Everyone Is Lying to You

Jo Piazza

59 pages 1-hour read

Jo Piazza

Everyone Is Lying to You

Fiction | Novel | Adult | Published in 2025

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Chapters 6-10Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of sexual content, death, graphic violence, and physical abuse.

Chapter 6 Summary: “Rebecca”

Rebecca leaves Lizzie’s room and goes to the hotel room of Dan, a single father and fellow influencer whom she periodically sleeps with. Dan has been a regular MomBomb attendee for years, which is how he and Rebecca met. He and Rebecca have sex. He is growing increasingly attached to her and makes comments about the two of them starting a new life together if Rebecca were to get divorced. He even jokes about killing Grayson. 


After leaving Dan’s room, Rebecca reminisces about how she met Grayson. She recounts her difficult childhood: Her mother died when Rebecca was 16, leaving her to live in her car to avoid foster care. In college, she embraced a wild reputation but found a true friend in Lizzie.



After college, she worked grueling hours at a tech startup and as an assistant pastry chef, dreaming of opening her own bakery chain. Rebecca met Grayson at a Sonoma winery a year into her tech job. He was handsome and elegant, and they talked for hours. The chapter ends with Rebecca wondering how she went from being infatuated with Grayson to desperately wanting to escape him.

Chapter 7 Summary: “Lizzie”

The morning after Lizzie’s reunion with Rebecca, she wakes refreshed in her hotel room. She texts Rebecca about breakfast but receives no reply. The silence reminds Lizzie of how Rebecca ghosted her 15 years ago, precipitating the end of their friendship. Lizzie had flown to visit Rebecca in San Francisco, looking forward to meeting Rebecca’s new boyfriend (this was shortly after Rebecca and Grayson began dating). When she arrived, Rebecca would not answer her door or phone for three days. She then sent a cruel email accusing Lizzie of being obsessed with her. Furious, Lizzie never contacted her again. 


Lizzie heads to the first MomBomb panel session. She is fascinated by the bizarre and outlandish world of professional influencing. A woman named Olivia Jackson introduces herself as Rebecca’s accountant and advisor. Lizzie is distracted when a man named Marsden Greer takes to the stage: Marsden is Veronica’s husband and Grayson’s longtime best friend. He makes misogynistic comments about the importance of women being primarily wives and mothers, focused on raising their families. He receives an angry reception from the female influencers who make up the audience, with one pointing out, “I made three times my husband’s salary last year and now he works for me” (118). Suddenly, the police burst into the room.

Chapter 8 Summary: “Lizzie”

Police officers ask for Rebecca Sommers over the microphone, but she is not present. When it becomes clear no one has seen her that morning, texts and messages spread rapidly across the country searching for her. The conference is effectively halted, and attendees are confined to the ballroom. Police tell Olivia Jackson they need her to come to the station for questioning; she resists but eventually leaves. Eventually, someone sees a breaking news update announcing that Grayson Sommers has been murdered.

Interlude 1 Summary: “Transcript of Detective Jim Walsh Interviewing Witness Elizabeth Matthews”

Detective Walsh questions Lizzie about Rebecca’s whereabouts. Lizzie explains they were supposed to have breakfast, but Rebecca never answered her door or phone. Lizzie states she learned of Grayson’s death after police arrived at the conference. When asked what she thought upon seeing the crime scene photos, Lizzie says whoever did that to Grayson must have really hated him.

Chapter 9 Summary: “Lizzie”

Lizzie sits in the police station after hours of questioning. She recalls how one of the influencers who had a connection to a police officer received a graphic crime scene photo of Grayson’s body impaled on farm equipment. There is a rumor that one of his body parts was severed and placed in the freezer. Lizzie had defended Rebecca when other influencers immediately suspected her. She is the last person to have seen or spoken with Rebecca prior to the crime, but she is not an alibi because Rebecca left the suite so early. She could easily have driven from the hotel to the ranch to kill Grayson. 


Detective Walsh informs Lizzie that Rebecca’s six children are also missing. Lizzie is very worried about the children and tells the police her suspicions that Grayson was abusing Rebecca, although she knows this could establish motive and make it seem more likely that Rebecca killed him. 


