INTO THE BLUE

Emma Brodie is an executive editor at Clarkson Potter. She graduated from Johns Hopkins University’s Writing Seminars program, and her debut novel, Songs in Ursa Major, received the American Book Award. She lives on Martha’s Vineyard with her husband and their very good dog, Freddie Mercury.

“An achingly romantic, compulsively readable love story—with chemistry that burns up every page. Emma Brodie has rendered an intoxicating portrayal of the power and intensity of human connection.” —Taylor Jenkins Reid, #1 New York Times bestselling author of Atmosphere

“Into the Blue is a deeply moving story that spans time (and space!) to test the limits of love and identity . . . An intense and rewarding novel.” —Kevin Wilson, New York Times bestselling author of Nothing to See Here

“Funny, tender, intimate, epic, ambitious . . . Emma Brodie harnesses her immense talent to remind us of everything fiction can do. Into the Blue will dive right into your heart and stay there for a very long time.” —Steven Rowley, New York Times bestselling author of The Celebrants

“Smart and romantic, with fine observations about theater and life. The final act will stay with me.” —Gabrielle Zevin, New York Times bestselling author of Tomorrow, and Tomorrow, and Tomorrow

“I devoured Into the Blue in two sittings. So swept up in the sheer romance of it, I could scarcely look up from the page. A rare and intoxicating love story that hooks from the very first page . . . I adored it.” —Clare Leslie Hall, New York Times bestselling author of Broken Country

“This book was like nothing I’ve ever read before: both Gothic and geeky, hilarious and heart-wrenching, a masterclass in scorching sexual tension and a poignant meditation on the true meaning of intimacy. Into the Blue is my new obsession, and it will be yours, too.” —Layne Fargo, bestselling author of The Favorites

1. Each section begins with a quote from the fictional book Laughter & Death by Ezell Farr, Eudora Drew’s late husband. Why do you think the author framed each section this way? What is the significance of the quotes themselves?
2. Improv is a central theme throughout the book. According to Ezell Farr’s book, there are three rules for successful improv: “Agree to everything your scene partner says. Support everything your scene partner does. The only thing you can never say is ‘no.’” How does AJ and Noah’s relationship embody those rules beyond the scenes they act out together?
3. What significance do you see in AJ being a twin, and how does Emily’s Down syndrome shape their relationship and AJ’s understanding of herself?
4. AJ’s relationships with her siblings—Patrick, Libby, and Mike—are each distinct. What do these different dynamics reveal about AJ’s personality, her place in the family, and the ways sibling relationships can change over time?
5. On the surface, AJ and Noah’s family lives seem very different. What contrasts stand out to you between their families, and what deeper similarities do they share? How do these parallels help them understand one another?
6. Noah often steps in to protect or “rescue” AJ, starting with the moment he catches her when she nearly falls in the video store. How does this pattern appear throughout the novel, and how does AJ react to Noah’s protectiveness? Do you think this dynamic strengthens their relationship or complicates it?
7. Noah’s disappearance has a profound effect on AJ. How might her life—and her understanding of their relationship—have been different if he had confided in her before leaving?
8. Toni’s competitiveness toward AJ is evident from early in the story, even as AJ tries to support and encourage her. How does this imbalance affect their friendship, particularly after AJ is cast as the lead in Into the Blue? What does their conflict reveal about competition and insecurity in friendships?
9. Early in the book, AJ tells Noah, “Maybe you just don’t belong in Gladstone.” Noah replies, “No, I don’t. And neither do you.” Do you agree? What do their eventual returns to Gladstone suggest about the difference between belonging and obligation?
10. Noah’s plan to end his and AJ’s relationship when his illness takes hold also comes from his desire to protect her. Do you think this decision is primarily motivated by love and selflessness, as Noah believes, or is he really being led by fear and self-preservation?
11. In staging Ezell’s play Fire & Water, AJ and Noah perform twelve versions with different improvised endings. Do you think exploring multiple possible outcomes through the play changes how they approach their own future together? Why or why not?
12. Despite what lies ahead for Noah, he and AJ ultimately choose to build a life together at Drew House in Gladstone, spending much of their time with AJ’s family. What does this decision suggest about the importance of love, family, and connection when facing life’s most difficult realities?