Caz Tallis is living her dream, restoring rocking horses in her London workshop.
When shabby but charismatic Joe and his dog turn up on her roof terrace, she is reluctantly drawn into investigating a rock star’s murder from three years before — an unsolved case the police have closed.
Somebody is prepared to kill to prevent it being reopened. Caz needs to find out who, but is her judgement clouding as she falls in love?
Lexi Revellian really can tell a story, with an enviable economy of effort, and this book deserves to go all the way. Excellent stuff.
Elspeth Cooper, author of The Wild Hunt
Great characters, great story, pacy lucid style.
Lexi Revellian has a lovely light touch, she’s quick to get to the action, the premise on which she bases Remix is interesting, and her prose rolls along nicely: but all this is overshadowed by a series of basic errors which slow the pace of her work and bounce the reader out of the text, and distance them from the story — which is exactly what writers should try their hardest not to do. This is especially irritating in the case of Ms Revellian, who shows such promise: if she could learn to eradicate such problems from her writing her work would automatically jump up a couple of notches, and if that happens I can see her doing very well indeed.
So, what were the problems I found? The usual suspects, I’m afraid. There were a few instances of inconsistent punctuation, a random capitalisation or two, a few contradictions and some sentences which didn’t quite make sense in the context in which they appeared, which made me wonder if they were lone survivors from an earlier draft. All these things distracted my attention from the text, which is a bad thing: but these things could easily be fixed and they didn’t worry me too much: if they were the only problems with the text they wouldn’t be enough to put off an interested agent or publisher, and they didn’t stop me reading. But two issues kept on popping up, and I found them really troublesome: and they’re much more serious than the other things I’ve listed, as they are likely to be deal breakers for some readers.
Ms Revellian has a fondness for hammering her point home with big chunks of exposition. I understand that sometimes the reader needs to be told things; and that a properly-placed piece of exposition can up the stakes and keep the pace trotting nicely along: but that’s not how Ms Revellian uses exposition, and so the overall effect was to slow the pace to an unacceptable degree.
What I found more troubling was her characters’ lack of proper emotional depth. It meant that I simply couldn’t understand why they often acted as they did, and consequently I didn’t believe that the story would have unfolded the way it did.
For example, the book’s heroine, Caz Tallis, wakes up one morning to find a stranger sleeping on her roof terrace and barely questions it; before we know it she is inviting him in for coffee. Does this character have serious problems in social situations? Is she unaware of how to react to events outside the norm? I couldn’t believe this point and judging by some of the less-favourable reviews Ms Revellian’s work has received on Amazon, I’m not alone. I’m not convinced that anyone could make a living restoring rocking horses (although I understand that this is a hobby of Ms Revellian’s, which is perhaps why she chose to write about it); and [ tiny spoiler alert! ] as Joe turns out to be living under an assumed name, because under his real identity he has been declared dead, I don’t see how he could have completed all of the paperwork required to bring a stray dog back from France, nor why he would have tried to do so bearing in mind the risk of discovery inherent in such an act.
Overall then, a flawed book from a writer with potential. I read 32 pages out of 266 and hope that Ms Revellian resolves these two main issues in her future works, so that I can enjoy them more.
There’s no filter on Joan Lerner’s angry, grieving, hopeful heroine. Her emotions bubble just beneath the surface and regularly boil over. Among Us Woman is a sometimes wondrous, often painful labor of love.” – Steward O’Nan, author of the acclaimed novel, Songs for the Missing
“Plotting reminiscent of Susan Isaacs… with the extras of lush interiors, savvy design tips and elegant meal presentations. Lerner confronts controversial topics in her debut novel but she lightens the mood with eye candy.” – Linda Ellis, author of Death at a Dumpster
“Interior Designers will be especially taken with Joan Lerner’s novel, grounded as it is in her expertise. Joan, a past president of NJASID, who then served on the national board of directors, has written a gripping story of three women with differing design careers which provide important contexts for the fast moving plot. –Ria E. Gulian, ASID, CID, Past President NJASID
Joan Lerner tackles some tough women’s issues in her new novel Among Us Women. The three women who share the novel’s pages are very different but hold common ground with which most of us can identify and relate. The author’s insight is compelling and her conclusions thought-provoking. I liked it; you will too.” – Jean Kelchner, author of Backstage at the White House.
