Uncovered.ink

A reading stack by Cheri Krueger

Three antiheroes you should never trust.

A professional hospital visitor. A loan shark with movie ideas. Scarlett O’Hara.

A Man With One of Those Faces, Get Shorty, and Gone with the Wind arranged on a polished crime writer’s desk
Cheri Krueger’s three selections.

An antihero does not need to be good. The reader only needs a reason to keep watching.

Cheri Krueger chose three protagonists with appetite, nerve, and a talent for bending a room around themselves. Their openings show how humor, competence, and sheer force of personality can outrun good judgment.

About the recommenderCheri Krueger is the author of The Abduction of Adrienne Berg, a thriller about a Marin wife whose imagined violence begins to feel possible.

01

A Man With One of Those Faces

Caimh McDonnell · 2015

Classic “fish out of water” main character whose snarky humor makes me laugh out loud.

Cheri Krueger

Why the opening works

Paul visits dying strangers because they mistake him for someone else. The absurd arrangement is funny, but the tenderness underneath it keeps him from becoming only a joke.

02

Get Shorty

Elmore Leonard · 1990

Fast paced and hilarious crime thriller with top notch dialogue.

Cheri Krueger

Why the opening works

Chili Palmer’s stolen leather jacket becomes a matter of principle. Leonard reveals menace through dialogue and restraint, letting competence do the seducing.

03

Gone with the Wind

Margaret Mitchell · 1936

Scarlett is the type of main character you love to hate. Driven, ambitious, ruthless. Admire her but don’t trust her.

Cheri Krueger

Why the opening works

Scarlett is introduced through contradiction: not beautiful, yet impossible for the twins to see clearly. The opening turns force of personality into the book’s first event.

04

The Abduction of Adrienne Berg

Cheri Krueger

A suffocating Marin wife fantasizes about murder and meets her husband's pilot.

The book behind the stack

Why the opening works

The apparent murder becomes a trowel entering soil, but the fantasy is vivid enough to leave a stain. The feint introduces both Adrienne’s confinement and the danger in her imagination.

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