detailed response calls it Morris' debut novel. That combination points at a data error rather than at a pen name. Until it is corrected, the safest assumption is that the byline shown is not the writer readers are discussing.
Does the audiobook come with content warnings?
None appear on the listing, which is the gap worth knowing about. Expect the death of a husband, the loss of an unborn child revisited on its anniversary, and a threatening figure from the protagonist's past. All three are handled directly rather than off the page, and the opening chapters are where the worst of it sits.
Is the audiobook closer to a romance or to a thriller?
Both, and the description does not hide it. Florence's second chance with Silas Hale runs alongside the return of the man who destroyed her first life, so the romance carries the suspense rather than interrupting it. Listeners who want one genre without the other will find the balance frustrating in either direction.
Does the story reward a second time through?
One October 2023 five-star says yes explicitly, reporting that rereading the whole book knowing how it ends makes everything look different. That is a useful signal for a plot built on withheld information: the clues appear to be planted rather than invented late, which is the difference between a fair reversal and a cheat.
