Wednesday, April 2, 2014

A Little Piece of Paradise on Earth--Pacific Grove, CA





I'm back from my trek to Left Coast Crime 2014 in Monterey, California. It should have been the trip of a lifetime, and in many ways it was, but . . . of course I had to get sick and miss out on some of the things I wanted to do. But I can now mark this off my list, and I accomplished my professional goals at the conference, so that's great.

Out family drove from Dallas/Ft Worth all the way across the Southwest and up Highway 1 to reach our beach house rental in Pacific Grove so that I could attend the conference. There's so much to tell you about and so much that I learned . . . but the stress of the trip (as well as the pre-trip planning and the arrangements for the house to be taken care of) caused me to break out with shingles!

I didn't know what it was until we got to Monterey and I went to the emergency room. (They are super-efficient and smart at CHOMP, and I can recommend them highly. The intake clerk asked, "Have you had chicken pox?") It's centered around my left eye, so they sent me to an ophthalmologist the next day, and I got eye drops. By the time we got home (seven days of "vacation" later and three more days driving), I was ready to see my home ophthalmologist, who diagnosed conjunctivitis and prescribed another set of eye drops. (He said my shingles seemed to be dying down, and I hope he's right--that burning across the scalp and temple is pretty rotten.) Good grief! I just can't get rested to do the things I need to do here at home, let alone for promo.

But! LOVE IS THE BRIDGE is starting a Kindle Countdown Deal this weekend!

From Friday, April 04, at 8 AM, the Kindle version will go for $0.99 (a 67% discount!) The trade paperback version will also be on SALE for $8.00. Such a deal! (I do love it when people buy the paper book, but some people prefer the Kindle versions. So long as you tell me how you liked it!)

Watch for it on Friday morning.

Love is the Bridge (Kindle download)

APRIL, MAYBE JUNE made its debut at LCC. I now have several copies to send to reviewers. I'll propose that if you will read and review the book, you can get a free copy through the mail! And if you send the link to your Amazon review to Muse Harbor Press (my publisher), you can get a discount on any other Muse Harbor book. What a deal. Try a sample (or do "Look Inside") at Amazon and see if you don't want to read more. (Remember, I write YA fantasy/adventure under my long-time 'net name, Shalanna Collins.)

April, Maybe June (Kindle edition)

I am thrilled by the great reviews APRIL, MAYBE JUNE, has received so far! I think it could really take off, if we could get word-of-mouth going. Doesn't hurt to mention it to people if you liked it (hint!)

I hated to leave such a wonderful spot, but after wrapping up the conference with the last panel, I sort of couldn't top that. See y'all at the next conference! Bring the books that you want autographed!





Friday, January 24, 2014

See you at Left Coast Crime in March! Please come!

Do you know how much fun readers/fans/writers conferences are? Combine that with the paradise that is Monterey/Pacific Grove/Carmel-by-the-sea and you really have something!



And while you're there, you can be among the first to see my new release!



MY COVER FOR APRIL, MAYBE JUNE, WHICH LAUNCHES AT THE CONVENTION

(Note that the book is by my alter ego, Shalanna Collins, who writes the YA fantasy/adventure series because of branding. I'm dual-boot like J. D. Robb/Nora Roberts and many, many other authors.)

I'll be attending Left Coast Crime (Calamari Crime) this year. At last, a family vacation of sorts combined with an opportunity to meet my editors in person, meet fans, and schmooze with other authors I've only known online. I am really stoked and looking forward to it.

The BIG NEWS is that we will be launching my new YA urban fantasy/adventure, APRIL, MAYBE JUNE! Even though it is not strictly a mystery, it has a mystery subplot. I'll be meeting up with Muse Harbor Press's Dave Workman, my editor on the project, and perhaps with others from the company. We have books, bookmarks, and tote bags to give away! I'll know more about the venue for this later on. It might even be held where we're staying--in a beach house!

I don't think that any of my books will make it to the list of nominees for the Lefty this year, but maybe next year. I hear that you should be fairly well-known, and I'm definitely not. Still, I voted in the awards. We'll see who makes the list.

The exciting part is that I'll be renting the aforementioned beach house for the week in Pacific Grove, about a mile away from the hotel. My family (hubby, Mama, Pomeranian, and probably one of my cousins who loves to sketch) will run around and have fun while I do the con, and then in the evenings I'll get to sightsee and visit the Aquarium and the beach. We haven't had a family vacation in YEARS. They are fighting me on it even as we speak, knowing how expensive it all is (and being a bunch of homebodies, except for the dog, who LOVES to travel, as if he were born with wheels), but I believe I can get them into the van and get us all there.

