Independent book review: Smoke Road



Scorch Series Romance Thriller Book 3

By Toby Neal and Emily Kimelman

Luca Luciano is a jerk.

The books of the Scorch Road series are gripping, fast-paced page turners that will thrill, scare, arouse and thoroughly entertain you.

Smoke Road is the third volume in the new Scorch Road, six-book series being launched at a rate of a book a month by co-authors Toby Neal and Emily Kimelman. Both best-selling authors in their own right, teamed to write a six-volume series, releasing them at about three-week intervals.

The books I have read so far in the series follow a pattern. Each one has two main characters: one of the six Luciano brothers from South Philly, and a strong woman he meets. Together, they have to fight their way through the chaos unleashed by the Scorch Flu, a pandemic that kills 90 percent of those infected. Along the way, they gather clues about the source of the virus and a deep conspiracy that caused it.

Smoke Road’s male protagonist is Luca, the eldest Luciano brother. He’s the “alpha male,” a former Special Forces member built like a superhero.
The female lead is Dr. Haunani Kegawa, a medical researcher and advisor to the U.S. national security establishment who has found intelligence about the source of the Scorch Flu: a neo-Nazi skinhead group in Texas who has stolen a virus developed by the government and dispersed it across the country.

The plot of the whole series follows the well-established apocalypse scenario. As most of the country falls sick and dies, society and government fall apart. Gangs loot towns. Communities are reduced to scavengers, pirates, raiders or slaves. Think The Walking Dead, without zombies.

Dr. Kagawa is charged with finding the skinhead neo-Nazis responsible for the calamity, and given a unit of National Guardsmen to help her—the only military force close to the enemy that has not succumbed to the flu—which includes Luca Luciano.

As soon as he meets Dr. Kagawa, they’re irresistibly attracted to each other. This is where Luca becomes a jerk

Luca has deep-seated issues. He doesn’t trust any women. He uses them for his own pleasure—and to be fair, many use him for theirs. He’s a hunk’s hunk. But he believes all women are devious.

Dr. Kagawa is anything but. She’s clearly drawn on Toby Neal’s main character, Lei Texeira: she’s part Hawaiian, part Japanese; she has baggage stemming from a bad, nearly abusive past relationship; and she carries a piece of beach glass in her pocket at all times, which she holds and rubs to allay anxiety. This is a direct carry-over from Lei Texeira.

The story is basically a love story, with the pandemic apocalypse a setting. Luca and Nani are drawn together by circumstance and biology, and their personalities are just similar enough that they clash repeatedly. They drive each other crazy in many ways.

Like reality, it’s the man who’s wrong.

Toby Neal

Toby Neal

Emily-author-photo

Emily Kimelman

It’s frightening to me just how well women can read men’s minds.

This book is compelling and exciting, full of action, suspense and hot sex scenes. It’s a true mark of a writer’s skill to be able to write hot sex scenes without coming off as either pornographic or silly.

Well done, Toby and Emily. You’ve done what every writer strives to do: make a nightmare fantasy completely believable.

5*

Writing tips: What is style?



Creative Commons: dbdbrobot

I’ve been thinking a lot about writing style lately. Actually, I’ve thought a lot about it for a long time — as long as I’ve been writing, which is most of my life.

I find that my response to a book or to a writer, no matter what the subject is, depends a lot on style. I like an author who is original, who does not just try to copy a best-seller or the current trend in books you can pick up at the drug store.

But there is also something else that determines how well I like a story, something about the way the writer uses language.

I’ll give you an example: Margaret Atwood is generally accepted as one of today’s greatest writers. She has written a great many books in of a range of types — I am trying to avoid using the word “style” in different ways here — and, it could be argued, in different genres. Alias Grace could be called “historical fiction,” set in 19th century Upper Canada and based loosely on real events. The Handmaid’s Tale is a set in a dystopian future and, while it doesn’t have a lot of sci-fi tropes, it won the Arthur C. Clarke award for best science fiction.