An exerpt from Among Us Women, was published in NEWN, New England Writers Network. “An excellent example of set piece scenes. There is plenty of conflict, emotion and motivation.” – Liz Aleshire, (1949-2008), author of 101 Ways You Can Help: How to Offer Comfort and Support to Those Who Are Grieving (Sourcebooks 2009)
This provocative novel is built on the overlapping stories of three women whose professional, marital, political, religious and sexual lives echo social controversies; feminism, abortion, AIDS, of the decade following the mid-eighties. One becomes pregnant through IVF and opts for single motherhood when her homosexual husband deserts her. Another is born again and believes her salvation lies in saving unborn babies intended for abortion. The third, a black feminist has an abortion when her white married lover tells her to “get rid of it.”
I found punctuation errors throughout Among Us Women, and a marked inconsistency in Ms Lerner’s use of punctuation—check out the back cover copy which I’ve reproduced above to see some of the problems which are typical of this text. Ms Lerner could have avoided this particular problem by employing the services of a good copy-editor because punctuation problems can be corrected: but a lack of competence when it comes to writing can’t be dealt with so easily, and that’s where this book really failed.
While this book isn’t the worst I’ve read for this blog, it does need a lot of work. It’s set in the late 1980s, and the tone of the text reminds me of the slew of books which appeared after The Women’s Room became such a success. It’s dated, and badly, but that’s not the only problem: the dialogue is turgid and unbelievable and chock-full of exposition; there is no characterisation to speak of; and that lack of characterisation makes it very difficult for the reader to care for any of the characters, or to identify with the situations those characters find themselves in. And all this adds up to an unappealing heaviness of tone.
Ms Lerner has chosen a complicated point of view for this book: her three main characters speak in turn, telling their own sides of their overlapping stories. Establishing three distinct voices in one novel takes a skilled writer: Tess Stimpson does it beautifully in The Wife Who Ran Away, but Ms Lerner fails to make it work in this book. Often the only way I could work out which character was driving the narrative was to check with the chapter headings. It’s my view that novel-reading should be a pleasurable experience and not a confusing or difficult one, and this lack of clarity is a significant failure.
The author struggles with transitions, lurching from one event and location to another without pause or redirection; she often slides from one tense to another and back again, sometimes within a single paragraph; and the text is infused with a determination to somehow be worthy which, coupled with the issues that are discussed in this book leads to a slow, dull read.
I read fifteen of this book’s three hundred and fifty nine pages, and find nothing to recommend here.
K. Mathur’s vivid descriptions bring the college and its students to life. Immensely pleasurable and thought provoking.
When longtime friends Binaifer and Louella meet Shalini Dyal at Gyan Shakti College, Gyan full knowledge and Shakti full strength, a true friendships that transcends cultural and religious backgrounds is born. Louella is a Christian, Binaifer, Parsi and Shalini, a Hindu.
“To me the book is a mixture of history, cultural information and a lovely story all rolled into one.”
- Sarah, UK
“I was in a style trick about my college days after reading about the three friends from different backgrounds.”
“Khoty has written a beautiful story… I dare anyone to read Never Mind Yaar and not come away with some insight.”
- Rita’s Book Reviews
This writer has a lively and individual voice and handles her male characters quite well: they are all distinct and believable, and work well together. Her female characters aren’t so finely drawn, however, and the writer’s tendency to head-hop makes the scenes in which they appear jumbled and confusing. It’s a shame, as there’s something I like about this writer’s voice: but the writing wasn’t clear enough for me to be to recommend it.
There was a scattering of punctuation problems; and Never Mind Yaar would be much easier to read if the paragraphs were indented; but for me, the overwhelming problems with this book are the writer’s tendency to overwriting, and the lack of clarity in her prose. I’d like to see what Ms Mathur could achieve once she gains a better understanding of point of view; and once she learns how to edit more ruthlessly, with clarity and pace in mind.
I was also disappointed by the slowness with which the story developed. I read fifteen of this book’s two hundred and thirty-two pages and no real conflict had been established by then: all I knew about the story is that it takes place in a university with a grumpy administrator, and that the young women who have just arrived are pleased to be there.
A quicker start to this book would grasp the reader’s attention, and make them eager to read more. If this were combined with a crisper, cleaner prose style this book might well have great promise: as it is, it’s a slow, confusing read which gives just the smallest hints that with a little more guidance this writer might do right rather well.