I hope to be on a panel or two. Even if I'm not, I will be available for meet-ups, book signings, and schmoozing. Watch for my totebags!

Here's the pertinent con info (that you could get from their site):

Starts - Thursday, March 20, 2014 11:00 AM
Ends - Sunday, March 23, 2014 02:00 PM
Where: Portola Hotel & Spa, Two Portola Plaza Monterey, CA, USA
(This hotel is sold out, but they have an overflow hotel or two, including the Marriott)
Add-on:
Writing Workshop Wednesday, March 19 with Jan Burke & Jerrilyn Farmer

Would your family like to come along? There are events especially for them! *Because we know they don't want to hear about the things writers and readers like to blather on about.*

Whale Watching Tour Tuesday March 18, 2014 9:00 AM – Noon (I wish I could do this one!)
Monterey Movie Tour Tuesday, March 18, 2014 1:00 – 5:00 PM
National Steinbeck Museum Wednesday, March 19, 2014 9:00 AM – 2 PM (We'll hit the museum at some point, as well as the Henry Miller Library.)
Big Sur Scenic Tour Wednesday, March 19, 2014 1:00 – 5:00 PM (I may skip something so I can go on this with Hubby!)

There are also free events and activities, of course. There's a voluntary hike of about three miles that you can take, starting on the trail behind the Portola Spa. Or just walk along the beach!

I hope to see you there. It's a lot of fun to attend your first convention.

Anyone have any convention survival tips? (Other than get your flu shot NOW, and bring your cell phone and tablet(s)?)

Monday, October 21, 2013

Start your book off strongly, but don't be lame!

Everyone's always talking about how a first line can make or break a book.

I can't believe that the FIRST LINE is the only thing a serious reader goes by when deciding whether a book is worth her time. It's tough for me to imagine that it's the only thing an acquiring editor or agent judges an entire novel by. I should expect that they'd give it at least a couple of paragraphs or perhaps the entire first page, on the grounds that this entire bit is the "opening" that should hook, intrigue, or at least interest you enough to get you turning more pages.

But they tell me that isn't true nowadays. The sample they download of your book (usually the first chapter or a little more) on the Kindle is going to get read if and only if they're not bored. I have had my opening lines picked over by critique partners and workshops until I wondered just how short an attention span can be.

Still, we can all agree that the first line is important. If the last line can circle back to reference it, so much the better. But let's look at various fun ways to start your book.

"It was the best of times, it was the worst of times. . . ." Um, taken. "It is a truth universally acknowledged--" No! Too many big words already. (LOL)

I like to begin with something a little philosophical. Some people get lofty and call it "a question about the meaning of life or a statement of eternal principle." Whew!

Leo Tolstoy opens Anna Karenina by writing, “Happy families are all alike; every unhappy family is unhappy in its own way.” Guess how many counseling seminars have been opened with the very same quotation?

Occasionally this can take the form of a single statement of theme. What is to come in this story? What is to be shown or demonstrated to us as we read this narrative? The theme can be in the subtext of the statement, or it can just be a straight-out declaration that makes readers go on to see if this can be proven or if it will be challenged.

"The primroses were over," begins Watership Down by Richard Adams. This may seem like a boring statement of fact, but to British readers, it did much more. It establishes the time of year and to some extent the setting (by implying that we're not in an urban environment but in the country, because the flora isn't as important as the streets of a city.) It illuminates a primary theme of the book, posing a story question by implication (what does this mean? What were the primroses indicating? Here, it establishes an ominous air if the reader is aware of the usual literary associations with primroses and the end of their blooming season. A bit obscure to the modern American readership.) The astute reader will also wonder whether the book will be mainly concerned with nature and the cycle of life as demonstrated in blooming/fading of plants. This line is echoed at the end of the novel, as well.

Whew!

Your first few lines should indicate the tone of the novel--comic, dramatic/serious, wry. You don't want to promise the reader one kind of book (suspense) and end up writing another (cozy). You should establish the mood and the color right up front. Is it a moody horror story with an ominous tone? An action-adventure that promises to move quickly enough to obscure any plot holes? This prepares the reader and sets up what to expect.

The ideal first line should do all these things:

Illuminate the theme of the book. This justifies the novel's very existence. Good luck with keeping something like this in, though, because so many readers today only pay attention to story and they want BOOMS in the opening scene, sigh.