Atwood is both accomplished and unarguably a master of the writing craft, but while she writes about many different subjects, there is something about her manner of writing that puts me off a little. The only word I can use to describe it is heavy. Her writing is heavy — I don’t read it quickly or easily; on the other hand, I can’t put it down once I start, either.

One writer whose style I really admire is Mark Helprin’s, particularly in his Winter’s Tale, a fantasy set in New York City. In addition to his ability to meld fantastic elements, humour and action into a setting simultaneously believable and fantastic, Helprin also manages to be very descriptive as well as economical with prose. It’s as good an example of magical realism as any I’ve ever read.

But what is it that determines the style? Word choice? Sentence length? Description? Active voice? Those are just a few items in the writer’s toolbox. Also critical are creating realistic, believable and interesting characters, pacing, mixing action and pathos and so much more.

The accepted good

There is a tension between popularity and what is accepted as “good writing” by the publishers and the leading literary critics of any time.

For instance, today, “good” writing is usually characterized by lean prose, active voice, realistic dialogue and sparse description. Writing coaches keep advising us to avoid adverbs in favour of more precise verbs, except when it comes to describing dialogue. We should only use “said,” and not try to change that around with “exclaimed,” or “replied.”

Crime novelist Elmore Leonard came out with ’s 10 rules of writing a couple of years ago; he admitted that he was at least a little facetious at the time, but now he says he seriously believes them. Okay. And Leonard is a great writer, and changed the literary world, and sells zillions of copies, okay, okay — but is he the arbiter of the English language, now? What if something happens in a sudden way? Elmore, what is wrong with the word “suddenly”?

The exemplars of great writing are still supposed to be Fitzgerald and Hemingway. I love their work, but again — should we all try to emulate their styles?

On the other side of that tension is writing that flies in the face of those rules, yet sells millions of copies. The current target of criticism is EL James’ Fifty Shades of Grey. Here’s a passage:

I watch José open the bottle of champagne. He’s tall, and in his jeans and T-shirt, he’s all shoulders and muscles, tanned skin, dark hair, and burning dark eyes.

Descriptive, yes. Also clichéd — it’s been done so many times. “Burning dark eyes”? While we can all imagine what those must look like, couldn’t the author have thought of something original?

And yet, millions of readers ate that up, burning eyes and all. Did the burning eyes cause heartburn, I wonder?

Description

Writing coaches also tell us not to use too much description. Hemingway and Fitzgerald did not describe what their protagonists looked like. Okay, but Dashiel Hammet did.

I agree that too much description can get in the way of the story. There is a lot of material for people to read, that communication of any kind must compete for an audience’s attention with so much more material than there ever was before, so we writers should always try to get as much information across as efficiently as possible — fewer words, more information. I get that.

Efficiency is the goal! (Photo: The Pug Father/Creative Commons )

But we do need to describe some things, some times. And occasionally, an adverb is the best way to do that. See?

Who says so?

Watch this space. Last week, children’s- and middle-grade author Roger Eschbacher opined about writing style. In future, other bestselling authors will weigh in on the subject. So watch this space, and leave lots of comments and questions for the guests, please. Maybe we can finally determine exactly what writing style is, after all.

What is writing style? Guest post by Roger Eschbacher



What is writing style? It’s an elusive topic, in many ways.

To help me chase down the essence of writing style, I’ve called upon some author friends for their opinions. First, we have Roger Escbacher, author of a number of middle-grade books, such as the Leonard the Great series,  Dragonfriend and Giantkiller, middle-grade/young adult fantasy adventure stories set in the time of King Arthur, as well as Undrastormur: A Viking Fantasy Adventure.

140d6-roger-portrait-small_dsc00275editRoger Eschbacher is also the author of two children’s books: Road Trip, and Nonsense! He Yelled, both for Dial Books. He is also a professional television animation writer who’s worked for Warner Brothers, Nickelodeon, The Hub, and Cartoon Network. His blog is The Novel Project, and his Twitter handle is@RogerEschbacher.