When Bruce Dinkle takes up the cause of eating only local food, his zeal badly exceeds his judgement. After alienating his family by enforcing a strict locavore and urban agriculturist lifestyle, he abandons them by bicycle on a quixotic quest to learn where food comes from. He quickly becomes enmeshed in a small Michigan farming community where he goes to work for a large crop farmer, meets a sagacious veterinarian, and falls for a randy goat lady, all part of a sprawling cast of characters who enliven this often hilarious, mix of food, family, sex, and a little violence down on the farm. Think Michael Pollan meets James Herriot and Carl Hiaasen.
James W. Crissman is a veterinary pathologist and former large animal veterinarian. He is the author of a 1998 Pudding House Publications chapbook, Jailbait in Holy Water, and has won numerous prizes for his poetry. His short story, Wallhangers, won the 2007 Dirt Rag literature contest. Root Cause: the story of a food fight fugitive is his first novel. Jim and his veterinarian wife Jill live on a small farm in central Michigan where they’ve grown three children and much of their food for more than twenty years.
“We know there is tragedy and drama in obsession, but sometimes we forget that there can be something wonderfully comic in it, too. James Crissman reminds us of this with Bruce Dinkle, the richly weird protagonist of ROOT CAUSE, who sacrifices everything from family to dignity in his effort to find the right way to live. He is Don Quixote for our time — silly, misguided, and just maybe absolutely necessary.”
Keith Taylor, Creative Writing Coordinator, University of Michigan and author of If the World Becomes so Bright.
There is much to like about Root Cause: its characters are reasonably well-drawn, the premise is interesting, and it’s full of black humour which is quite delicious at times. But all these things are overshadowed — not to a great degree, but enough to be significant — by problems which could easily have been fixed with a rigorous edit.
There were a few typos and punctuation errors: Mr. Crissman is over-fond of commas; and he is prone to overwriting and to writing complex sentences with long words when simpler and shorter would be better. Many of the pages that I read were given over entirely to exposition, and to telling the reader what was happening and how the characters felt, rather than showing us the nuances that makes reading so much more rewarding.
The story didn’t actually get going until page seventeen, which is far too late: and by that time I’d already been lectured at several times as Mr. Crissman banged his point home and then repeated himself, just to be sure we got it. Scenes which should have been sharp and pacey (for example, pages twenty six to twenty nine, if anyone’s counting) felt rushed and flat, and were unsatisfying as a result.
These points are not minor but they could be addressed by a ruthless rewrite. It would vastly improve this book which, despite all the flaws I’ve listed, has great potential. I came so close to recommending it but decided not to because there are so many issues with it: but I’m convinced that beneath all the clutter there’s a good novel here, from a clever writer who is bound to get better. I read thirty pages out of this book’s three hundred and eight. Mr. Crissman mighth like to read Alice Monroe and Carol Shields so that he can see what to aim for: and I look forward to watching his talent develop in the years to come.
Set against the turbulent backdrop of the Hundred Years’ War, I SERVE chronicles the story of Sir John Potenhale. A young Englishman of lowly birth, Potenhale wins his way to knighthood on the fields of France. He enters the service of Edward, the Black Prince of Wales, and immerses himself in a stormy world of war, politics, and romantic intrigue.
While campaigning in France, Potenhale developed an interest in Margery, a spirited lady-in-waiting with a close-kept secret. He soon learns that Sir Thomas Holland, a crass and calculating baron, holds the key to unlock Margery’s mystery and possesses the power to overturn all of his hopes.
When the Black Death strikes Europe, however, Potenhale realizes that the fiercest enemy does not always appear in human form. Seeing the pestilence as a punishment for the sins of his generation, he questions his calling as a knight and considers entering the cloister. Margery or the monastery? Torn between losing his soul and losing the love of his life, he finds friendship with a French knight who might-just possibly-help him save both.
I read very little historical fiction: it’s a genre I’ve never really developed a liking for, with the exception of the wonderful books by Elizabeth Chadwick, whose novels I adore. I’m always very aware of my lack of appreciation of this genre, and so when I review historical fiction I always try to overcome my personal feelings and judge the text on its merits, and not my own biases. I Serve: A Novel of the Black Prince only reinforced my lack of interest in the genre, I’m afraid. It had the usual sprinkling of errors in punctuation; but my overwhelming feeling with this book is that it lacks authenticity.