Raise the first story question. This propels the reader forward because she wants to know the answer. Does Mary say "yes" to John's proposal, be it marriage or just living together? Does the cat catch the mouse, or does it succeed in getting under the house? A curious reader is a reader who continues to read. You must, however, make the reader care, or else the question is, "Who gives a hoot?" Momentum stays up because when you answer this story question, it raises the next story question. Note that this does not have to be a direct question. It can be implicit in the situation.

Establish the tone/mood, reveal the setting, and begin to develop the character(s) as someone interesting enough to spend 300 pages with.

Within this hook should lurk some form of the KEY to the story. Is the key a plot thing, or is it about the character's, well, character? This can be subtle or direct. Agatha Christie often put clear hints to the resolution of her mysteries in the first line or first few lines. Literary novels are notorious for this. If you can, provide the foundation for circularity or closure with the last line echoing this.

THIS IS WHY YOU DO NOT START WITH THE KILLING OR DRAGGING OF THE CORPSE OR WHATNOT. We don't yet know who we are supposed to root for, and it's boring to see the same beginning as so many other novels have. "Yeah, yeah," mutters the reader or viewer, "I get it, a murder. So WHY do we care, other than every man's death diminishes me and all that jazz?" Give us a few lines of the ordinary world so that we'll see why the murder disrupts the sleuth's life so much that he has to go investigate it.

I would caution you against a "frame" story, although those were immensely popular for years. I can't stand FRIED GREEN TOMATOES (one of my mother's faves and very big with her crowd), in part because both the novel and the film are frame stories that are simply not necessary and don't add anything for me. (I also hate the way they disposed of the abusive husband. It isn't even a little amusing.) On the other hand, a "looking back" sort of frame from a first-person narrator to establish why the tone is elevated although the narrative takes place while the POV character is still a child can work well. TO KILL A MOCKINGBIRD and A SEPARATE PEACE work perfectly with this.

Don't forget about what you began the novel with. So many books now will have a REALLY EXCITING thing happen in the opening, only to abandon it entirely and never explain what it was about. A book starts out with a mugging or explosion, but it's not related to the main story of the book, just a way to throw the hero into a panic. Don't do this!

Anyhow . . . what are some of your favorite opening lines?

Sunday, October 6, 2013

GUEST BLOGGER: John M. Wills

My guest this week is John M. Wills, who has joined the Oak Tree Press family of authors. Have you ever asked questions of a former police officer and retired FBI agent? Well, here's your chance! (Don't get too gross and detailed on me, though--try to ask about his books!) And, unlike me, he's photogenic and good-lookin'! (See below.) He graciously allowed me to use this interview with him as a guest blog post. Welcome, John!



John M. Wills


Tell us about yourself.

I’m a former Chicago police officer and retired FBI agent. After retiring, I became a freelance writer and award-winning author in a variety of genres, including novels, short stories and poetry. I’ve published more than 150 articles relating to officer training, street survival, fitness and ethics. I also write book reviews for the New York Journal of Books and I’m a member of the National Book Critics Circle. My non-fiction book, Women Warriors, is available online and at the National Law Enforcement Memorial Gift Shop in Washington, D.C., and my latest novel, The Year Without Christmas, is available now.

Tell us about the series you created, The Chicago Warriors.

I created The Chicago Warriors Thriller Series when I had my first novel published: Chicago Warriors Midnight Battles in the Windy City. Midnight Battles introduces my two protagonists, Chicago Police Officers Pete Shannon and Marilyn Benson. We find these two street cops working a beat together on the midnight shift, patrolling the mean streets of Chicago. In the second book of the series, Gripped by Fear, Shannon and Benson are promoted to detective, and are assigned to track down a psychopathic rapist who is preying on housekeepers in downtown Chicago. The third book, Targeted, involves the two detectives enlisting the aid of the FBI, as they try and stop a sniper who is murdering cops. In a unique twist, another story runs in tandem with Targeted, It describes the story of a Catholic priest who is on the run from the law. The two unrelated stories merge in the violent finale of the book.

How did your career in law enforcement impact writing this series?

My twelve years as a Chicago cop, and twenty-one as an FBI agent fully prepared me to write the book from an experiential and technical point of view.

How do you create and maintain dramatic tension?

