Tuesday, July 22, 2014

Spotlight on: Tom Avitabile



About the book:

When the smallest imagined particle of matter threatens to destroy all that matters, science and religion collide on the world stage and within the corridors of power. Presidential Science Advisor William “Wild Bill” Hiccock and his top-secret Quarterback Operations Group (QUOG) have already faced down some of the most sinister high-tech rivals imaginable. Now they must face one that can eliminate all life on Earth in an instant.

The God Particle is a super-kinetic thriller that pits brains, religion, political power, and common humanity against the onslaught of extremely dangerous, narrowly focused scientific exploration into the fabric of creation, complete with a plot to shoot down one of the President’s helicopters. Fringe religious groups – but not the usual suspects – engage in terror. Ugly espionage is set against the beauty of the Cote D’Azur. The romance of Paris offsets the grit of Boston’s South of Roxbury while the Euro-pop discos of Switzerland punctuate the quest.

In the end it comes down to one question: Can former FBI agent Brooke Burrell, now QUOG’s lead operative, choose between her personal and professional life in time to solve the puzzle and stop it all?

Excerpt from The God Particle:

At 7 p.m., Brooke was getting dressed. At 8 p.m., Brooke was still getting dressed. She and Mush were only two floors apart at the Washington Marriot.

The phone rang. “Should I swing by and pick you up?”

Brooke was nowhere near ready. In fact, she was in the middle of her fourth outfit change. She was about to say, “Give me a half-hour more,” when she caught sight of herself in the mirror. She still had the new boots on, but had removed her dress. Looking at herself she said, “Yes, I’m ready. Come get me.”

She ran to the bathroom and checked her makeup. She gave the hair one more brush, checked her teeth for lipstick smear, gave herself one more look-over and headed for the door. On the way, she tenuously reached for the hotel robe. As she held it in her hand, she considered it and then placed it back on the bed. At three steps from the door, she turned to retrieve it. There was a knock, she started to put it on, but then carried it to the door. She thought to check the peephole, lest she give some poor bellboy a very wrong message. Even distorted by the fisheye lens of the peephole, Mush looked good. She breathed in and went for it.

Mush had his hat in his hand and was fingering the brim. When the door swung open, he was walloped with a thud of invisible energy that literally knocked the air out of him. The hat hit the floor. It took a half a second, but he managed to shut his mouth and put his eyes back in their sockets. Standing before him was the object of many nights of desire. His circuits overloaded as he took her in in her lacy black bra, panties, and tall boots with giant heels. She was pure sex. The epitome of every male fantasy he had ever dared dabble in. Her physique was cut, but not bulky. Her curves were perfect and the shape of her legs and tapered thighs just invited him to explore — but instead he stepped into the room, shut the door with his foot, grabbed the robe and draped it around her. “We need to talk.”


* * *


There are many reasons men don’t wear leather pants anymore, but in the after-hours clubs of Switzerland, the diffused euro-sexual gender ambiguity was in full view. In this case, the view was that of Raffael Juth’s simulated-cowhide-covered butt. The observer was Hanna Strum, an attractive woman whose long curly blonde locks dangled and played peek-a-boo with her pushed up breasts that Victoria was not trying to keep secret. Raffey, of course, exhibited all the male characteristics of trying not to stare while staring that tickled Hanna at a level she dared not let on. After he caught her looking a few times, he drummed up the courage to walk over to her breasts and ask if she’d like to dance. She made sure not to look at him approaching; however, another woman watching would have noticed the subtle “girls up” pose she morphed into.

“Hi, I am Raffael,” he said as he bobbed and weaved a little to place his face in her line of sight as she was scanning the room.

“Hi.” She gave him a quick glance then continued her not-interested investigation of the gyrating room.

“I was wondering if you would like to share a dance with me?”

“You were?” She said without looking at him.

“Yes, unless you are here with someone?”

“Would that matter to you?” She said, finally locking eyes with him. “It would be a pre-condition of which I was not aware and therefore acceptable to me as your preference.”

“I don’t understand a word you just said. What are you, some kind of word nerd?” She turned her attention back to the dancers on the floor.

“No I assure you, words are not my craft.”

“No kidding.”

“I am more of a theoretical physicist.”

“If I dance with you, will you talk like a normal person?”

“Most assuredly — eh, yeah. Sure.”

“You’re learning,” she said as she offered her hand.

She sounded like she was from the U.S., but there was something else, something Germanic mixed in. Raffey couldn’t discern it over the throbbing bass of the music.
They hit the floor as the DJ changed to a popular house music cut that any American would have known was five years old, but the crowd let out a collective “whoo” as the first slamming drum beats were instantly recognized. Hanna’s hand flew from Raffey’s fingers as she became a writhing, flame-like entity, wavering to the seductive beat. Raffey maintained his two-step, stiffly choreographed routine, one that most girls let pass for some kind of dance. In her throbbing bass-induced dance trance, Hanna was in a world of her own. Raffey was drawn to her indifference, as if she were beckoning him to her boudoir with a come-hither finger gesture. He was hooked.


* * *


Hanna’s gyrations weren’t attracting Raffey’s eyes alone. Prince El-Habry Salaam, nephew of the Saudi King, was unwinding in the VIP section of the club. His father had sent him to study banking in Switzerland so he could better administer the Royal Family’s billions. Across the velvet ropes, Hanna’s undulations made him don his hated glasses, which he never wore in public, in order to see if she was the vision she appeared to be. Upon more focused inspection, he nodded to Abrim, his head of security. Abrim knew the drill.

As Raffey and Hanna were in the middle of their fifth dance, the six-foot-three-inch guard of the Prince appeared and, in English with a hint of Arabic accent, asked for forgiveness. “Pardon the intrusion, but my employer wishes for you to join him.” He pointed in the direction of the roped off area.

Hanna shot a quick glance at the thin, dark-skinned man wearing dark glasses in a dimly lit corner of the club. “No, thank you.”

Abrim pushed, “He is a prince of the Royal Family Saud. His intentions, I assure you, are the most honorable.”

“Not interested.” Then she turned away and danced even more seductively.

Raffey moved in close, “Who was he?”

“An errand boy. Want to get a drink?”

Raffey smiled and led her to the bar. It being three deep, he decided to get the drinks while Hanna found a small table. She removed her right shoe and rubbed a complaining instep. When she sat back up, Abrim was there.

“You again?”

“With apologies.”

“Look, why doesn’t he just come over here himself?”

“He is a Prince. He could not be seen making an overture to a... a... “

“Commoner? Is that the term you are looking for?”