How would you describe your own writing style?

I would describe my writing style as cinematic. My goal is to describe the action, world and characters in my book in such a way that readers have a movie playing in their head as they read along. I think this comes from two places, the first being that I’m a television animation writer. In animation, one has to fully describe what is happening so that the artists can animate it. Detailed descriptions are required in my “day job.” Second, as a reader I’ve always preferred books written in that style. I love getting lost in the “brain movie” when I’m reading for pleasure. In general, SF/fantasy books tend to be written this way, which is probably why I read this genre almost exclusively.

Are there any authors whose style you admire? Do you try to emulate them?

Dragonfriend

I admire the writing styles of Neil Gaiman, J.R.R.Tolkien, Douglas Adams, J.K. Rowling, and Rick Riordan, to name a few. All of these folks are quite “cinematic” so I suppose that’s the reason why. Of those four, I’d say Tolkien would be the strongest influence. I love his command of the epic tale so much that I find myself rereading LOTR and The Hobbit every couple of years. Oddly enough, I try not to emulate him too closely for fear of coming off as a low-grade copy of a true master.

Are there authors whose writing style you dislike?

Oh, yes.

How important is your writing style to you? Are you happy with your style, or are there aspects of it you try to change during rewriting or editing?

My writing style is very important to me and I am happy with it for the reasons listed above. When I’m editing, I do my best to make the manuscript an exciting and easy read. My goal is to produce a page-turner — something that flows. I want readers to fly through the book and not get knocked off course by speed bumps and, as Elmore Leonard says, “the parts that readers tend to skip.”

How can readers identify your writing style? Are there particular words or kinds of words that you tend to favour? Sentence structures? Or is it more in the story, the pacing or the characters?

UndrastormurFor me, it’s all about story, pacing, and characters. Natural-sounding dialogue is important, too. I hope that readers would describe my style as fast-paced and exciting.

Do you think your genre imposes certain restrictions on writing style?

Not really. I tend to write “quest-y” stories and for me that’s liberating in that everyone expects that the hero and his friends will go somewhere, do a lot of stuff along the way, almost get killed but survive and make it home. The challenge is to tell a quest tale in a way that follows the expected rules but also continues to surprise the reader.

Do you think your audience responds to your writing style, consciously or unconsciously?

 Yes, I do. My favorite reader compliment on Dragonfriend was from a kid who said, “I can totally see this as a movie.” I smile every time I think of that.

How important do you think writing style is to an author’s commercial success?

I honestly don’t know the answer to this one.Giantkiller

Thank you very much, Roger.

Readers, let Roger and me know what you think. How important is a writer’s style? What do you like? What do you wish authors would stop doing? And does an author’s writing style affect your decision to buy or recommend a book?

Bringing history to life



As you, my faithful readers know, I recently published the third book in my Eastern Front trilogy about the experiences of my father-in-law, Maurice Bury, during the Second World War. Writing those three slim books took me more than 10 years. Not only because the story itself is dark and difficult, but also because it required a lot of research to get the details right.

ArmyofWornSoles-smallerUnderTheNaziHeel.jpgCover-WOOW-500x800 (1)

While there must be thousands of books and other sources about the Second World War, most of it, at least those in English, focus on the western part of it, with a British, American or, sometimes, Canadian perspective. There is relatively little in English about the Eastern Front, where Maurice was drafted by the Soviet Red Army.

My research for the books began with the subject, my father-in-law himself. While he had occasionally mentioned something about his time in the army, at one point in the 1990s I decided I would write a book about his story. So we sat down in his kitchen, and I took notes.

But before I could complete writing the book, Maurice passed away. Which meant that any information I still needed, I would have to find in other sources.