I’ve never had a problem creating tension, whether it’s a part of the main story, or dealing with my characters. I ensure that there are many serious dilemmas to solve, both in the characters’ personal lives and in the cases they are working. I try to plant precursors and foreshadowing at selected places while the story develops. Some are quickly resolved, others may not be as easy, and some may be incapable of being resolved at all.

How do you develop and differentiate your characters?

I have a vague idea of who my characters will be, except for my main protagonists, who I’m modeling after real people. I think of my story line, write a brief synopsis, and then insert characters as needed. I try to use diverse people who have ambiguous backgrounds, even illegals and black marketers from foreign nations. I keep it interesting for my readers.

Who do you imagine is your ideal reader?

Since my novels have a Christian theme running through them, one, however, that does not affect the realism or brutal nature of dealing with thugs and crime, my readers seem to include an equal number of men and women, as well as law enforcement.

What common misperceptions do you think people have about police work and the F.B.I.?

I don’t think that many people recognize that men and women in law enforcement are a microcosim of society. They are just like you and me, have the same likes and dislikes, and share the same problems that life throws their way. The additional burden they bear is that they’re expected to be role models above reproach. When law enforcement errs, it’s always magnified because of who they are.

You review books for the New York Journal of Books. How does writing book reviews help you grow and develop as a novelist?

I’m blessed to be able to review new novels before their release date. I read with a more discerning eye, being an author myself. I try to glean from the books the manner in which each author develops plots and characters, uses figures of speech, etc. Most of the authors I review are famous, best-selling writers. Therefore, I am learning from the masters, so to speak.

What was your journey as a writer?

After retiring from the FBI in 2004, I began writing professionally, focusing on writing law enforcement related articles for websites and magazines. To date, I’ve had more than 150 articles published. However, I’ve always had the urge to write fiction. I have hundreds of stories bouncing inside my head from 35 years in law enforcement. I procrastinated for a while, wondering if I could master the process, and fretting that perhaps I wouldn’t get it right. Finally, my wife told me to just sit down and start writing. That was all it took; I’ve been writing ever since.

What is your writing process?

I write “something” each day--an article, a blog entry, or a few pages of a book. I’m in the habit of doing this each day. Once you develop the habit of writing, you’ve stepped over the threshold.

Which authors most inspire you?

I like Richard Paul Evans, Dean Koontz, Michael Connolly, Dan Walsh, Noah Boyd, Stieg Larsson . . . is that enough?

What one book, written by someone else, do you wish you'd written yourself?

The Shack.

How have you marketed and promoted your work?

I do virtual book tours, blog interviews, newspaper interviews, book signings at book stores, cafés, schools, and libraries. I also use Facebook and Twitter.



Tell us about your new book, The Year Without Christmas.

I loved writing this story, and experienced a gamut of emotions while doing so. Briefly, a small-town family’s peace is shattered when a tragic accident sends them plunging into the darkest times they have ever known. The members struggle with their new reality, as the husband disappears and his grandson faces a life-threatening disease. It’s a tale about loss and unwavering hope, and it demonstrates the power of love, faith and a family’s will to survive.

Thank you for hosting me and allowing me to get the word out about my Christmas novel. It’s a tough story, but one that will warm your heart and restore your faith in the power of family.

Go to www.johnmwills.com for further info and bio.

Buy The Year Without Christmas here: http://www.amazon.com/Year-Without-Christmas-John-Wills/dp/1610090756/ref=sr_1_sc_3?s=books&ie=UTF8&qid=1381057836&sr=1-3-spell&keywords=the+ytear+without+christmas

Okay, y'all, start commenting!

Monday, September 30, 2013

A great opening line. . . ?

I just saw someone recommend this opening line as a REALLY GREAT opening for a novel.

"Bang! Bang! Bang! Bang! Four shots ripped into my groin, and I was off on the biggest adventure of my life. But first let me tell you a little about myself." -- Max Shulman, SLEEP TILL NOON (1950)

Max Shulman is the genius behind "Dobie Gillis" (yes, showing my age again, but I saw the show on Superstation KTVT in reruns, not during the original run! Still think Dwayne Hickman is hot.) He knew better than to start a book with something this ridiculous--but I believe he did this to make fun of the Mickey Spillane-style openings that are always being touted by a segment of the publishing world. Shulman knew this was an outrageously ridiculous opening, and that is why he used it, winking at his audience because he knew they'd understand. To open with something whizbang and then go immediately into a flashback of complete boredom . . . is bad. To open with gunshots without establishing why we should care and whether this is the good guy or the bad guy . . . bad. To EVER write, "and I was off on the biggest adventure of my life" is . . . wait for it . . . bad. Amateurish. Straight out of a junior high school "What I Did Last Summer" or "How I Lost on Jeopardy!" essay.