There were several reasons for this. The author has included a handful of details which don’t ring true: for example, an out-of-breath horse is described as having “heaving withers”: as withers are a horse’s shoulders that seems very unlikely to me; and a character snaps “a single blossom” from a broom plant: brooms have lots of tiny pea-like flowers on each branch and a single one wouldn’t take much snapping nor would it be at all impressive.
Then comes the dialogue. It’s stilted, overly formal, owes more to the movies of Errol Flynn than to history, and it really interferes with the authenticity of this text. Add to this frequent bouts of exposition, a tendency to over-write, some repetition, and a pace that at times feels draggingly slow and at other times hurried, and I’m surprised that I read as far as I did. I reached page forty four of this three hundred and sixty one page book, and wasn’t sorry to put it aside.
Eighteen year old Keri Hart’s life was turned upside down when her Southern high society mother insisted, “Now Sugah, I think it would be best if you ended it with Ryan Mitchell…” only days before his leaving Atlanta to attend the United States Naval Academy.
Fast-forward nine years, Keri is a Miami-based flight attendant; Ryan is a Navy fighter pilot based near San Diego and soon to be an airline pilot. In hopes of reviving a love once lost, Ryan writes to Keri. Before the letter is posted, Rex Dean, Ryan’s laid-back, self-absorbed roommate, intercepts and alters the letter—the beginning of a deviously concocted plan that blindsides the hometown hopefuls, thrusting them into rebound relationships.
With Ryan’s marriage a train wreck and Keri engaged—her wedding only weeks away—fate arranges a coincidental New York layover. A morning stroll through Central Park awakens their undeniable love for each other, forcing them to question everything they thought they knew.
Masterfully balanced with suspense, humour, and emotional intensity, Flight To Paradise takes readers on a journey that concludes with the unexpected. With a multitude of twists and turns, the tale unfolds a story of hope, forgiveness, and the enduring message that “love given” is the key to unlocking the desires of the heart.
Mike Coe landed in Southern California after traveling the world as an Air Force pilot and twenty-one year veteran commercial airline pilot. He has two grown children and is married to his high school sweetheart, best friend, and soul mate of thirty-three years. To learn more about the story behind the stories, please visit coebooks.com.
There is a somewhat-Stepford quality to the two female characters which appear in the first few pages of Flight to Paradise: mother and daughter Barbara Ann and Keri are both flat as pancakes as far as personality and characterisation goes, and are described in terms which are at times reminiscent of the softer end of porn. The book opens with young Keri in the shower; later she happens to drop the towel she’s wearing just as she happens to stand in front of the mirror (I was at this point expecting a description of her appearance and while her face wasn’t mentioned, I wasn’t disappointed). Then there are the usual issues with punctuation and exposition; and our author’s odd fondness slapping “pre-” onto words which simply don’t need it. I found two instances of “pre-selected” within a page of one another, and a “pre-screened” popped up between them: not one “pre-” was required and the overall effect was jerky and peculiarly distracting.
On the plus side, however, the author has a reasonable sense of pace and unlike many of the other books I’ve reviewed here there is a hint of natural storytelling ability present in the text.
On the whole then, a disappointment. The hints that I saw of the writer’s talents were outweighed by his clumsy mistakes and his apparent discomfort within this genre, and I read just four pages out of three hundred and thirty five.
Much of this writer’s depiction of women was stereotypical and often verged on voyeuristic, and I wonder if he might be better off writing a different genre: I don’t think he has an aptitude for writing romance and it could be his lack of empathy with the driving force of this book which has deadened it. I wonder how he’d improve if he turned to genres which are more traditionally masculine, such as crime thriller; and I wish him luck in finding his niche.
Mike Daniels cared little for close human relations. He cared even less about the environment.
Why should he? His world already provided him with all the things that mattered in life. Things were about to change.
A mysterious package containing a memory stick arrives, with a request to meet an old school friend in an isolated spot. Mike is unaware what the memory stick holds. He soon discovers, however, that the owners want it back, at any price. Now his very existence is at risk and he must run.
Using a false identity, Matt Durham, he finds sanctuary in Canada. In this new life he learns about friendship, comes to appreciate the environment all around. He even believes he finds love. So Matt Durham chooses to close his mind to what brought him to this safe haven.
