DO TELL

Glitz and gossip in the film world.

Lynch sets her entertaining debut novel in 1940s Hollywood, where aspiring actors are manipulated by studio executives and gossip columnists can make or break reputations with a keystroke. Edith “Edie” O’Dare, whose acting contract is nearing its end, becomes one of those reporters: After growing up poor in Boston, at 19 she won a trip to Hollywood and jumped at the chance to leave home. She was never catapulted to stardom, though; instead, she was cast in forgettable roles as “someone’s provocative best friend or madcap coworker.” Now, years later, she is looking for her next act. To earn a bit of extra money, she had long served as a source for Poppy St. John, the widely syndicated “Tinseltown Tattler.” But when Edie becomes the confidante of a young actress claiming to have been sexually assaulted by a popular star, she decides to branch out on her own. Not surprisingly, all of Hollywood circles the wagons around the star: “You go under contract, you say what they tell you to say,” Edie well knows. She needs to decide, in the actress's case and many others, what she is willing to disclose, whom she is willing to hurt or to help. In the Los Angeles Times, her column is christened “Do Tell.” Edie knows she’s not a corrective for the myths and legends that Hollywood creates about itself: “A large part of what I do is tell America what they want to hear,” she is convinced. And what America wants to hear—even as war rages in Europe—is salacious dirt. Although the plot lags when Lynch describes clothing, hairstyles, and makeup in too much detail, she doesn’t lose sight of a salient theme: Edie’s success depends on others’ vulnerability. Lynch’s characters—clad in designer gowns, inhabiting sumptuous mansions, and drinking champagne at lavish parties—are replaceable cogs in a powerful industry.

An intimate look at Hollywood’s dark secrets.