“Running From Herself” by April Tompkins follows a singer’s emotional journey as she navigates the ups and downs of the music industry while discovering what truly matters to her. The novel follows Leah Branch, a jaded country musician who abandons her struggling band and ends up in the tiny town of Chance, Wyoming, where she reluctantly takes a job as a bartender at the local honky-tonk.
Like ‘Daisy Jones & The Six’, this behind-the-scenes glimpse into the music industry reveals the raw, human stories that shape the songs we love. Tompkins excels at creating rich characters who feel lived-in and real. From Burt, the quietly wise hotel manager, to Paula Barnes, the straight-talking country music star who becomes Leah’s mentor, each character serves a purpose while maintaining their own personality. The author particularly shines in her portrayal of the complex relationship between Leah and her cousin Caleb, capturing the unique dynamic of family members who are also creative partners.
One of the novel’s greatest strengths lies in its intimate understanding of the music industry’s inner workings. Tompkins demonstrates deep research of both the local bar circuit and the Nashville machine, depicting everything from technical recording sessions to the politics of record labels with convincing detail. The author doesn’t shy away from showing the darker aspects of the business, including predatory managers and the toll that constant touring takes on performers.
In addition, the small-town setting of Chance is vividly rendered. Tompkins has a keen ear for dialogue, capturing the distinct voices of characters from different backgrounds without resorting to caricature. The author’s description of live music performances is particularly strong, conveying both the technical aspects and the emotional experience of being on stage.
One of the novel’s most interesting aspects is its exploration of authenticity in art. Through Leah’s journey, Tompkins examines what it means to stay true to oneself in an industry that often demands conformity. The contrast between Leah’s genuine songwriting and the manufactured pop-country promoted by her label provides thoughtful commentary on commercialism in music. Not to mention, readers hoping for a romance will not be disappointed. The love story between Leah and guitarist Mick develops naturally and feels earned, avoiding the typical whirlwind romance tropes.
While the plot occasionally meanders, particularly during Leah’s time in Nashville, in some ways this actually serves to reinforce the protagonist’s sense of displacement and uncertainty. The pacing picks up considerably in the final third of the book as all the subplots come together for a satisfying conclusion. The book’s few other weaknesses include some underdeveloped secondary characters and occasional repetition in the internal monologue sections. However, these are minor issues that don’t significantly detract from the overall story.
“Running From Herself” is ultimately a story about finding home – both literally and figuratively. It’s about learning that sometimes you have to lose yourself to find yourself, and that success doesn’t always look the way you expect it to. Tompkins has penned a very readable exploration of identity, creativity in the music industry, and belonging that will resonate with readers whether or not they’re interested in music.
This novel announces Tompkins as a promising voice in contemporary fiction, one who brings authenticity and emotional depth to her storytelling. While it will particularly appeal to readers interested in music industry romances and the creative process, the universal themes and strong character work make it a satisfying read for anyone who enjoys well-crafted fiction.
You can buy “Running From Herself” by April Tompkins here!