Abrim just half smiled.

“Well, my father always called me Princess when I was a little girl, so what’s he so high and mighty about?”

“The Prince has a great interest in you and would be happy to pay you for your time.”

“Oh he would, would he?”

“Yes. Ten thousand dollars, U.S.?”

“Fuck off!”

Abrim imperceptibly twitched his hand, the result of the conflicting instinct to strike this infidel bitch, and the training that the social dictates of these Western countries demanded, which immediately stopped him. He just nodded and walked away.

“What did she say, Abrim?” the Prince asked.

“She declined your offer.”

“No, I mean what exactly did she say?”

“A crude woman, I’d rather not repeat it.”

“What did she say exactly?”

“She said, “Fuck off!”

He turned to admire his new interest. “Brilliant. She is full of spirit. One to be tamed.”

Abrim just rolled his eyes.

Raffey came back with the drinks. “I saw him from the bar; he came over again. What did he want this time?”

“He didn’t want anything, he was sent by someone with no balls. At least you had the courage to approach me yourself. Let’s get out of here.”

“But our drinks...”

Hanna reached down and grabbed Raffey between the legs, “You’d better have a set.” Then she walked off.

Raffey followed like an obedient dog.


* * *


Outside the club, Raffey took out his ticket stub for the valet; Hanna stuffed it back in his pocket. “My place is just on the corner. You can pick up your car in the morning.”

Raffey liked the sound of that, especially the “in the morning” part.

As they walked off down the street arm in arm, Abrim emerged from the club and watched.

In the hallway of the flophouse hotel, Hanna fumbled with the key as Raffey started kissing her neck. She laughed and shook him off to better focus on the lock and key. Once inside she went straight to the cabinet and pulled down a bottle of vodka. “The bathroom is through there. I’ll fix us a drink.”

“That’s okay; I don’t need to use the bathroom.” He plopped down on the couch and started to unbutton his shirt. Because her back was to him he didn’t see the slight mask of frustration wash across her face. He grabbed the remote for the TV and turned it on. Behind him, a man emerged from the bathroom with a rolled towel between his two fists. As Raffey yawned, the man brought the towel down across Raffey’s mouth. Startled, the young man started to scream, but the towel heavily muffled it. Hanna was tapping the air out of a syringe when the doorbell rang.

She and her accomplice were stunned. “Hold him.” She put down the syringe and went to the door. “Who is it?”

“It is Abrim. I have a message from the Prince.”

“Scheisse. It’s the goon from the club,” she said in a whisper to the man who was trying to stop Raffey from making any noise.

“Get rid of him,” he whispered loudly.

“Go away — I am not interested,” she yelled to the door.

“The Prince has asked me to tell you he will pay fifty thousand dollars if you’ll just agree to have dinner with him tomorrow night.”

“Fine, I will. I will be at the club tomorrow at eight. You can pick me up there. Now go away.”

Abrim didn’t know whether to believe her or not. But he didn’t really care. He had done his “pimping” for the night. He could report back that he had made the offer and she accepted. If she didn’t show up, it would only make the Prince more smitten and he’d up the sum to one hundred thousand. He turned to walk off.

Raffey had started to kick and caught the coffee table in front of the couch. It swung his body sideways and his next kick toppled the ginger jar lamp on the end table. It hit the floor with a terrible crash. In his attempt to stop him, the man had loosened the grip on the towel and Raffey’s scream accompanied the crash.

Abrim stopped dead in his tracks when he heard the calamity and went back and pounded on the door, “Is everything all right in there?”

The man behind the couch punched Raffey in the face as hard as he could and Raffey slid down to the floor like a sack of hammers. Rubbing his fist, the goon nodded to Hanna to open the door and let the man inside. He stepped to the right of the door and snapped open a stiletto-type knife. Hanna saw the shiny blade and knew at once what she had to do.

“No, please help me, he’s passed out,” she said as she opened the door. Abrim saw Raffey barely moving on the floor. “Could you just help me get him on the couch to sleep it off?”

Abrim was no more than four feet into the apartment when the blade entered his lung between the sixth and seventh vertebrae. The killer’s hand came down on the man’s mouth at that same instant to stifle the scream. But Abrim was a big hulk, and even though fatally wounded, he shook off his attacker like a rag doll. Hanna grabbed the vodka bottle and hit him hard on his temple. The bottle shattered and he went down on his back. She thrust the broken end of the bottle into Abrim’s neck, severing both his carotid arteries, which sprayed blood all over her. The man held his hand over Abrim’s mouth. In ten seconds his legs kicked one last time. He was dead.

When Hanna rose to wipe the blood from her face, she saw that Raffey was gone. The window to the fire escape was open. She turned to her partner, and cursed in German, “Verdammte Scheiße! You idiot.”

Raffey, choking, spitting blood, and gasping for air, was hobbling with a limp from jumping the last six feet off the fire ladder. He bounced off cars and storefronts as he staggered down the empty 3 a.m. Genève streets.


Praise for Tom Avitabile:

“Frighteningly realistic. Most of Washington really works this way. Homeland Security had better read this one and take corrective action.”
– U.S. Ambassador Michael Skol on The Eighth Day

“Awesome. I could not go to sleep last night because I couldn’t put it down!”
– Donna Hanover, WOR Radio 710 on The Eighth Day

“The Hammer of God is a tightly plotted, fear-filled and all-too-realistic thriller that is finely written, in fact the best this reviewer has read in a long time. It should be a best seller and will make the reader anxiously awaiting the third and final novel in this thriller trilogy! Great job, Tom Avitabile!”
– Crystal Book Reviews

“Well done and insuring that the reader will grab book three as soon as available.”
– Bookbitch on The Hammer of God


 

About the author:

Author Tom Avitabile, a senior creative director at a New York City advertising firm, is a writer, director and producer with numerous film and television credits. He has an extensive background in engineering and computers.

Avitabile’s work on projects for the House Committee on Science and Technology helped lay the foundation for The Eighth Day, his first novel. In his spare time, Avitabile is a professional musician and an amateur woodworker. He is currently at work on his next novel featuring William “Wild Bill” Hiccock.


Buy the book:
Amazon | Barnes & Noble

Friday, July 18, 2014

Spotlight on Uncuffed

Paul is a retired counter terrorist detective and published author. Working with police writers in the UK and the USA (some of whom have never been published before and some of whom are well known), Paul and his colleagues have produced an anthology, Uncuffed, to which I would like to draw your attention.



