Beginning in Chapter 18, the story belongs to Violet. She undercuts Sloane’s agency, presenting herself as the mastermind behind Sloane’s relationship with her family. Violet says, “This whole time she thought she lied her way into our lives, but the truth is, I lied my way into hers” (292). Violet deceives Sloane to kill her and frame Jay. Jay’s sister, Denise, refers to Violet as a “snob,” and Violet’s socioeconomic status gives her significant financial and social leverage over Sloane. More so, Violet’s snappy, “mean girl” tone turns her into a bully.

Violet’s character arc is an important component of the text’s thematic exploration of materialism and identity. While Violet grew up wealthy and inherited a large trust fund from her grandmother Rebecca, she has often felt constrained by the expectations others have of her. She recalls feeling unloved by her parents, as though she were only an “object,” and believes that her marriage to Jay has merely continued the same problem under a different guise: With Jay, she has felt pressured to present a “curated” self, defined by Jay’s objectification of her. Her hidden unhappiness and insecurity thus mirror some of Sloane’s own personal struggles.  

Due to the narrative structure, Violet links to multiple character types. At first, with her chic style, handsome husband, and daughter, she comes across as the prototypical upper-class Brooklyn woman. Violet undercuts the label by pointing out her flaws and hinting at the true unhappiness in her life: “It’s an illusion. I’m barely holding it together. Underneath it all I’m a disaster” (149). Once Violet takes over the story, she becomes the antagonist. Her plot to kill Sloane and frame Jay for the murder presents Violet as someone clever but dangerous, turning her into a threat to Sloane’s life.

At the end of the novel, however, Violet and Sloane are equals. Sloane explains, “Legally, we’ll share my identity, both Sloane Caraway, but tell everyone we’re sisters” (513). Like Sloane, Violet wanted someone she could share her life with. As she has Sloane now, she, too, receives a happy ending.

Jay is Violet’s husband and Harper’s father. When Sloane meets Jay, she immediately romanticizes him, comparing him to enticing male characters from literature and movies. As her chapters continue, Sloane preserves Jay’s positive presentation. He’s handsome, hardworking, and a good father and husband. Sloane declares, “I like how he doesn’t fall into that 1950s stereotype” (89). Under Sloane’s narration, Jay becomes a paragon of “positive masculinity.” He’s a reliable, stand-up guy.

In Violet’s chapters, Jay transforms into the central antagonist. He’s a serial cheater who jeopardizes the safety of his daughter and depends on his wife’s money to fund his ill-conceived business ventures. Violet confronts the contrast between Jay’s appearance and true self: “He loves this: looking like the stand-up guy, the good dad. Jay saves the day! What a fucking hypocrite” (376). For Violet, Jay symbolizes toxic masculinity.

Jay narrates Chapters 30-31 of the novel, offering his own perspective after Violet frames him for her “murder.” Jay complains of how Violet did not do enough to please him, and does not repent of his infidelity or neglectful parenting. In this way, even in his own narration Jay remains a flat character who does not change or feature much moral complexity.

Harper Lockhart is Jay and Violet’s five-year-old daughter. Harper gives Violet a personal motive to frame Jay. Jay jeopardized Harper’s safety with Nina, and according to Violet, he’ll teach Harper that her worth comes from how she looks. If Violet doesn’t put Jay in jail, then Jay, using the sensational fight, could get full custody of Harper and adversely impact her growth. Harper makes Violet’s actions selfless: Her scheme is as much for her daughter as it is for her.

Harper also brings the characters together. She gets the bee sting that compels Sloane to help and lie, which, in turn, leads to Jay and Violet. Once Sloane becomes Harper’s nanny, her presence in Violet and Jay’s life increases. Minus Harper, Sloane couldn’t attach herself to Jay and Violet or vice-versa.

As Violet uses Harper to lure Sloane into her scheme, she becomes like her parents. Violet reproves her parents for treating her like “an accessory to their busy lives, a collectible from Christie’s” (325) yet Violet makes her daughter an “accessory” to her machinations. She uses Harper to trick people into believing that Sloane is Harper’s mother, and she plans to murder Sloane in a house near Harper. Thus, Violet puts Harper in a precarious position, exposing her to an array of hypothetical traumas.

Danny Shepherd represents a genuine connection for Violet. She met him on Block Island when she was six, and she fell in love with him. As Danny realized he was gay, he broke off their partnership. Violet and Danny’s dynamics tuned into a close brother-and-sister bond. She stopped him from harming himself; in turn, he feels obligated to help Violet frame Jay. As Danny tells Violet, “You and your grandmother saved me that summer. Now I’m going to save you” (423).

Danny has second thoughts, indicating that he’s not sure Jay requires such a drastic punishment. His doubt causes Violet to throw her flip phone, providing an early clue that Violet has secrets. Without Danny, Violet’s plan would collapse. Danny uses his power as the head of Block Island’s EMT department to make it look like Violet died. Danny lives up to his last name: He’s Violet’s “shepherd,” so he looks after her.

Laura Hoffman grew up in Texas but lives on the Upper East Side, so she represents traditional wealth. Historically, Upper Manhattan has served as the home for opulent people. Rich people, like the Lockharts, living in Brooklyn is a more recent development.

Laura’s son brings her to Brooklyn and the Rose & Honey spa. Undercutting the stereotype about rich people, Laura is compassionate toward Sloane. Sloane says, “She also treats me like a human being rather than an inanimate object who happens to know how to file nails” (30). Laura reappears on Block Island and becomes a crucial ally. Through Laura, Sloane gets a lawyer who helps her acquire the rights and funds to care for Harper.

Anne-Marie vacations on the island with her husband and children. Violet presents Anne-Marie as a cartoonish gossip. In turn, Anne-Marie depicts her husband, Fitz, as an abysmal caricature. Fitz continues the pattern of unpleasant male characters. Aside from Fitz and Jay, Violet’s father and Sloane’s father come across as contemptible.

Anne-Marie is central to Violet’s scheme. Initially, Violet needs Anne-Marie to think she’s Sloane so that when Violet shoots the real Sloane, Anne-Marie will testify that Violet (the real Sloane) is dead. As Violet doesn’t kill Sloane, Anne-Marie inadvertently propels a different plan. Sloane sees Jay and Anne-Marie together. She realizes Jay lied to her about their being together, so she returns to Violet, and they work together to bring down Jay.

Allison is a precursor to Violet. Before Violet, Sloane became infatuated with Allison. Sloane was their nanny, and Allison caught Sloane trying on her things and looking through private photos. Through Allison, Violet finds out about Sloane. Violet, however, doesn’t sympathize with Allison. She mocks Allison, admitting, “I stifled a laugh at the melodramatic delivery” (294). While Allison rejects Sloane and gets a restraining order against her, Violet embraces Sloane. Initially, she does so for deceptive reasons. In the end, they are genuine partners. What Sloan was looking for in Allison, she found in Violet.