But, when he is found, Matt Durham is faced with a stark choice. Does he run again, or fight back against his enemies? In truth, he has only one option. Matt realises his only salvation lies in taking on the overwhelming odds ranged against him. To do this he must cross the globe undetected, suffering loss and betrayal along the way. He would also have to learn how to kill.
He had to, because he wanted to live. And the lives of billions of other people depended upon his survival.
My reading of The Milieu Principle got off to a very poor start when I looked at the back cover copy, which is rendered almost illegible by being printed in dark greenish-grey on a black background. My two sons are both colourblind and they couldn’t even see any text on that back cover. I suspect that this book is aimed primarily at a male readership; and far more males are colourblind than females. It seems to me to be foolish for the writer to risk alienating so much of his target market because of a simple design choice.
The book has a reasonably interesting premise; the punctuation is mostly okay, there’s not much wrong with the grammar and the plot seems clear enough. And perhaps that’s the problem: this book is okay, but it isn’t spectacular.
The story is let down by wooden dialogue, exposition-by-dialogue, and an assumption that the reader needs to be told all sorts of unimportant details to help the story unfold. For example, I’m not sure why the writer chose to mention that the main character’s freezer is steel-coloured and upright: knowing this adds nothing to the story or to the characterisation of anyone involved. This fondness for unnecessary detail leads to several convoluted and confusing paragraphs; and makes a slow and laborious reading.
Not that this text is beyond hope: it has potential, but that potential is hidden behind a lot of very basic mistakes. If the writer were to revise this book very thoroughly and question the purpose of every sentence, he could make it much more readable. If he were to cut all of that redundant detail, make sure that everything he’d written meant what he thought it meant, and get rid of much of the exposition, then this book would be hugely improved. As it is, it’s a tired read, full of errors and confusion, with little to recommend it. I read just eight of its five hundred and ten printed pages.
Kai’s a foster child and he’s turning eleven.
FOSTER CARE ENDS AT ELEVEN.
Now, he must compete for a spot in an exclusive orphan boarding school. Hundreds enter the Orphan’s Pyramid. Few reach the top.
It’s not so bad at first. He’s given what every eleven-year-old boy wants: an endless supply of television, video games, and junk food.
But the moment he finds a hidden message from the mysterious Barbeque Captain, he realizes there’s more at stake than just school admission.
As he moves up the Pyramid, the danger increases. A mutant squirrel, a chainsaw-wielding puppet, deadly chalupas, cyborg cockatoos, two man-size rabbits, one plus-size Queen, and several kabuki-masked middle managers are nothing compared to the shocking truth Kai learns in the end…
Kai Zu and the Orphan’s Pyramid is an easy enough read and the story trips along quite nicely; the text is reasonably clean of typos and punctuation problems: but it’s not quite believable (and yes, I realise that this is a fantasy, but all books have to make their readers believe in the worlds that they reveal, no matter what their genres).
The various tasks that the children have to complete are all relatively easy; there is little tension or fluctuation of pace; and many of the episodes recounted have little or no logic behind them and seemed to happen at random, with no real consequences. There’s far too much exposition, and the writer dedicates a lot of page-space to explanations which are simply not necessary; and I am also concerned that this book is far too long and textually dense to sustain the interest of a child in its target age group.
These problems could all be corrected by a strong rewrite and are not serious enough to kill the book: but there is a central problem which I don’t think will be as easy to solve.
Many of the children depicted in this book simply don’t behave in the way that children do. They’re too civilised, too mature, and all too willing to remember and follow the rules. For example, I do not believe that opposing gangs of eleven and twelve-year-olds would resolve their problems without bickering simply by playing a game of dice; nor do I believe that such young children would follow the regimented routines discussed in this book.
The only way I can see that this book to be believable is for its author to rewrite it for a slightly older age group. That way the main characters could also be a few years older, which would answer some of my concerns about the book’s authenticity; and it would allow the author to introduce a more edgy tone and some more believable obstacles, threats, and consequences into the storyline.
Despite having read eighty-seven out of this book’s three hundred and fifty-two pages I cannot recommend it: it’s a slow read with little texture or emotional depth, and with plot holes even I could park a double decker bus in. I wish its writer the best of luck with his publishing career.
As a boy, Ailean MacLachlainn dreamed of living an adventurous life and longed to be a celebrated warrior of his clan. Until a shy smile and a glance from Mùirne’s blue eyes turned his head and escalated his rivalry with Latharn into enmity and open conflict.
