C J Dotson’s debut novel The Cut plunges readers into the deteriorating L’Arpin Hotel, where single mother Sadie Miles seeks refuge from her abusive past only to discover horrors far more ancient and insidious than human cruelty. Set against the backdrop of Lake Erie’s unforgiving shores, this supernatural horror tale weaves together domestic abuse survival, motherhood, and cosmic terror with ambitious scope but uneven results.
Setting the Stage: L’Arpin Hotel as Character
The novel’s greatest triumph lies in its atmospheric rendering of the titular Cut—a desolate Lake Erie beach dominated by the crumbling L’Arpin Hotel. Dotson demonstrates remarkable skill in crafting a setting that feels both authentically decrepit and genuinely menacing. The hotel’s perpetual dampness, mysterious dripping sounds, and the unsettling proximity to an industrial power plant create an environment where the supernatural feels not just possible but inevitable.
The author’s background clearly informs her vivid descriptions of working-class struggles and the desperation that drives people to accept less-than-ideal living situations. Sadie’s pragmatic acceptance of the hotel’s flaws—the questionable water, the isolation, the general decay—rings with authentic desperation. This grounding in economic reality gives weight to the horror that follows, making the fantastic elements feel like a natural extension of an already oppressive environment.
Maternal Horror Done Right
Where The Cut by C J Dotson truly excels is in its exploration of motherhood under extreme duress. Sadie’s fierce protection of her toddler Izzy while pregnant with her second child creates genuine tension that transcends typical horror tropes. Dotson understands that for a mother, the greatest horror isn’t personal death but the inability to protect one’s children. The scenes where Sadie must choose between her own safety and staying close to Izzy generate authentic dread that no amount of tentacled monsters could match.
The author’s portrayal of toddler behavior—Izzy’s innocent observations, her tendency to wander, her complete trust in her mother—feels lived-in and real. This authenticity makes the supernatural threats more visceral, as readers can viscerally feel Sadie’s terror at potentially losing her daughter to forces beyond comprehension.
The Gertie Revelation: Brilliant Concept, Muddled Execution
The novel’s central twist—that sweet elderly permanent resident Gertie Harper is actually the malevolent force behind the hotel’s supernatural manifestations—represents both the book’s greatest strength and its most significant weakness. Conceptually, the idea is brilliant: an ancient entity that has learned to weaponize human kindness and loneliness, presenting itself as a helpful grandmother figure while orchestrating horror.
However, the revelation’s execution suffers from pacing issues that plague much of the novel’s latter half. The transformation from kindly old woman to cosmic horror puppet master feels rushed, lacking the careful buildup that would make such a dramatic shift feel earned. Gertie’s motivations—something about spreading her influence and requiring newborn children for her purposes—remain frustratingly vague even after the reveal.
Technical Struggles and Structural Issues
The Cut by C J Dotson suffers from several technical problems that undermine its atmospheric strengths. The novel’s pacing becomes increasingly erratic in its second half, with long stretches of Sadie cleaning rooms and worrying about monsters interspersed with sudden bursts of supernatural chaos. This uneven rhythm makes it difficult for readers to maintain the sustained tension that horror requires.
The book’s action sequences, particularly the climactic demolition of the hotel, feel rushed and lack the careful choreography needed to create genuine suspense. Viago’s convenient access to construction equipment and willingness to help destroy an entire building stretches credibility even within the novel’s supernatural framework.
Perhaps most problematically, the supernatural rules governing Gertie’s creatures remain frustratingly inconsistent. Sometimes the lake monsters are slow and cold-affected, other times they’re swift and deadly. The source and nature of their power shifts depending on plot convenience rather than established logic.
Character Development: Hits and Misses
Sadie Miles emerges as a genuinely compelling protagonist whose history of abuse informs her every action without defining her entirely. Her hypervigilance, her automatic responses to perceived threats, and her determination to protect her children feel authentic and well-researched. The way she questions her own perceptions—a realistic response to gaslighting—adds psychological depth to the supernatural proceedings.
Unfortunately, most supporting characters remain frustratingly underdeveloped. Viago, the power plant worker who becomes Sadie’s unlikely ally, never rises above the role of convenient plot device. His motivations for helping Sadie and his willingness to destroy property feel insufficiently explored. Even Sam, Sadie’s abusive ex-fiancĂ©, remains more symbol than character, representing toxic masculinity without developing into a fully realized antagonist.