Lizzie is permitted to leave the station; when she checks her phone, the murder has already made national news. Lizzie’s husband Peter phones, expressing his worry and urging her to come home immediately. Lizzie explains that she should stay for one more day, in case the police have further questions; she also declines Peter’s offer to join her, since she wants him to stay with their children. Peter reveals that Modern Woman is already promising exclusive coverage of the story and touting Lizzie as their on-the-ground reporter. Lizzie is frustrated because she doesn’t want to cover the story but can’t afford to jeopardize her job. 


Back at the hotel, Lizzie receives a note left for her at the front desk. The note reads, “I didn’t do it. You have to believe me” (141).

Chapter 10 Summary: “Lizzie”

Lizzie speaks with her boss and reluctantly agrees to write two stories about the events unfolding in connection to Rebecca. She decides to use the first story to simultaneously satisfy her boss and express her sympathy for Rebecca. Lizzie is worried about Rebecca’s children but also convinced that her friend wouldn’t harm them. As Lizzie is writing, Olivia Jackson visits her room. Olivia explains that since she and Rebecca have attorney-client privilege, she knows things that she is not obligated to tell the police, but which she is willing to share with Lizzie. She asserts, “[Y]ou and I are going to have to trust one another” (150), and she offers to become Lizzie’s attorney in order to protect their conversations. When Lizzie claims she plans to fly home within a day, Olivia shrewdly points out that Modern Woman magazine is going to pressure her into staying and covering the story for as long as it is unfolding. 


Olivia reveals Rebecca had signed licensing deals worth roughly $200 million for a television show, magazine, and product lines. Rebecca planned to announce this publicly through Lizzie’s magazine profile, without telling Grayson first, because he had forbidden her from pursuing past opportunities. Olivia is concerned that Rebecca may be in danger, and is also irritated with the current coverage, noting that “every story written about her so far calls her a housewife instead of mentioning that she’s the CEO of a multimedia, multinational brand” (153). She gives Rebecca permission to use this information in her story. 


Lizzie submits an article, praising Rebecca and revealing the impending deal. She does not mention any abuse or unhappiness in Rebecca’s marriage. Later, in the hotel restaurant, Cricket, an influencer, approaches her with gossip. Cricket mentions that Grayson comes from a powerful family and moves in social circles where men can get away with a lot. She recounts a story about the suspicious death of Amelia, a woman who was married to one of Grayson’s relatives. Amelia was having an affair and planning to leave her husband, which she confessed to her gynecologist, Dr. Carmichael. A short time later, she died in a suspicious car accident, and her husband promptly remarried. Cricket surmises that someone overheard Amelia at the clinic and outed her secret to her husband. 


Cricket brings up Veronica Smith, who is one of the Smith triplets: All of the sisters are famous influencers. Lizzie recalls having briefly met Veronica and pieces together that Veronica is married to Marsden Greer, Grayson’s best friend. Cricket explains that there have been persistent rumors about Grayson and Veronica having an affair. Lizzie questions Cricket directly, and the latter admits that she doesn’t think Rebecca is guilty, but she does think Rebecca is in danger. After Cricket leaves, Lizzie phones Peter and admits that she wants to stay and report on the story. He encourages her to do so. 


 Later, Lizzie watches Marsden’s televised statement about Grayson’s death and notes that there seems to be tension between Marsden and Veronica. Still seated at a table in the hotel restaurant, she notices that someone has discreetly left a pale pink sachet on her table. She opens it to find two keys, an address, a gate code, and a note directing her to look next to the bed.

Chapters 6-10 Analysis

In the wake of the murder, Lizzie is transformed from a passive observer of a subculture into an active investigator. The plot shifts to mystery, in which the central conflict revolves around determining who killed Grayson. Uncovering this information is important because Rebecca and her children may be in danger (although Rebecca herself may of course be the source of that danger). Initial details about Rebecca’s desire to escape from her unhappy marriage and her mysterious motives for bringing Lizzie to the conference just before the murder create a red herring (a false clue that serves to distract readers and sometimes characters during the investigation of a crime). The revelation that Rebecca is having an affair with Dan adds further moral complexity to her character: While she may be unhappy in her marriage, she has not been suffering passively. It seems increasingly plausible that Rebecca herself murdered Grayson, adding ambiguity and suspense to the unfolding investigation. 