When Ailean became a man, his boyhood dreams faded. Until Bonnie Prince Charlie came to reclaim his father’s throne. The Jacobite loyalties of Ailean’s clan chief involved the MacLachlainns in the uprising and set Ailean on a course toward a destiny of which he could never have dreamed.
What happens when a man’s dreams turn to dust? And when a man loses everything, does he have what it takes to go on?
High on a Mountain is the stirring tale of one man’s remarkable journey through life; a story of adventure and love…of faith, loss and redemption.
About the Author
Tommie Lyn resides in the beautiful Florida panhandle with her husband of 48 years (who was her high school sweetheart). She spends part of each day engrossed in the lives of the characters who people her novels.
Visit her on the ‘net: http://tommielyn.com
There’s a lot of action and emotion in High on a Mountain, which is usually a good thing; and I found only minor problems with punctuation and grammar which, compared to most of the books I review here, were inconsequential.
Where the book really failed for me was in the writer’s style. Ms Lyn is rather fond of extraneous detail; she has a tendency to list her characters’ actions instead of showing her readers the action is unfolding. There’s a tendency to hammer plot points home by telling the reader what is happening two or three times: and there are a few very clunky transitions from one point-of-view to another which made the text quite difficult to follow at times.
What really put me off this book, though, was the stereotypical Hollywood treatment that the author gave to the Highlands and its people; and the lack of freshness present in the storyline and in the writer’s style. This book has a dull and dated flavour, I’m afraid, from its tin-of-shortbread tartan cover to its two-feuding-men-both-fall-for-the-same-girl storyline. It’s a valiant attempt but despite the relatively clean text, it didn’t work for me. I read thirty-four out of its three hundred and seventy-nine pages and doubt that any editor worth her fee would be able to bring this up to a good enough standard.
The Talisman of Elam (The Children of Hathor) gets off to a very slow start. The text is weighed down by exposition and mundane detail, and although it’s an easy enough read its first thirty pages or so failed to engage me. If I’d seen this in a bookshop its lacklustre back cover copy and opening would not have tempted me to buy it.
The writing improves significantly once it’s past that slow opening but by then, of course, it’s too late. There are other problems with it too: I found a number of contradictions, a few minor plot-points which were much too obvious and were made far too much of; several out-of-character reactions; and far too many incongruencies which pulled me right out of the plot.
It’s a shame, as this book is better than most of the ones I review here; but being almost good enough isn’t enough.
If I were editing this book I’d suggest that the writer dropped most of those slow pages which begin the book, and then that he should rewrite it all paying particular attention to pace and authenticity. This would involve paring the text down by a significant amount and working out how to advance the plot without reliance on coincidence; but a good writer could do that without too much trouble and this book would be much better for it. I read eighty-seven out of this book’s three hundred and thirteen pages, but don’t feel inclined to read any further.
The Devil Won’t Care
A novel of betrayal and retribution
The Devil Won’t Care delves into the career of Lanny Lessner, a journalist who rockets to fame and wealth with a hard-hitting documentary about the decline of his home town after a spate of factory closings. Revered by millions, Lessner seems poised to become the Ralph Nader of his generation.
But Lessner has a dark side, replete with shady dealings, antisocial behaviour, and mean-spirited hypocrisy. The filmmaker’s saga is retold by a friend and supporter, Warren Hill, whose narrative chronicles their relationship. As the story evolves, Hill confronts a growing body of evidence that Lessner, intoxicated by his celebrity status, is a crass, deceptive, manipulative phony, whose shortcomings mimic those of the targets of his pungent wit.
The Devil Won’t Care addresses some of the flaws of a dysfunctional society in which “What’s in it for me?” is the common denominator. Checkbook photojournalism, celebrity worship, reality TV and our sound-bite culture are all laid bare. On a broader level, the book is a morality tale in which the narrator is forced to confront his deepest fears and emotions, set against a backdrop of deception, atonement and redemption.
About the Author
John Streby is a connoisseur of Broadway musicals, pre-1930 phonographs and records, and films noir. His first novel, Rabbit Stew, dealt with the incestuous mix of law and politics, and featured several characters who appear in this book. Mr. Streby is currently writing a third novel, Follow the Money.