Trusting memory

When I began writing the story, I realized I would have to turn to history books for essential background information about the war, the politics, weapons, organization of the armies and so much more.

Maurice’s memory of his own experiences was excellent, but he did not remember the exact dates, nor the number of his unit. When he told me how he sustained his wound, he remembered the weather, the German fighter planes arcing in the sky. But he did not remember the exact date. I had to do some research to work out when the Germans got to Kyiv, and the extent of the fighting there in 1941.

I also had to research the weapons used. Maurice told me as a Third Lieutenant, he commanded eleven men in an anti-tank unit. When he described fighting against the German tanks, the Panzers, it seemed to me to require some precision. The shell had to hit the tank at just the right angle to penetrate the armour and detonate inside. The challenge was that the modern Panzers had sloping armour to deflect anti-tank shells. The Soviet tanks in the early part of the war, on the other hand, had straight armour, making it easier for an armour-piercing shell to strike at the right angle.

But I neglected to ask him to describe the Soviet anti-tank gun. When I came to write about it, I realized I had no idea what it looked like. The answer surprised me. I had thought of a kind of cannon, but the PTRS-41 and the similar PTRD were strangely delicate-looking. They looked more like long rifles with extended, slender barrels. My first thought was “That little thing can knock out a tank?”

Image source: 13thguardspoltavaskaya.com

It turns out, it didn’t manage to do that very often. The shells could not penetrate the Panzers’ front armour, so the Soviet anti-tank gunners would try to shoot at the sides or back of the tanks, where the armour was thinner. That was an extremely risky tactic, requiring the gunners to allow the Panzers to pass them before shooting.

Finding this information in historical sources brought me back to the notes I took when interviewing Maurice before he passed away. He once told me that his men destroyed a Panzer by shooting at the back, hitting the exposed fuel tank.

As a writer, this was a satisfying—to find confirmation of Maurice’s memories and stories in the history books and websites.

What’s your experience?

Have you ever found that kind of confirmation of a relative’s or friend’s memory or story in an official or historical reference? Share that in the Comments.

A gripping thriller and a stunning writing feat



Independent review of Sugar for Sugar by Seb Kirby

SebKirbyLargerWith the first few pages of his latest novel, Seb Kirby seemed to have challenged his abilities as a writer by choosing two elements that many writers find difficult to pull off: the unreliable first-person narrator, and present-tense action.

It seems challenging at first, but within the first three chapters, you can see how clever Kirby is.

Sugar for Sugar begins with a prologue about a hit-and-run accident. But the story really begins with “I’m lost in a dark, dark place and, try as hard as I can, nothing helps me to understand.

“When I seek answers, I see only broken shards of my past, flashes lighting this darkest of places for an instant, shining bright then fading as soon as they appear.”

Gradually, we learn that Isobel Cunningham has no memory. A friend, Marianne French, has brought her to a hospital, concerned about Issy’s disorientation and confusion.

Issy doesn’t even remember being brutally raped. This fact is discovered by Dr. Jane Wilson, the physician who first examines Issy.

Amnesia: a clever device

The opening is simultaneously frustrating and compelling. Issy asks the same questions over and over because her short-term memory is less than a minute long. On the other hand, she can remember older facts about herself, like her name, age, address and employer. But she cannot remember the previous several days, nor her childhood. The repetition this characterization requires would seem frustrating, but at the same time, we readers are compelled to turn the page to find out more, especially what would induce this state of mind.

This device is a perfect way for the author to describe the first-person narrator, as she goes through the photos and messages on her smart phone to try to learn about herself. “Wavy blonde hair … grey green eyes.” It’s a book for the social media age, as Issy not only begins to reclaim her past through her online identity, but also uses the phone to keep notes as a workaround her faulty memory. They’re messages to herself:

Why did Colin need my help?

Mary is a good friend.

Thankfully, Kirby does not rely solely on Issy, the unreliable narrator. Subsequent chapters have the POV of two police officers, DI Steven Ives and DS June Lesley; Marianne French, the woman who brought Issy to the hospital, and occasionally gangster Justin Hardman.