Lizzie has complex motives for staying to report on the story and investigate Rebecca’s disappearance. Her hand is partially forced by demands from her boss, revealing how socio-economic conditions and the precarious nature of the media economy rob her of agency. At the same time, the chance to report on this story reconnects Lizzie to skills and career ambitions that have long been dormant. While covering “lifestyle pieces,” Lizzie’s keen intelligence and sharp instincts as an investigative journalist have been largely underutilized. She has sacrificed some of her interests and career ambitions in order to provide stability for her family, especially in light of her husband’s stalled career. The career paths of both Lizzie and Rebecca reflect the complexity of contemporary women who act as the primary breadwinners for their families while also still juggling parenting. Finally, Lizzie feels compelled to investigate in the wake of the crime because of her emotional bond with Rebecca, reinforcing the theme of The Power of Female Community and Solidarity.


The news about Grayson’s murder breaks as Marsden is giving a presentation, foreshadowing the latter’s involvement in the crime. When Marsden Greer addresses the ballroom of businesswomen with a speech promoting his app “Stay,” he claims that motherhood is their highest calling and implies they should submit to male authority. The audience’s visceral rejection of Marsden highlights the friction between an online aesthetic of female submission and the reality of their digital entrepreneurship. This scene critiques the “tradwife” subculture, where some creators adopt an aesthetic reminiscent of the 1950s to project rustic subservience. Katie’s objection that the next speaker is a man underscores the simmering resentment toward male intrusion into a female-dominated space. The visceral reaction to Marsden introduces the theme of The Corrosive Effect of Rigid Gender Roles and demonstrates that the online performance of female submission often functions as a marketing strategy rather than a lived ideology. In reality, these creators largely reject real-world patriarchal condescension when it threatens their autonomy and financial success. 


When the female influencers reject and mock Marsden’s messaging, they reveal that female characters within the world of the novel seldom (if ever) passively accept male authority. The women in the audience begin throwing pastries at Marsden, subverting baked goods (associated with domesticity and feminine caretaking) into weapons. Notably, Rebecca began her career as a successful baker and continued to feature baking as part of her online content. Lizzie notes how a jelly donut evokes imagery of violence with “its electric red insides squirt[ing] out like a spray of blood” (122). The potential for ghoulish interest in grotesque violence among the female influencers is further heightened when the rumors begin to circulate that an unspecified body part was cut off when the police found Grayson’s body. One of the influencers comments, “I bet he got the Lorena Bobbitt treatment” (129), alluding to a 1993 criminal incident in which a woman severed her husband’s penis after allegedly enduring an abusive and unhappy marriage. This morbid guess hints at the reality that a woman killed Grayson out of revenge for what he had done to her and alludes to female anger that is simmering among seemingly happy wives and mothers. 


Once the news breaks, the online discourse shifts between praise and hostile speculation. This rapid pivot illustrates the volatility of parasocial relationships, as the comments on Rebecca’s final post transform into accusations. The digital audience, previously invested in consuming a pastoral fantasy of seamless motherhood, transitions to consuming a true-crime spectacle with equal voracity. This dynamic embeds a structural critique of how the influencer industry and traditional media mine personal trauma and domestic life for engagement and profit. Lizzie’s phone floods with thousands of new Instagram followers, demonstrating how the tragedy has elevated her own social capital.


After her police questioning, Lizzie receives two items on pale pink stationery: a note slipped under her hotel door declaring Rebecca’s innocence, and a sachet delivered at dinner containing keys, a gate code, and an instruction. These tangible objects contrast sharply with the digital ephemera that otherwise dominates the characters’ lives. By forcing Lizzie to physically navigate the mystery through material clues rather than scrolling through digital feeds, the narrative aligns itself with traditional thriller conventions. The physical keys represent a necessary departure from the online realm, signaling that the truth behind the murder cannot be uncovered through a screen, but must be excavated from hidden, physical spaces.

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