I'm perfectly serious. Shulman already had a following. They understood he was yanking their chains. You could not use that as a "straight" opening for a book today, even if you had a following, IMHO.

However, there are people who insist a book of any stripe should begin with what they feel is a REAL GRABBER. It doesn't matter whether the book is going to be a thriller or something else, you should always grab 'em with something outrageous, even if it has nothing to do with the rest of the story. "They'll forget," say these writers with confidence. They don't see a book with a last line that circles back to its opening and completes some sort of cycle (giving closure or illuminating some aspect of the eternal human condition--or just some aspect of a small personal life event) as being "better" or even "good." They believe what the workshop people have told them about having things open with a WHAM.

Why do I open MURDER BY THE MARFA LIGHTS, the first Ari French mystery, with a scene between Ari and her big sister? They're bickering as they cooperate on a project, and the phone rings with the news that Ari's fiancé (who has been missing for a few weeks) has been found dead and that she has inherited everything. She accepts the invitation to come out to Marfa, Texas, and settle up Aaron's affairs. Her sister warns her not to go ("You don't know these people or anything about them. What if it's another one of his scams? What if it's someone who has Aaron and now is going to get YOU as well?"), but Ari is determined to go and tells her sister that these thoughts are paranoid. She'll fly in the morning.

Okay, WHY do I open the book this way? Some contest judges and judgmental types who have learned Da Roolz scream. "This is throat-clearing! You should open with her landing in Marfa and being met by the preacher!"

I could have done that. But this is not a thriller. It is a traditional/cozy that kicks off a series in which the two sisters sleuth, and their relationship is an ongoing part of the series. By opening with them together, readers are promised that they'll continue to experience this relationship and also get some background that they'll soon need in order to understand Ari's behavior and inclinations. If I hadn't done this, it would have been abrupt to have Zoe appear in Marfa a few days later (after she grows concerned about Ari's safety). I needed to set up their relationship and the protective sort of approach that Zoe takes. Also, Zoe becomes a hostage near the end of the book, and if she had been a drop-in ("Oh, yeah, I have a sister"), there would not have been any emotional investment on the reader's part. Many readers tell me that they like Zoe better than Ari and wish she were the POV character. This reveals that I did things right in getting that emotional investment early.

(In a previous journal entry, I explained why Zoe would be a particularly BAD POV character. She is a foil to Ari. That's why people like her. If she were the one observing the scene and making caustic remarks, she'd turn people off. There wouldn't be a big enough "save the cat" to rescue the book from that point on. Foils can be the ones who are abrupt, abrasive, funky, crazy, opinionated, and so forth. They are amusing and entertaining as well as informative. They reflect the hero/heroine in a better light. But if you were inside their heads, you wouldn't like it much, I'll bet.)

Never promise something in the first few lines of a novel that you do not intend to deliver. Had I opened the book with a BANG, people would have expected me to continue ramping it up. Pretty soon there's nowhere to go because you started at the top of the rollercoaster. If you are writing a cozy, promise the readers a cozy. That's your audience for the book. "The promise of the premise" in this book is that Ari will come to terms with Aaron's death (the ultimate abandonment of her after his earthly disappearance had already upset her) and that the sisters will stick together throughout these events. The solving of the murder and identification of the perp is there, but is secondary to the larger set of character arcs (including those of a few of the various suspects.)

Readers are smart. Trust them to understand what you are doing. If you know what you are doing, stick to your (um) guns and don't feel that you have to ZAP 'EM immediately. As long as you're entering the story on the day things changed, you have a little leeway to show the ordinary world before the heroine receives her call to adventure.

Sunday, September 15, 2013

Female archetypes of the 21st Century?

I was intrigued by a remark made by a fellow author in a review of a mystery novel (not one of mine, though).

She said:

"In our twenty-first century American culture, we have a dearth of female archetypes. I have heard it said that we have only the Virgin Mary and Mary Magdalene."