There might well be an excellent story lurking in The Devil Won’t Care but much was obscured by the author’s bad writing habits, which really got in my way as I read. It was frustrating: I could hear echoes of John Grisham in this book, and once or twice even caught a whiff of Donna Tartt’s Secret History, which is one of my all-time favourite books: but those moments were rare, and they were swiftly buried beneath the author’s frequent lapses into verbosity and exposition.
There were several places where the author threw away what could have been scenes of great tension; and I found much of his description overwritten and far too lengthy. The author’s habit of telling the reader what had happened instead of showing us those events stopped me caring much about any of his characters or what happened to them; he frequently repeats information; and at times I felt that he was too self-consciously Doing Writing rather than telling us his story.
All of these small problems add up to a text which is slow-paced and waffly. But the biggest problem was that it was confusing: there was little flow in the text; the narrative was jerky and inconsistent; it skipped from subject to subject and back again with little consistency; and this lack of focus, along with the over-wordy vocabulary, made what should have been a fast-paced courtroom drama into a slow dull read
I suspect Mr. Streby could do so much better if he worked with a strong editor or took part in some good writing workshops: there’s the hint of a good, commercial book buried beneath his mistakes. I read eleven of this book’s four hundred and thirty five pages; but had I not been reading this for review, I wouldn’t have got past the anti-trade publishing rant which makes up the bulk of the book’s second paragraph. It’s astonishingly ill-informed and the idea of anyone with an ounce of commercial experience investing money in the business proposed is ludicrous. I strongly advise this writer to research the realities of business better before he writes any more about it.
of a renegade minister and his controversial journey through depression and religion. This unique story details emotional breakthroughs that will make you laugh and cry. The author has chosen to remain anonymous; thus he uses the pen name — August Stine
If you are down, this will lift you up
If you are up, this will inspire you
If you are in-between, this will stimulate you
Rated PG! Oh Gee! & My Goodness!
I can’t say I much enjoyed The Modern Confessions of Saint August Stine: it contains all the usual subjects—two hyphens are routinely used where em-dashes are required, there are a few oddly-placed ellipses, and far too many jumbled paragraphs; but I’m afraid that the big problem with this book lies in its author’s writing style.
Mr. Stine writes in very short sentences, and he tells the reader everything that happens and almost never shows; and this brisk, expositional style results in a text with almost no emotional depth despite its troubling subject matter of divorce, emotional breakdown, and loss of faith.
What this means, of course, is that the reader is hard-pushed to empathise with the story before her, or with the characters which appear, and without empathy reading is very unsatisfying. We need to be emotionally involved in a book to enjoy it and I’m afraid that this book left me feeling completely disinterested.
How to fix it? Editing won’t be enough. The writer has to slow down, and take more risks with his writing. He needs to explore things more, reveal more of himself, and show us events unfolding instead of telling us everything as quickly as he can. He clearly has a story to tell: but at the moment his rush to tell it prevents the reader from getting fully absorbed in it, and that’s a shame.
I read nine pages out of one hundred and eighty three and felt exhausted by them. I’m afraid I cannot recommend this book.
“The land of Ilyria is bruised and dying under the growing evil power of Morgeth. And the evil is spreading. All of Alatheia is in danger. As you read Necromancer you slip into a world of magic and mystery, both good and evil, that only a master storyteller could weave. Expertly woven into the tapestry of Alatheia is a small band of would-be heroes. Bound together by prophecy, held together by love for their land and each other, they will set out to save their world. Their journey is not easy, and there are those that will pay the ultimate price, but they will not fault in their quest to rid their home of the evil Necromancer.”
-Author Mary Adair
Necromancer has real potential although the story doesn’t feel terribly original. It gets off to a good, pacey start. The text is nice and clean, with very few typos or errors of punctuation; the mix of elves and valkyries feels a little forced to me (but I’m not a regular reader of fantasy so perhaps I’m being foolish here); and it would be pleasant to read about elves without silver threads and pointed ears being mentioned.
These problems are all minor, though, compared to the issues I found with the text. There were contradictions, exposition, extraneous words and tense-slippages which really got in the way of the narrative and stopped me enjoying the book as much as I would have otherwise. The good news is that it shouldn’t take much work to correct these problems and I suspect that the book which lurks beneath them might be rather good.
I read just four pages as of this book’s four hundred and eighty-two, but would have definitely read on if the writing had been just a little tighter. This is a good effort but isn’t quite good enough to make the grade: I hope the writer improves his editing skills before he publishes another book.