About the book:

Uncuffed is an Anthology from retired and serving police officers from the United Kingdom and the United States of America whose collective experiences are almost too many to count. This has resulted in an eclectic mixture of short stories, poems, rhyming narrative and other short works which stretch from fantasy and young adult, to romantic through to satire and gritty crime thrillers. There is something for everyone. From literary prose to contemporary procedurals, there is a wonderful depth and array of reading pleasures here waiting to be consumed. Showcasing writers from both sides of the Atlantic – some already published, and some soon to be so – this only whets the appetite of what is still to come. With proceeds going to a fine charity – 'COPS' – (Care of Police Survivors) which tirelessly help survivors of officers who have lost their lives protecting us all.



About the authors:

Contributors to the Anthology are Paul Anthony, Roger Price, Ray Gregory, Ian Bruce, Dave Miller, Simon Hepworth, Edward Lightfoot, Mike McNeff, Wayne Zurl, Scott Whitmore, Meg Johnston, The Station Sergeant, and The Boss's Snout.

You can find the books of published authors Simon Hepworth, Mike McNeff, Wayne Zurl, Scott Whitmore, and Paul Anthony at Amazon.com. Station Seargeant and Boss's Snout are close friends of Paul's but mysteries in the world of journalism - they write satirical comments about policing and the government in the national UK police magazine…and their identities remain 'under wraps'. (Don't worry--they're not in trouble - it's just part of the plot.)

Buy the book:

Thursday, July 17, 2014

Spotlight on: Merry Jones


Book Details:

Genre: Suspense
Published by: Oceanview
Publication Date: July 1, 2014
Number of Pages: 288
ISBN: 978-1-60809-116-4
Note: Excessive strong language


About the book:

Elle Harrison has taken a leave of absence to mourn the death of her husband Charlie.
Her friend Becky takes her out to dinner to cheer her up and, on impulse, drags her into a fortune teller's shop. The fortune teller predicts that Elle will travel and meet a new man. She also says that Elle is surrounded by a dark aura that draws the dead to her.
Elle dismissed the predictions as hogwash. But then her friend Jen takes her, Becky and another friend, Susan, to Mexico where she is getting lost cost cosmetic surgery. Elle is attracted to and asked out by Jen's surgeon, Alain DuBois. And Elle finds a woman hanging onto the balcony next to hers by her fingertips. Elle tries to save her and fails, almost dying in the process.

All of the fortune teller's predictions have come true. And, as the week progresses, more of Alain DuBois' patients are gruesomely killed, Jen is attacked, Elle is nearly murdered, and the spirit of her dead husband Charlie keeps appearing to her.

Who is trying to kill Dr. DuBois' patients--And why? Who is trying to murder Elle? Why does she keep seeing Charlie--Is she nuts? Or is his spirit really trying to protect her?
Elective Procedures makes a week in Mexico into a chilling page turner, full of twists and unexpected developments, as well as a face lift or two.

Excerpt from Elective Procedures:


Don't look down. Don't look down.
I kept repeating those three syllables, a singsong mantra to steady myself and get through time, pushing through seconds and minutes until it would be afterwards and this nightmare would be over.
Don't look down.
But I didn't have to look. I knew what was beneath me. I could picture what was lying six stories down on the concrete beside the kidney shaped swimming pool, near the mouth of the alligator water slide. Under the glowing light of sunrise, I imagined a widening crimson puddle. A clump of arms and legs. A shattered bone protruding through flesh. Tangled hair matted into a cracked skull.
Don't look down, I said again, and I didn't. Instead, I aimed my eyes straight ahead focusing not on the brick wall in front of me, but on the air surrounding my head. I stared into it, straining to see my aura, looking for stains, for splotches of darkness. Was it possible to see your own aura? Was there even such a thing? If there was, I couldn't see it, saw only inches of emptiness between me and the bricks, and, at the periphery of my vision, the railing. For the briefest moment, I had a lapse; I almost turned my head, almost looked down at my hand. Don't look, I chanted. Don't look. Looking would mean moving my head. And if I moved it--if I moved anything at all, I'd disrupt my balance and slip, and then, with a thud, there would be two blobs of bones planted beside the pool.
A pelican dive-bombed past me, the rush of air nearly knocking me over. I held my breath, holding steady. I called out again, hoping someone would wake up, but no one came. So I told myself to stay steady and thing of other things. Other times. I stared at the wall and repeated: Don't look down don't look down don't look down.


About the author:

Merry Jones has written the Elle Harrison suspense novels (The Trouble With Charlie, Elective Procedures), the Harper Jennings thrillers (Summer Session, Behind The Walls, Winter Break, Outside Eden, and this fall, In The Woods), the Zoe Hays mysteries (The Nanny Murders, The River Killings, Deadly Neighbors, The Borrowed And Blue Murders). She has also written humor (including I Love Him, But...) and non-fiction (including Birthmothers: Women who relinquished babies for adoption tell their stories). Jones taught college creative writing for fifteen years. Her work has been translated into seven languages, and appeared in many magazines, including Glamour. She is a member of Mystery Writers of America, The Authors Guild, International Thriller Writers, and The Philadelphia Liars Club. The mother of two grown daughters, she lives outside Philadelphia with her husband.


Connect with Merry:

WebsiteFacebookTwitter  | Goodreads

Buy the book:
AmazonBarnes & Noble

Tuesday, July 15, 2014

When Bad Publishers Happen to Good Writers


Back by popular demand...

Publishing warning signs for Dummies (and newbie authors)



If you’re a writer, I don’t have to tell you that writing a book is hard work and getting published is even harder. Publishing companies are inundated with submissions, and more and more small presses are popping up. Unfortunately, some of them prey on new and hungry writers. If you’re not careful, your hopes and dreams can turn into despair and nightmares.That's what happens when bad publishers happen to good writers.

Anyone can call himself a publisher. All you have to do is put up a website, spout promises, and declare yourself a publisher. The desire to be a published author can sometimes cause writers to don rose-colored glasses that color their judgment. Before signing with a publishing company, interview them, so to speak. They will be, after all, working for you. Just because someone offers to publish your work, it’s not a given that they’re legitimate or that they’ll be fair. If you’re not careful, you could end up signing away your rights to your characters, settings, and future books.

It's easy for rogue publishers to be less than truthful to new authors. They think they can (and often do) tell an unpublished author anything, because newbies don't know better. Since true learning comes from life experiences, it would be nice if newbie authors could learn from the mistakes of others.