The novel’s treatment of working-class characters shows both sensitivity and occasional condescension. While Dotson clearly understands the economic pressures that drive her characters’ choices, some interactions feel more observed than lived.
Supernatural Elements: Ambition Versus Execution
Dotson’s creature design shows flashes of genuine creativity. The transformation of ordinary animals into grotesque, tentacled horrors taps into effective body horror traditions, and the image of corrupted pets and wildlife adds personal stakes to the cosmic threat. The underground spring connecting to primordial forces beneath Lake Erie provides an appropriately Lovecraftian sense of vast, indifferent malevolence.
However, the novel struggles to maintain consistent rules for its supernatural elements. The creatures’ capabilities shift dramatically based on plot requirements, and the precise nature of Gertie’s powers remains maddeningly vague. The climactic revelation about the underground chamber and its connection to ancient forces feels more perfunctory than revelatory.
Domestic Violence Themes: Handled with Care but Lacking Depth
The Cut by C J Dotson deserves credit for its sensitive portrayal of domestic abuse and its long-term psychological effects. Sadie’s hypervigilance, her difficulty trusting others, and her constant questioning of her own perceptions ring true to the experiences of abuse survivors. The way past trauma affects her ability to process new threats adds psychological complexity to the horror elements.
However, the parallel between supernatural and human monsters occasionally feels heavy-handed. While the thematic resonance between Gertie’s manipulative kindness and abusive relationship patterns has potential, the novel doesn’t explore this connection with sufficient depth to make it truly meaningful.
Writing Style: Atmospheric Strengths, Technical Weaknesses
Dotson demonstrates real talent for atmospheric writing and character voice. Her descriptions of the decaying hotel and its unsettling sounds create genuine unease, and Sadie’s internal monologue feels authentic throughout. The author’s ability to ground supernatural threats in realistic economic and emotional circumstances shows promise for future work.
However, the prose suffers from inconsistent pacing and occasional overwriting. Dialogue sometimes feels stilted, particularly in confrontational scenes, and action sequences lack the clarity needed for effective tension. The novel would benefit from tighter editing to streamline its more meandering passages.
Comparative Context and Similar Reads
The Cut by C J Dotson joins a growing tradition of horror novels that use supernatural threats to explore real-world trauma, following in the footsteps of works like Paul Tremblay’s A Head Full of Ghosts and Jennifer McMahon’s The Winter People. However, it lacks the psychological sophistication of Tremblay’s work or McMahon’s careful plotting.
Readers drawn to lakeside horror might prefer Alma Katsu’s The Fervor for its more assured handling of historical trauma, or those seeking motherhood-centered horror might find Camilla Sten’s The Lost Village more satisfying in its execution.
Final Verdict: Promising Debut with Room for Growth
The Cut by C J Dotson presents a compelling premise and demonstrates real atmospheric talent, but struggles with execution issues that prevent it from reaching its full potential. While the novel’s exploration of motherhood and trauma shows genuine insight, its supernatural elements lack the consistency and depth needed to create lasting impact.
Dotson clearly possesses the imagination and empathy needed for effective horror writing. Her understanding of working-class struggles and maternal fears provides a strong foundation for genre work. However, future efforts would benefit from tighter plotting, more consistent supernatural rules, and deeper character development for supporting cast members.
For readers seeking atmospheric horror with strong female protagonists, The Cut by C J Dotson offers enough compelling elements to warrant reading, despite its flaws. The novel’s heart—a mother’s determination to protect her children against impossible odds—beats strongly enough to carry readers through its weaker moments.
Books Similar to The Cut:
- The Winter People by Jennifer McMahon – Rural Vermont setting with supernatural threats targeting families
- The Fervor by Alma Katsu – Historical horror exploring trauma and supernatural manifestations
- Mexican Gothic by Silvia Moreno-Garcia – Decaying house horror with strong atmospheric elements
- The Bachelorette Party  by Camilla Sten – Motherhood horror with isolated setting
- Little Darlings by Melanie Golding – Supernatural threats to children with folkloric elements
- The Silent Companions by Laura Purcell – Victorian horror focusing on motherhood and supernatural threats
The Cut represents an ambitious debut that, while imperfect, establishes C J Dotson as a voice worth watching in contemporary horror fiction. With tighter plotting and more consistent supernatural logic, her future work could truly excel in the crowded field of psychological horror.