The mystery

sugarforsugarDetectives Ives and Lesley are investigating the suspicious, sudden death of Mike Aspinal, the Senior Executive at Ardensis, where Issy works. Early in the plot, it turns out that Aspinal has been murdered by poison injected into his back. Medical evidence also shows it was Ardensis who raped Issy, giving her a motive to kill him.

Like the skilled mystery writer that he is, Seb Kirby logically links all these elements. While there are some red herrings, there’s not a wasted word. The pace is fast, the action tense, the details spare, just enough to keep you flipping pages—or swiping my iPad.

The ending is satisfying, sensible and logical, tying everything together.

Recommended

The publisher describes the book as “a gripping psychological thriller,” and every single word of that is true. Do yourself a favour and buy it now.

I highly recommend this book. 5 stars *****

Get it on Amazon

Visit Seb Kirby’s website

Writing tip: The cascading benefits of Styles



Wikimedia Commons

Last week, I wrote about the benefits of using Styles in your word processing program to make your writing more consistent, efficient and professional. This week, I explain some of the resulting efficiencies that come from understanding how to use Styles.

I am using Microsoft Word as the example, but the same concepts apply to most word processing applications.

Table of contents

Once you have set up styles for your chapter and section headings, you can use them to generate a table of contents. In Word, choose the REFERENCES ribbon, click on the arrow beside Table of Contents (first button from the left) and select Custom Table of Contents. In there, you can build your ToC from the styles you created.tocmenu

Another way to do it is to customize the pre-made heading styles built into the program, and then you can select the automatic ToC. Either way, you can choose to have multiple levels of headings and subheadings in your ToC. For fiction, you probably only need chapters, although if you have Parts, as well, you’ll need to add them and their styles to your Styles menu. In the main window, select 1 Level.

For non-fiction, where you have several levels of sub-headings, choose the number of levels you want to appear in the ToC. Usually two is enough.

Also choose the “tab leader”—whether you want dots, dashes or nothing at all between the heading and the page number in the table.

When you have selected what you want to appear in the table of contents, click OK.  The program then creates the Table of Contents, with the page numbers correctly listed.

If you change something, like add a new chapter in the middle or extend one of the them so that the new content pushes the following content onto further pages, all you have to do is click on Update Table in the ribbon, and the program corrects the page numbers.

Cascading effects

There are even more benefits to this. When you want to publish your book through Amazon or any other e-book service, the programs recognize styles. They may transform the typeface selections from, say, Times to Times New Roman, or Futura to Avenir, but at least the selections will be consistent.

This also works for blogging platforms like WordPress and Blogger. If you use Styles, such as Normal and Heading 2, WordPress recognizes this and replicates it in your blog post. Again, WordPress will change the type font, but will preserve the fact that it’s a Heading 2, and assign it size, weight and position according to its own system.

Use Styles throughout

Now that you’ve seen how Styles make your writing and publishing faster and more professional, use them throughout your work. I set up a Body Text and a First Paragraph styles, and modify the style for headers and footers to my preference.

The same idea applies to pages and sections. In a future post, I’ll explain how to start new chapters with their own styles for the first page. In the meantime, try out these techniques.

If you have any questions, put them in the Comments.

Happy writing!

 

Writing tip: When “inappropriate” is inappropriate



Image courtesy Wikipedia.org

Image courtesy Wikipedia.org

Last week, someone wrote racist comments under a story on the Ottawa Citizen’s online edition, about the death of Inuk artist Annie Pootoogook. Charles Bordeleau, Ottawa’s Chief of Police, called the comments “inappropriate.”

“I can tell you that the comments are inappropriate. They don’t reflect the values of the members of the Ottawa Police Service, they don’t reflect the values of this organization, and they certainly don’t reflect my values,” he said in an interview with the Ottawa Morning CBC radio program.