I'm not a lawyer, and I don't play one on the Internet. But I have heard enough horror stories to compile some dos and don’ts you should know about before you sign on the dotted line. Some of these will be easy to spot when you're offered a contract, and some will take some investigation. Trust me, it’s worth the time and effort. And if red flags start popping up, then run.

DO:

•    Look at the publisher’s online presence. Scrutinize their website and social media pages. What sorts of things do they post? They should have a solid social media presence with both quantity and quality posts. Publishers should have active, engaging websites, Facebook, Twitter, and Goodreads pages. Their websites and posts should be professional, nit free, and up to date. 

Note: this step should be taken before you submit your work. It’s much easier psychologically to cross a publisher off your query list than to turn a publishing contract down. Once you get an offer, those glasses turn rosey.

•    Google, research, and investigate the company and the people associated with it. Do an Internet search on the publisher’s and the company’s name. How long have they been in business? Check to see if they’re listed negatively on Preditors & Editors, Writers Write, Absolute Write, or other online writers’ forums. “But they may have changed their ways since that was posted,” you say. Yeah, and Elvis might still be alive.

•    Look for positives as well as negatives. How do their authors feel about the publisher? Verify positive experiences. Contact other authors who have had works published by them. Yes, someone has to be the first author for companies just starting out. But don’t let it be you. If you find negatives, can’t find positives, or can’t find anything about the publisher at all, then run like there's no tomorrow.

•    Verify quality for yourself, don’t take someone else’s word for it. Examine books the company has published. At the very least, read an excerpt from Amazon’s “Inside the Book” feature. Are there nits? Bad grammar? Poor formatting? Poorly written work? Make sure the editing and the product is quality.

•    Be clear on their royalties policy. You’ve worked hard and deserve to be compensated, so make sure the wording in the contract specifically states how the publisher pays royalties and on what royalties are based. In a perfect world, all authors would be paid royalties based on list price. But unless you have a book in every bookstore in the country, that probably won’t happen.

Beware of a clause that waives royalties on a certain number of books. (See the Don'ts section.)

Take note of wording. If a contract says you'll be paid 50% of net profits, you're thinking that's really sweet, right? Think again. Most small presses pay royalties on net income or net profit, which are two different things. Net income is the money publishers receive after bookseller discounts have been subtracted, which is a sweeter deal than net profit, which is what the publisher makes after any number of expenses are deducted. Are taxes, editing, printing, shipping and handling, marketing, distributor fees and/or their dry cleaning deducted? If production costs aren't defined, they could feasibly count anything they do as a production cost.

Do they require you to buy books? Do they withhold royalties until a certain number of books are sold? Make sure production costs are clearly defined.

One more point on royalties: Watch for a clause stating the publisher will freeze royalty payments in the event of a legal dispute. If a publisher does something to cause an author to take legal action, or if they take legal action against the author, the publisher will still get paid, but the author will not.

•    Be cautious if there's no advance offered. An advance simply means the company has faith in the author. Rogue publishers might say they don’t pay advances so they can keep overhead low and be able to pay their authors more. Probably bologna. They might say no advance is standard for first-time authors. More bologna.

Note: there are many legitimate small presses that don’t pay advances, so no advance isn’t always a red flag. If your royalty percentage is higher than average, it may offset no advance. It's just something to consider.

•    Beware of mumbo jumbo. In addition to looking at how royalties are paid, take notice of verbose or overly complicated wording in a contract. Smoke and mirrors, people. 

Read the terminology carefully.

Look at this clause:
Work Expenses means all reasonable amounts actually incurred by [Publisher] in connection with the exercise of the Granted Rights that are identifiably attributable to the Work as a standalone work, to a maximum amount equal to 25% of Gross Work Revenues. By way of example only, Work Expenses include the costs of creating versions and copies of the Work (including, without limitation, manufacturing costs related to the Work and the costs of manufacturing ancillary products), shipping costs, advertising expenses related solely to the Work, and charitable contributions derived from sales of the Work, but do not include expenses related to the general overhead costs of Publisher."

Say what?

Or this one:
We calculate net property by taking the Sale Price minus retail discount minus production costs aggregated across the minimum print run: SP-RD-(PC/MPR)=NP.  This is split 50/50 with the author so the Author’s Royalties are 50% of net profits.

I wonder if the writer of that clause even understands what it says. Walk away from mumbo jumbo clauses.

•    Watch out for bait and switch. Verify that the promises the publisher has made on the website, in emails, or in person are also in the contract. Sadly, people break promises. They even break clauses in contracts. But the law is on your side if all expectations are in writing. For example, the publisher may talk about obtaining reviews for the author, but is it in the contract? They may say they’ll do the editing for free, but is it in the contract? Ask them to be specific.

•    Beware of smoke and mirror marketing claims. Enticers are proficient at wording things that can be interpreted differently by different people. 
An example might be:

“The Author hereby grants the Publisher the rights to publish the characters found within the Work and the setting established therein for the purposes of marketing and promotions.”

See what they did there? They mentioned marketing and promotions, so you think that’s something the publisher will do. Read it again. All that clause says is that you grant them the right to use the characters and setting in marketing—-there is no promise of a marketing effort. What is their marketing plan? Is it only through social media and book signings? If the publisher offers no marketing or nothing more than marketing that you can do yourself, or if the wording is ambiguous, or if they require you to pay for services, then run. Because you might as well be doing it yourself and reaping all the profits.

•    Beware of publishers preying on newbie authors. If a publisher contacts you or advertises for submissions...run. Legitimate publishing companies have so many submissions they don’t have to look for authors. Don’t buy the line that they want to help first-time authors, or your work is so fantastic they just have to publish it. It’s just that—-a line.

•    Verify their employees’ experience and that they even exist. Anyone can claim anything on a website. They have five editors with a combined twenty-five years experience? What exactly is their experience? Where did they get it? The school newspaper? They're writers themselves? What have they written? A grocery list? (And notice the word "writers" instead of "authors.") Who are these employees? Are they even real people? Verify. It's entirely possible their editor, Arlo Cooper, is the combined names of their dogs, Arlo and Cooper. Don’t take their word for it. Google. Research. Verify.

•    Ask who will print the book. Some companies use CreateSpace. Don’t give away royalties for something you can do yourself.

•    Verify the publisher’s address is an actual address. It's a big red flag when a publisher lists their address as a post office box. If there’s an address listed, Google the address and see what comes up. Google map it and go to the street view. Is the address a reputable building or a mail store in a strip mall?


Look at this bogus address:
Rogue Publishing
123 Scumbucket Lane, Suite 666,
Scammers RS, 12345.