I'm not sure I agree with that at all. I suppose you could amend it to say, "ADMIRABLE female HEROINE archetypes," and I could agree a bit more. But I think there are many female role models/archetypes around today. We aren't constrained by the gender roles of the 1950s/60s and before. In the "olden days," the ultimate achievement for a female was to be the prettiest so that she could marry the rich boy and make babies, like Cinderella. Even Madame Marie Curie is never mentioned without strong discussion of the love of her life, Pierre, who helped her in her work but was not the rescuing Prince by any means. But now we have Buffy the Vampire Slayer, Wonder Woman, Roseanne, and all those other strong women who model independent womanhood. (LOL!) Seriously, we must have examples of the Domineering Little Old Lady With Wisdom (commonly termed the Crone) and Middle Manager Mama and so forth that we would instantly recognize.

Who are the female archetypes of this century, do you think? I don't mean that you need to come up with people who are of the stature of the Virgin Mary and Mary Magdalene, but really . . . Mother Teresa? And to get away from the religious perspective, haven't there been others like . . . I don't know, Rosa Parks, Hillary Clinton (however you may feel about her, she has broken through the glass ceiling in many senses), Sandra Day O'Connor?

Wednesday, September 11, 2013

Review a book? I don't DO book reports. Here's help--

(* EDIT: I do not mean to imply that people should go review MY books with these suggestions, but ANY book that they adore or appreciate. If you want to review one of mine, I'll cheer and shout, but that was not the entire intention of this post. Some people have perceived it that way, and I don't want that to happen, so I'll point out that you should review only the books you really love. These are merely suggestions. And you only have to choose one or two of the questions to answer, not all of them. Remember, this isn't a school book report! Sorry for any misunderstandings. *)

So many people tell me that they're not writers and they didn't like it in school when they had to do book reports, and therefore they have NO intention of doing any book reviews. Or they say they'd be willing to do reviews of books they really like, but don't have any idea where to begin.

Well, now there's help!

You SHOULDN'T think that you have to do a summary or synopsis of the book. Everyone else has already done that, and it isn't really what book-review readers want to know. No? No! What they want to KNOW is. . . .

What did the book make you experience? What did it make you feel? What was your reaction to the characters? Do you remember any of the characters after closing the book? Would you read a sequel or another book by the same author? Did you feel the book was derivative, or was it original within the confines of its genre, or was it _sui generis_ (a thing all its own)? Were there typos and howlers, or was it clean? Did you like the author's style--or at least note that it was original, even if it was a bit off-putting (or maybe it wasn't off-putting but charming)?

Did the setting entice you to plan a vacation to the place? Was there a profession or hobby (such as bird-watching, ham radio, hot-air ballooning, hacking) that got explored such that you learned a lot or were intrigued by something you'd never read much about before? Did one of the characters appeal to you, or seem TSTL, or make you laugh?

WHAT DID YOU GET OUT OF READING THIS BOOK? Did you learn something? Did you feel a sense of closure at the end? Or did you close the book thinking, "Why did I waste my time? Why did the AUTHOR waste his time? Is that all there is?"

NOTE: YOU DO NOT HAVE TO ANSWER ALL THESE QUESTIONS! Choose one or two that appeal to you. Whatever it is that spoke to you while reading the book.

These are the sorts of things we can only learn by reading your review. We don't need another CliffsNotes-style summary. We want to know if we will like the book or should give it a try, and we're trying to figure that out from reading what you thought.

So the next time that someone has sent you his or her book for review, don't panic.

Here are some things that people have said about my books:
(I include them here so you can steal them or modify them as you like. Use these sorts of phrases in your "happy" reviews, and you'll make authors very happy.)

This book satisfies on every level. Nuanced and filled with subtext, unlike most popcorn reads of today.
I came for a funny romp and a puzzle to solve, and I got more.
The sisters' relationship made me wish for a sister of my own, and there is a lot of philosophical stuff.
One strength I noticed about the book is that the sleuth and others actually mourn the victim(s). In so many books, no one mourns or even blinks an eye. Often no one even tries CPR or anything, simply rushing over to the fallen victim and declaring, "He's dead, Jim." This book handles it far more realistically in terms of replacing the functions that the victim served in people's lives and so forth.
The story is very well written. I enjoyed the turns of phrase and interesting metaphors. Great voice.
I laughed out loud. Parts of it were like an "I Love Lucy" episode with the sisters pulling a fast one.
I liked it. But then I used to date the author.

You don't have to write a masterpiece of a review! And you don't have to do a piece of fluff that's obviously from a friend of the author ("This book will change your life! Unputdownable! This author is too wonderful! Treat yourself to a copy today!") You can write an honest, balanced review by answering a couple of the questions I suggest above, and your review will not be cookie-cutter. Isn't that a good idea?



"This book was as much fun as Paul McCartney on a skateboard!"