That’s the standard response when we’re confronted with expressions of racism or sexism, or any other sentiment that goes against the values we claim to espouse: “That’s inappropriate.”

But is it? What does “inappropriate” actually mean?

According to the Oxford dictionary: “not appropriate, not suitable.”

Which takes us to “appropriate”: suitable or proper

Is that what the Police Chief meant — that racist comments are not suited to the occasion?

Why not say they’re “objectionable,” “offensive” or “wrong”?

A living language

Every so often, we notice that words have changed meaning. Sometimes it’s through appropriation, like “gay” or “tweet.” The Internet — or more accurately, marketing people at companies that transact primarily via the Internet — is responsible for most of the recent examples, from “spam” to “friend” to “cloud.”

Words not only shift meaning. They also drop out of the common vocabulary. Often, we stop using words because they feel old-fashioned, like “thither.” Sometimes, we stop using words because they seem associated with ideas that we no longer agree with. No one calls anyone a “blackguard” or a “handmaid” anymore.

A living language changes over time, for many reasons.

Inappropriate is a weasel word

I think the impetus behind calling objectionable ideas or statements “inappropriate” is weaselism. That is, the urge to weasel out of responsibility for your own convictions.

To avoid confrontation, we’ll tell someone their actions or words are “inappropriate,” instead of “racist” or “sexist” or just plain wrong, of stirring up evil.

Saying “inappropriate” gives you a way out, too, if for whatever reason the argument goes against you. It gives you an escape route.

It’s a form of cowardice.

It’s weak. It’s inappropriate in itself as a response to racism — not suited to the need. Like a cardboard goalie mask.

Courtesy Wikipedia.org

I’m not going to use “inappropriate” inappropriately anymore. If I object to a statement or an action, I’m going to say so, and say why.

What about you?

What to do when the Internet goes down



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Two First Chapter awards in one week



2-FirstPlace-Mystery-page-001My thanks to the East Texas Writers Guild. This year, I entered two books in their First Chapter awards, one in each category: Published Work and Work in Progress.

And this week I learned that both won!

IMG_0020.jpgUnder the Nazi Heel: Book 2 of Walking Out of War, earned Second Place in the Nonfiction/Memoir category.

Dead Man Lying - 529x800And my newest Lei Crime Kindle World entry, Dead Man Lying, won First Place in the Works in Progress category!

At the time of the contest deadline, June 1, Dead Man Lying was indeed in progress. My proofreader, the stalwart Typo Detective, Joy Lorton, had sent me the corrections, and I was still polishing a few items noted by beta readers. I published the story on June 27, in time for a major Facebook launch party along with several other new Lei Crime books.

Two awards in one week — I feel blessed.

Thanks to everyone who helped: beta readers, editors, proofreaders, other writers in the Lei Crime world, and especially all the readers who have pushed Dead Man Lying into bestseller status.

Written Words interview the reviewers: Sue Devers and Amina Giraldez



CatReadingThis week, Written Words turns the tables on book reviewers by asking them few questions about what they’re looking for in the books they review.

Today, we have two avid readers whose have carved out a broad platform on Amazon and Goodreads: Sue Alexander Devers and Anima Giraldez.

What genres do you review?

Sue Devers: Almost anything that isn’t Romance, Western, or Zombie.

Anima Giraldez: Anything and everything.  I prefer a suspenseful mystery or crime novel with a hint of romance.

Why do you prefer those genres?

Sue Devers: They are exciting and they are good at helping me escape my boring everyday life.

Anima Giraldez: The idea of trying to solve the mystery or figure out the plot is the most intriguing.  As a stay-at-home mom with a LEO for a husband I just don’t have that much excitement in my world.  I get to visualize a beautiful country I’ll never visit, learn something new or experience danger I would never get to otherwise.

What do you get out of them?

Sue Devers: I get to visit different places–real or not–some of which I would love to go to myself!!!  LOL  Also meeting new friends and enemies.