What’s wrong with that? Looks legit, right? Wrong. “Suite” can also mean “box.” Who knew? 
Do they list a phone number? Google it. Call it and see how it’s answered. If it’s not an actual business address or company phone line, then run like heck. Sure, some brand new publishers may start with a home office. But why didn't they list that address? They're probably trying to appear like more than they are, or they're hiding something.  

•    Make sure there are no hidden costs. Does the contract clearly state the editing and formatting of the book are services provided by the publisher free of charge? No legitimate publisher charges for editing and formatting.

•    Ask about the distribution plan. Will the publisher get your book in brick and mortar stores? Will it be available on the distribution lists that go out to all booksellers and librarians? Will it be available for order outside of Amazon.com and Barnes&Noble.com? It’s hard to sell books if your book isn’t distributed properly. Make sure the distribution plan is in writing.

•    Be certain who pays for review copies. Make sure the contract states who will be responsible for sending the book to reviewers—-you or the publisher? That should be part of the production cost. If they require you to foot the bill or offer no assistance, then you should probably run.

•    Make sure the contract states in what forms the book will be printed. If the clause says “May be” or “At the publisher’s discretion,” request the wording be unequivocal. They may promise an eBook or a hardback, but unless it’s in writing, they don’t have to honor their promises. Don't sign a contract in which the wording is vague, or two clauses contradict themselves.

•    Ask for a galley proof. Is there a clause in the contract stating the author will receive a galley proof at the publisher’s expense? Don't assume. As the author of the book, you have every right to see a galley, and it should be part of the production cost. (When you upload a book to Amazon, you have the option of getting a free .mobi copy so you can proofread. Note: free. Your publisher should forward that to you.) It's your book and your name on the front. A galley or .mobi should be offered--get it in writing.

•    Keep every email or letter you receive from your publisher or liaison. You never know what you may need in the future to prove a point of contention. Keep everything.

•    Negotiate the contract. You should see a huge red flag waving in your face if the publisher refuses to negotiate. If you’re uncomfortable about something, ask, and don’t buy the line, “it’s standard in publishing contracts.” Contracts are meant to be negotiated so they’re fair for both parties. If you ask questions and get mumbo jumbo answers, or are asked to sign the contract as-is, instead of signing, you should be running.

•    Hire a lawyer or agent to look at the contract before you sign. Yes, lawyers are expensive. But which would you rather do: spend money up front to make sure the contract is fair, or spend money later to get you out of the contract you didn’t fully understand? Be clear on what you're signing, because rogue publishers count on duping newbie authors with double talk and mumbo jumbo.

DON’T:

•    Do not, under any circumstances, sign a contract with a clause giving the publisher first rights of refusal on subsequent works. If this becomes a major sticking point, then a) run like a house afire, b) ask for a two-year opt out clause, where you can at least get free and clear after two years. Legitimate publishers will work to retain your loyalty. Dubious publishers will force you to publish with them or not at all. If the publisher does his job to your satisfaction, then by all means sign a new contract with them. But if their work was unsatisfactory, or your relationship turns sour, you need to be able to walk away. If you’ve granted a publisher first rights of refusal, it may be years before you can publish another book because you’re sure as heck not going to give some #@&*^ more of your work to screw up—-right? Run, don’t walk, away from first rights of refusal clauses.

•    Don’t give the publisher exclusive rights to publish works based upon characters and settings of the work for the duration of the contract. Never, never, never agree to that. If things go horribly wrong, you’ve lost control of your work. If you'd intended on writing a sequel or a series, someone who might be unscrupulous and vindictive could hold your work hostage because of one stinking clause. If you don't want them to publish subsequent works, your choice is to wait years until the contract expires and you can publish again, or spend thousands of dollars suing to regain your freedom. Run from the term "exclusive."

•    Don’t accept free books in exchange for royalties. You're in red flag city if a clause in the contract states you will not be paid on the first 100, 200, or any mumbo jumbo number of retail copies sold of any edition.

An author deserves to be paid for every book sold. If a publisher wants to give you free books in exchange for royalties on a certain amount of books, just say no. Publishers should give authors free books for promotional purposes—-period. Publishers pay authors, not the other way around. Run like crazy away from a clause that cheats you out of hard-earned royalties.

Note: If a contract has the double whammy of no royalties on the first X-number of books, and they pay on net profit, from which they deduct production costs, run to the law, because you're about to be robbed.

•    Don’t agree to a book purchase requirement, even at a discount.
Just don't. There's no reason you should be required to purchase a certain number of books. None. That's a huge red flag.

•    Don’t sign multiple contracts until you have one book under your belt. Even if the publisher produces a quality product, what if your relationship goes south? Protect yourself.

Note: Publishers do take a risk on first-time authors, and the more books the author writes, the better the first book will sell, so ideally it’s only fair to reward a publisher’s faith in you by publishing multiple books with them. If you’ve done your homework, and the publisher is solid with no other red flags, signing a two-book contract is a show of good faith in each other. Just don’t sign away an entire series. Stuff happens. And it wouldn't hurt to have an opt-out clause just in case.

After you sign on the dotted line...

Verify, verify, verify:


•    Verify promises. If the contract states the publisher will have the work copyrighted within a certain amount of time, verify that he has done so. Just because the contract says he will, doesn't mean it will happen. Protect yourself.

•    Verify formatting quality. Formatting should be included in any service a publisher offers. But just offering it isn't enough. Readers notice sloppy formatting. If the eBook formatting isn’t done properly, insist it be fixed and don’t take anyone’s word for it. Verify. If it’s not fixed after a reasonable amount of time, Amazon might pull it for review, and you will lose sales. A badly formatted eBook will affect your reviews, ratings, and reputation.

•    Verify sales. Would you believe there are some rogue publishers who try to falsify sales reports? Shocking, but true. Since Amazon doesn't allow authors to see Kindle sales (can someone please explain to me that decision?), the author must trust the publisher's reports. But watch your online sales closely. If you feel you've been given an incorrect report, verify.

•    Verify facts. Take screen shots if you believe your publisher has violated the contract and there is online evidence. You may need it at some point in the future. Be a boy scout. Be prepared.

"It is better to look ahead and prepare than to look back and regret.” ~ Jackie Joyner-Kersee


Final thoughts

I'm certainly not disparaging all small presses or pointing fingers at any specific publishing companies. I believe there are a number of great Indie publishers out there doing really fine work. But I've heard so many stories about publishing nightmares, I think it's worth writing about to hopefully keep other authors from falling victim to a rogue publisher. Have you had a nightmarish publishing experience? Leave an anonymous comment so others can learn from it.