Anima Giraldez: The idea of trying to solve the mystery or figure out the plot is the most intriguing.  As a stay at home mom with a LEO for a husband I just don’t have that much excitement in my world.  I get to visualize a beautiful country I’ll never visit, learn something new or experience danger I would never get to otherwise.

What do you look for in a book that you review?

Sue Devers: Continuity, a good story and well-rounded characters.

Anima Giraldez: I look for that thrill that keeps me reading past bedtime, while my kids are playing so I can ignore them or keep me on the elliptical longer while I forget I’m exercising.  I look for a book that can put some zing between the sheets without making it raunchy or too frequent that I lose interest.  I also need to have at least two weeks to adjust for others on my calendar or having to read others in a series first.

What is the worst mistake that an author can make in a book?

Sue Devers: Something that pulls me from the story, sends me back to the “real” world.

Anima Giraldez: Timelines are tricky.  When dates are splashing about and ages are mentioned I have a nasty habit of trying to make it sure lines up right, when it doesn’t I’m the first to call it out.  Guess that’s my OCD coming out.

What is the worst mistake in your opinion that an author can make when trying to promote a book?

Sue Devers: Not describing the book accurately in the blurb.  I hate picking up books thinking they are one style and they are something totally different.

Anima Giraldez: Sending a book out to reviewers far too early, which can get forgotten. Sending it out not early enough, which means a speed read or it’s not read in time for release. Promoting is tricky enough but I would think a few solid reviews could really help a release.

Which is more important to you: the plot/story, characters, or the writer’s style? 

Sue Devers: The plot/story—unless it is labeled fantasy, then make it at least mostly believable.

Anima Giraldez: Man, that’s tough. Characters that are memorable in some way is important to me.  The banter they flirt or tease with will either have me laughing in stitches or cringing with distaste. Chemistry is important in romance or murder mystery, in the normal world we have to get along and normal feel good vibes are important.  I feel like the plot could be anything as long as the characters are people I could hang with and actually have some intelligence.

Name a classic book in the genre you favour most that you think today’s writers should aspire to equal. 

Sue Devers: Well, Lord of the Rings by Tolkien; The Godfather by Puzo; Laurell K Hamilton for vampires, shifters, zombies, and such.

Anima Giraldez: I can’t say that I’ve read a classic book in ages, probably since my AP English classes 20 years ago and they weren’t in my fave genre.

Desert island question: name three record albums you would take with you if you were stranded on the island from Lost (where they had vinyl records and diamond-stylus record players). 

Sue Devers: The Eagles—best of 75 thru 79; any of the a cappella group Home Free’s albums; and I don’t know for a third—maybe Enya.

Anima Giraldez: Anything by Dean Martin, Van Halen (if a record was available) and Billy Joel. 

Thank you, book reviewers!

meSue Alexander Devers has lived in St. Joseph, MO most of her life. She’s been an avid reader since a very young age, and drove a school bus for 10 years, then a semi for about a year. She’s also been a truck driver, then dispatcher and supervisor until she became disabled. Now, reading and reviewing books take up much of her time.

 

 

10151396874681448Amina Giraldez lives in Salinas, CA about 15 minutes from Monterey and beautiful Carmel with her husband, a 20-year law-enforcement officer, and two young children. Her full name, Anima-Christi, is a Catholic prayer that means “spirit of Christ.”

“My parents felt the creative bug, I guess,” she says.  

“I became an avid reader after reading The Girl with the Dragon Tattoo and followed it up with the 50 Shades series, then I grabbed whatever I could.  When my husband works the midnight shift, I have plenty of quite time in the evenings to devour books.  After making some contacts with favorite authors on Facebook I began getting early releases for free and realized how important reviews are to the author.  I pride myself on getting reviews posted on release day and supporting the author through my ratings.”  

https://www.goodreads.com/user/show/7011603-anima.