If you're comfortable with some of the red flags above, that's your decision. It's up to each individual author to decide what he/she can live with in a contract. But I believe the more informed you are, the better able you are to make educated decisions.

It’s sad that sometimes lessons are learned the hard way. The above points are not melodramatic or overly cautious; and what's worse is, I'm sure it's not comprehensive. Bad things happen, even to nice people and good writers. Don’t disregard red flags or fall for false promises. Be aware. Protect yourself. Investigate. Verify. If you see the warning signs, prepare to run, because chances are, if you don’t run away, you’ll be running into a stonewall.


Thursday, July 10, 2014

Spotlight on: Frances Fyfield

Gold Digger

by Frances Fyfield

on Tour with Partners in Crime, July 1-31, 2014


Book Details:


Genre: Crime Thriller
Published by:  Witness Impulse
Publication Date:  7/15/2014
Number of Pages:  320
ISBN:  9780062301604

Purchase Links:    


About the book:

The warmth of him, the glorious warmth, was fading by the minute.
In a huge old school house by the sea, full of precious paintings, Thomas Porteous is dying. His much younger wife Di holds him and mourns. She knows that soon, despite her being his sole inheritor, Thomas’s relatives will descend on the collection that was the passion of both of their lives.

And descend they do. The two needy daughters, who were poisoned against their father by their defecting mother, are now poison themselves. The family regard Thomas’s wealth as theirs by right, with the exception of young Patrick, who adored his grandfather and is torn between his parents and Di, the interloper.

The family know Di’s weaknesses, and she has to learn theirs. After all, she met Thomas when she came to his house to rob him. With the help of an unlikely collection of loners and eccentrics, she sets a trap to hoist the family members on their own greed. And on the night they are lured to the house, Di will be ready.

Or will she?


Read an excerpt:

'Come on Thomas, come upstairs and look at the view,' Di said. 'Look at the clouds."
She hugged him closer.
‘I’ll keep you warm,” she said. “Will you come with me? There’s this painting I want you to see. Thomas?”
The warmth of him, the glorious warmth was fading by the minute. She was sitting in his lap with her arms around him, cradling his head with its shock of thick white hair, talking into it, nuzzling it like a cat. She stroked his profile, a beak of a nose, the handsome, furrowed forehead suddenly smoothed and by that token, the very lift of his face, she knew he was dead. She had known the imminence of his death from the moment he came in, gave her the flowers and then sat in the chair and closed his bright blue eyes: she had known it for months of illness, and all the same, when it happened, it was incomprehensible. Because he was still warm, and she was realizing, slowly, slowly, that most of the warmth came from her.
She told herself not to be silly. He would wake up in a minute, give her the smile that lit him like a light from within and then he would start to teach, talk in rhymes or sing. Such a voice he had, such a lovely voice with a light rhythm, as if there was a song already in it.
‘It’ll be alright, she said to him. ‘Won’t it, love?’
There was no answer. She continued to speak, stroking his hair, still thick, but so much thinner than it had been. She straightened it with her fingers and touched his ears. Cold, but then the lobes of his ears were always cold, even when she breathed close.
‘A word in your shell-like, darling,’ she said, softly. ‘Do you know, you look just like a bird? All beak and chin, that’s you, not an ounce to spare. You’ve been on the wing long enough, you’re just tired, you are. You know what? That’s good. You’ve lost your voice, that’s all. But you can still hear, so you’ll know I’ll never say a bad thing about you, ever, because there’s nothing bad to say, and I don’t tell anyone anything ever. Any secret’s good with me. You know me, I’m good for that. Can’t talk, can’t tell secrets, except about what a good man you are. Mustn’t swear, you said, a waste of words, innit? Ok, Thomas? Shall we go upstairs and look at the view?
He lay, sprawled and twisted, his arm holding her because she had curled herself into him, and he made no response.  She began to cry, soaking his jumper. Then she got up and bound his knees with a blanket to keep him warm, backed away from him, got a drink and moved, lurching around her own house like a crippled ghost.


About the author:

"I grew up in rural Derbyshire, but my adult life has been spent mostly in London, with long intervals in Norfolk and Deal, all inspiring places. I was educated mostly in convent schools; then studied English and went on to qualify as a solicitor, working for what is now the Crown Prosecution Service, thus learning a bit about murder at second hand. Years later, writing became the real vocation, although the law and its ramifications still haunt me and inform many of my novels.

I’m a novelist, short story writer for magazines and radio, sometime Radio 4 contributor, (Front Row, Quote Unquote, Night Waves,) and presenter of Tales from the Stave. When I’m not working (which is as often as possible), I can be found in the nearest junk/charity shop or auction, looking for the kind of paintings which enhance my life. Otherwise, with a bit of luck, I’m relaxing by the sea with a bottle of wine and a friend or two."-Frances Fyfield

Catch Up With the Author:  


 

Wednesday, July 9, 2014

Spotlight on: Mary Marcus


About the book:

Harriet is floundering. She's in her early forties, her kids have gone to college, her marriage feels empty, her cable TV cooking show has lost its sense of inspiration, and she longs to leave the West Coast for New York. Then one day she meets Lydia, a gorgeous woman in her late twenties. Lydia reminds her so much of herself a decade or so past, and her husband, who hardly likes anything, likes Lydia as well. It slowly dawns on Harriet that Lydia could be the answer to everything that's ailing her. All she needs to do is turn Lydia into "the new me."

Reminiscent of the work of Susan Isaacs and Nora Ephron, The New Me is a witty, poignant, perceptive, and beautifully written novel about change and the price of becoming who you want to be.


Praise for Mary Marcus and The New Me:


The New Me by Mary Marcus is a revelation. Like Joan Didion, she brings to life the nuance and emotion of a sometimes-dysfunctional family life in Southern California with a jaundiced view of Hollywood in her peripheral vision. Like Williams Carlos Williams, she knows that precise observation of details can illuminate great depth. Part baby-boom prose poem, part woman’s rebirth, The New Me is alternately hilarious and heartbreaking and ultimately hopeful. What a cool first novel!”
– Danny Goldberg, author of Bumping Into Geniuses


The New Me is funny, poignant and deftly written. It is a relatable story that beats with a pulse of a modern marriage paradigm and provides cringe-worthy moments that simultaneously delight and distress. This book made me uncomfortable in all the best ways. I couldn’t put it down.”
– Moira Walley-Beckett, Writer/Co-Executive Producer of Breaking Bad

“So you think it’s all sun, surf and smiles. Mary Marcus shows you the dark side of the California dream. A sadly eloquent, painfully honest account of how a mystery woman intrudes on a marriage growing melancholy. Reader beware: you might find yourself in these pages.”
– Heywood Gould, author of Cocktail, Fort Apache The Bronx, Greenlight For Murder

“Mary Marcus expertly illuminates the world of a lived marriage in this inspired novel. With careful nuance and dark humor in her back pocket, she raises questions women might not dare ask themselves. The New Me will give the old you something to think about. A real treat.”
– Rachel Eddey, author of Running of the Bride

“Mary Marcus has created Healthy Harriet and her world with a sharp eye and robust humor. A great debut book parsing the complexities of love, married life, motherhood, and betrayal.”
– Alissa Torres, author of American Widow

“In The New Me, Mary Marcus tells a clever and engaging tale of the intertwined lives of transplanted modern city-dwellers, which not only illuminates surprising dimensions of our all-too-human strengths and frailties but how the path to self-discovery is seldom what we expect.”
– Bran Ferren, Founder, Chief Creative Officer, Applied Minds, LLC

“Have you ever worried you could be replaced by another woman? Have you ever secretly hoped that you might be? Is eighteen years of making dinner every night enough already? These questions haunt the irresistible chef/wife/mother Harriet Prince in Mary Marcus’s funny, heartbreaking and thriller-paced novel, The New Me. Marcus serves up the humor and sadness in a threatened empty-nest marriage and reminds us that for even the best cook, endings can be bittersweet.”
– Delphine Hirsh, author of The Girls’ Guide to Surviving a Breakup


Excerpt from The New Me:

It’s not surprising that I met Lydia at yoga. It was the only place I went regularly other than work and the farmer’s market. She put her mat down next to mine and we smiled at each other, the way yoga people do.

I took up practicing in the summer before the boys entered their senior year of high school. I heard it helped you sleep and if I hung around the house at the dinner hour cooking and serving, the boys and I would invariably start shrieking at each other. That year, Jules was working thirty miles away on some show shot on a horse ranch mostly at night. Wednesday night he was home and he generally spent it in bed with a tray and the remote control. Once in a while, he and the boys went out to this revolting Mexican restaurant they all love and I won’t go near. Otherwise, he was gone except on the weekends when he slept, being understandably exhausted from the night shoots. Three mornings a week before dawn, Jules and I would cross paths in the kitchen: me with my commuter’s mug of café au lait on my way to the cable studio for Healthy Harriet. Jules on his way to the kitchen for his Irish oatmeal before hitting the sack. (The oatmeal everybody loved was made the night before in the crockpot by Healthy Harriet.) Looking back it is remarkable how often Jules landed gigs that either sent him on location or put him in an entire other stratosphere schedule-wise from the rest of us.

Once I started yoga, I was hooked almost right away and began going into down dogs in the kitchen and soon handstands against the door that led to the laundry room. When I took the boys for their college tours, I remember Googling yoga studios in the towns we visited. Like cooking, it kept me sane. And gave me something to look forward to. And it wasn’t solitary like running. I liked the chanting. The bowing and the “Namaste”—I particularly loved the one chant we repeated three times: Loca Samasta Sukihino Bhvantu. May all beings everywhere be happy and free from suffering.

By that point I must have begun to realize subconsciously at least, that much as I loved him, I was much happier and the boys acted better when Jules wasn’t around. What a revelation! For years I had been in the habit of thinking the problem was that Jules was gone most of the time and we all missed him. Granted we did miss him, especially in those first few years in LA when they were young and I didn’t know a soul and I had to start all over again work-wise. Though I do remember sort of putting it together that the horrible pains that tightened my neck muscles and sent me to the chiropractor for adjustments only happened when Jules was at home. When he was around, I not only felt sort of queasy, I could literally feel the chords of my neck tightening like the reins of a workhorse. The Jules effect wasn’t a whole lot more salubrious on the boys. In fact Sam started having the same neck problems I did. Maybe it was his violin, maybe not. I’m not trying to say things were perfect between the boys and me. Especially Dan and me. Certainly we fought when I hung around serving them dinner and when I fussed like they were ten-year-olds. However, when I stopped doing that we were much better. I say all this because the combination – of just leaving them food and not fussing over them realizing I didn’t miss Jules, realizing they didn’t miss Jules, doing yoga and finally when they left home and the coast was clear, meeting Lydia – was like finding the essential fixings for a good stock, and the basis for what I cooked up. The spontaneous orgasm at yoga probably didn’t hurt either. A little giftie from the universe, a sort of hey, look, it can happen again, maybe not in the way you think but it can happen.

Dinnertime yoga in LA – and probably everywhere else too – is primarily practiced by single and/or divorced women. If I were a guy on the make, that’s the first place I’d go. Women who do a lot of yoga have great bodies and I even stopped shouting (except in the shower) when I got hooked. But the men at yoga are usually few and far between and often gay. That or AA. It didn’t take me long to discover not only was I one of the least limber in class, I was also the only woman there who actually lived with her husband and kids. Certainly my role at home was quite different than it had been before – the real change had come when they got their drivers licenses. However, I still considered myself a mom. And I did what moms do everywhere whether their day jobs are over or not. I planned the meals, did the shopping, cooked what they liked, ran the house, showed up at school functions and bought them things, tried to get them to talk to me . . . and now that they were older watched for signs of drugs, though I generally avoided signs of sex. A far cry from the old days when there was all this plus driving, plus organized sports, music lessons and the rest of it. Since I’m trying to tell it like it was, did I mind that I wasn’t so fucking central anymore? Not really. Sometimes I felt wistful for the early years, particularly when I looked at the lines around my face. But like a lot of women, I was dead-tired from too many years of doing too much cooking/managing/scheduling. Yoga gave me a place to go and something to get good at, though I’ll never be really good at it in the way I would have been had I started in my twenties.

Randy, who was teaching the night I met Lydia, was a mixed race hunk, twenty-four years old with blond dreadlocks, golden skin and shoulders that stretched from east to west.

“Supta Badda Konasana. Lie flat on your back. Put the soles of your feet together and let your knees relax and sink toward the floor. Good. Bring your awareness to your groin. And breathe. Breathe!”

I suspect Randy must have had that effect on others because unless you got there early and put your mat down, you couldn’t get a place. And too, after it happened to me, I figured it was probably happening at yoga centers all over the country, and was at least in part responsible for the huge surge in popularity.

It makes perfect sense, when you’re lying there, soles of the feet together, thighs spread, breathing into the sex organs that once in a while someone will get off.

OMMMMMMM!

When the class rang out with the chorus of OM, I’m almost sure I came forth with an AHHHM. Just for the record, the big O during the big OM has never happened since then, though I have gotten close a few times. And I still do yoga almost every day. And I’ll never know whether Lydia knew what was happening on the mat next to her.

“How often do you come?” she asked in her melodious English voice. Not of course what she meant, still strangely apposite for the first thing she said to me.

“Every day if I can. I’m hooked. How about you?”

“I’m a rank beginner.” I’m Lydia, by the way.

“I’m Harriet.”

We didn’t shake hands. We were schlepping our mats and navigating down the stairs and onto the street. When we hit the lit sidewalk she did a little start.

“Healthy Harriet!”

I smiled.

“You taught me to make brown rice with mung beans, carrots, ginger and ghee.”

“I’m so pleased!” I told her, and it was true. It wasn’t that she recognized my dubious status as a food network host. It’s the feeling that right away, this beautiful obviously highly intelligent creature with the gorgeous English accent seemed to approve of me and get me. And the feeling was mutual.

“Good old mung!” I replied. “I’ve got that cooking at home in the rice cooker.”

About the author:

Mary Marcus was born and raised in Louisiana but left for New York after graduating from Tulane. She worked for many years in the advertising and fashion industries for Neiman Marcus, Vogue, Lancôme, Faberge, and San Rio Toys where she worked on the Hello Kitty brand. Marcus’ short fiction has appeared in North Atlantic Review, Karamu, Fiction, Jewish Women’s Literary Journal and The New Delta Review among others. She lives in Los Angeles and the East End of Long Island.

Buy the book:
Amazon | Barnes & Noble 

Monday, July 7, 2014

Spotlight on: Laurel Dewey

About the book:

Betty Craven is the epitome of elegance, class, and perfection. Her prize-winning garden is the envy of her neighbors; her impeccable manners and epicurean skills have made her the “hostess with the most-est.”



But all is not what it seems.



The truth is that this fifty-eight year old’s seemingly idyllic world is quickly disintegrating. Widowed and left with a modest income, Betty’s Colorado gourmet chocolate shop has gone belly up, leaving her floundering for purpose and meaning. Tied to a house in disrepair that she can’t sell, and mired in unrelenting grief for her dead son, this patriotic former Texas pageant queen comes to the shocking and debilitating conclusion that her entire life has been wasted. As that realization hits her hard between her well-manicured brow, the rebellious spirit that Betty has silently kept under lock and key, explodes to the surface.

When that happens, her staunch conservative world changes drastically, causing Betty to question every belief and opinion she’s ever had. The path she chooses is paved with secrecy, eccentric characters, toe-curling love, life-changing events, and a connection to her unconventional garden that she never could have imagined. No matter how hard she tries, Betty Craven will never be the same again.



Author Laurel Dewey — known for her gritty crime thriller series featuring Detective Jane Perry — has created a dynamic, funny, romantic, heartbreaking and controversial novel that will both enlighten readers and challenge them with its unique and timely subject matter.

Praise for Betty’s (Little Basement) Garden:



“Betty`s (Little Basement) Garden is a wonderful novel full of characters we see every day... This would be an excellent book for a reading group or a book club. There is life and laughter, love and friendships, and a spark of the paranormal that brings it all together.”
– Blogcritics



“Compelling, emotional, at times humorous, controversial, heart wrenching, inspirational, and definitely leaves the reader confronting one’s own personal viewpoint after the last word is read. Highly recommend!”
– CMash Loves to Read



“Funny and warm and wonderful. Get to know Betty; you`ll love her.”
– Lis Carey’s Library



“The end result is not only a successful and compelling novel, but also a springboard for important conversations all across America.”
– David Fiedler



“This is a book everyone should read and think about, an issue I truly believe in, and something I believe more people should learn about. Read this book!”
– Now is Gone



“Pick up Betty’s (Little Basement) Garden by Laurel Dewey and prepare yourself for some thought-provoking reading. See what gems you can pick up.”
– Single Titles



“No matter what side you are on, this book is interesting and will have you shedding a few tears and smiling a few smiles.”
– Books, Reviews, etc.

About the author:

Laurel Dewey’s writing career has been anything but predictable. Born and raised in Los Angeles, California, Dewey began her career working in public relations for such celebrities as Barbra Streisand and Frank Sinatra. Her writing talents quickly took her into other entertainment avenues. Dewey was an assistant editor at BOP Magazine, helping launch the blockbuster career of teen pop groups like The New Kids on The Block. During this time, she wrote a string of successful mystery radio plays for Los Angeles radio networks. The plays won Dewey consistent awards and caused one reviewer to write, “Dewey’s flair for creating memorable characters and great stories is a welcome change these days.

”

Not satisfied to write in only one genre, Dewey went on to pen a western novella In the Name of the Land, which was nominated for a Silver Spur Fiction Award. A collection of short stories followed, as did a successful stint writing and producing radio ads and promos.



In the early 1990’s, Dewey relocated to rural Colorado. But her eclectic writing forte continued as she pursued work as a freelance investigative journalist, advertising/marketing promoter and editor of children’s books. In the mid and late 1990’s, two of her books on plant medicine were published, along with 10 booklets and hundreds of articles on alternative health.

During this time, she appeared as a featured guest on over 300 national radio and television programs and lectured extensively across the United States and Canada.



But now the pages have turned again...literally. In 2007, Dewey released her first fiction novel, Protector, a gritty, paranormal crime thriller that follows the rocky life of Denver homicide detective Jane Perry. In preparation for writing the book, Dewey immersed herself in detailed research, interviewing Colorado homicide detectives and traveling on "ride-a-longs" with street cops. The intricate research helped Dewey create a debut novel that is powerful, compelling and utterly original.



The sequel to Protector, Redemption, was released in June of 2009. The third book in the series, Revelations, released in June of 2011. The fourth novel in the Jane Perry series, titled Knowing, wae released in December of 2012. Her standalone book, Betty`s (Little Basement) Garden, was released on June 12, 2012 and is the first fiction novel on the subject of medical marijuana (cannabis) in Colorado. She lives with her husband and two orange cats in rural Colorado.

Connect with Laurel:
Website

 | Facebook | Twitter

Buy the book:
Amazon | Barnes and Noble | iTunes | BAM