Binge-demic 4

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Let’s keep working backwards through the shows I’ve binged during the pandemic: 

SHE-RA AND THE PRINCESSES OF POWER

Confession time: I knew nothing about She-Ra before watching this show. The original show came out when I was too old (and too young) for cartoons and all I knew was that The Usual Creeps were upset by the new character design because this version of She-Ra didn’t have big boobs.

Nothing about the show tempted me, either. It looked like sword & planet for little kids, and really, life is too short. 

But again, I kept seeing a lot of enthusiasm for the show as the fifth and final season came up, and once I realized Noelle Stevenson was the showrunner, I decided to give it a try.

Turns out that it’s fun and funny. It’s full of strong characterization (which is not the same as strong characters, obvs) and is just as charming as Nimona and Lumberjanes.

LEVERAGE

This is the rare show that starts strong right from the first scene. There’s no stumbling around, as they try to hone the characters and concept. They hit the ground running, and it’s fantastic.

The first time I watched this show, it was with my family, and we lost momentum somewhere in the fourth season. Not sure why, except that the show seemed to want to mix up the formula, and we really liked that formula. This time, watching by myself, I kept going through the episodes where the actors played other characters and/or the con was a backdrop for some other drama (and yeah, it seems a shame to cast Danny Glover on your show and *not* make him into some sort of criminal genius).

But still, this show puts everything together in exactly the right way. The characters are great, starting off as exaggerated one-note personality types–grumpy, wacky, sad, sensible, etc–and gradually becoming more complex as they form strong relationships. The plots are clever, the villains are awful, and jokes actually made me laugh. 

And like I said, I really liked the plot engine of the show, where a group of crooks ruin the corrupt and powerful. That never got old.

STRANGER THINGS

I don’t have to talk at length about this show again, do I? I like it. It’s good. 

THE KIRLIAN FREQUENCY

An anthology of odd, animated horror shorts out of Argentina that does its best to make a virtue of an extremely low budget. It’s only five episodes, each between 8-10 minutes long. Does it count as a binge if the whole season is less than an hour long? I say sure, why not. 

The stories center around a radio DJ who broadcasts only at night. Each episode introduces a premise, then delivers the twist, and there’s not much more to it than that. 

THE UMBRELLA ACADEMY

I really feel that I should like this show more than I do. My wife loves it, though.

—–

FYI: if you haven’t taken advantage of the Kindle Monthly Deal for One Man, a City of Fallen Gods Novel, this is the last day. If you want to check out a creepy high fantasy crime thriller set in a city built within the skeletons of two dead gods, act now.

Upcoming: Avatar, and The Letter for the King, I Am Not Okay With This

Circle of Enemies Audiobook Available Today

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Cover art for Circle of Enemies audiobook

Fiery!

If I had any brains, I would have posted this much earlier, and started sending the announcement newsletter at midnight last night. Unfortunately, today is Blursday, and yesterday was Blursday, too, so I lost track of the date.

Note to self: write rent check.

So, yes, the audiobook for Circle of Enemies is available today, for the first time ever. You can grab a copy from online vendors:

Audiobook.com
Audible
iBooks

Or wherever you prefer to get your audiobooks.

There will be more Twenty Palaces audiobooks, but not until I finish The Iron Gate. Once this book is fully revised and edited, it’ll be combined with The Twisted Path and released as a set. Until then, I’m not going to have much to release.

Also, remember that the Kindle Monthly Deal for One Man expires at the end of the month. Until then, you can pick up an ebook for yourself or a friend for only $1.99.

Binge-demic 3

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Continuing my Binge-demic posts, let me move backwards to the show I watched before Veronica Mars.

STRANGE LUCK

It’s weird that this show has a 100% rating on Rotten Tomatoes.

Not that it’s bad. It’s not. You could even call it pretty good. Still, a hundred percent? If I had to guess, it’s a distortion created by the fact that the show predates the site, but a number like that promises more than Strange Luck can deliver.

Simply put: It’s the 90’s, and every place anyone goes to is actually Canada, where they hose down the streets at night so the puddles reflect the multi-colored lights. Chance Harper is a freelance photojournalist who drives all over the city in his beater, snapping pictures of the stories he stumbles across. And he tries to help people.

As the sole survivor of a plane crash–in fact, he had no injuries at all–Chanse has been cursed by powerful luck. Not good or bad, but powerful. Where ever he goes, weird and/or dangerous shit happens, and he does whatever he can to help (and get a shot he can sell). To quote main character: “If I go to a restaurant, somebody chokes. If I walk into a bank, it gets robbed.”

I’ve said one thing over and over in in these posts: one of the most important aspects of these shows is the relationships between the series regulars. Strange Luck has only two regular supporting characters: his ex, the hot newspaper editor who buys Chance’s photos and the hot owner/operator of his favorite cafe who has a crush on him. And they’re both fine, although the cafe owner gets more interesting story lines.

Anyway, there are a lot of pitfalls for a show built on a premise of coincidences, but Strange Luck avoids all of them. It’s too bad it only lasted one season. With a larger, crunchier supporting cast, I think it would have done well. Past time for a remake, I think, with shorter seasons and the obligatory modern mythology.

Finally, at least one person has asked me how I watched the show, since it’s not available anywhere to stream. Sadly, I had to go to YouTube. It wouldn’t be my first–or my fifth–choice, but it wasn’t available elsewhere.

KIPO AND THE WONDERBEASTS

I knew what I was hoping for when I put on this show (based on online recommendations–all the new shows that I watch, esp the cartoons, drop into the schedule because people rave about them). I expected what I got. But I didn’t expect I would get so much, or that it would be as fun and charming as it was.

Let me clarify: I expected a kid-friendly apocalypse, unusual “monsters”, and a heroine who makes the world better by doing what everyone around her thinks is impossible: finding common ground with her enemies. What I got was exactly that, but in a charming, inventive, and enjoyable way.

BREAKING: Cartoons are so much better now than they were when I was a kid. Maybe it’s because modern shows have to compete with video games, so they can’t half-ass it the way they used to? Or maybe the half-assed cartoons are still out there, invisible to an old like me because they’re aimed at very young viewers, but modern creators trust older kids with more complex story lines?

But there’s no way that kid-me would have been offered a show with astronomy-loving wolves lead by a wolf named Billions (voiced by John Hodgman) and a second wolf named Billions (voiced by GZA). Nor would I have gotten a surprisingly good song listing everything the wolves have learned about the stars.

The visuals are solid. The circle of regulars have great relationships. The music is a goddam delight. If you have any stomach at all for kids animation, check this out. The third and final season comes out in less than a month.

BLACK LIGHTNING S3

I was going to keep this to two shows per post, but what the hell.

I also binged the latest Black Lightning season once it hit Netflix. Here’s the thing about this show. The actors are great. The premise of a family with several members having/struggling with superpowers is absolutely solid, and the series regulars have that powerful web of relationships I keep talking about.

Also, the overall plot of the season, involving a government crackdown on the small city of Freeland, where the show is set, is just right for this particular political and cultural moment.

I’ll admit that I’ve mostly given up on the DC superhero shows. At least, the 20+ season, one-a-week broadcast shows like Arrow, Supergirl, or The Flash. Those shows started off with a touch of joy to them. Even Arrow, which was grim from the start, had moments where Oliver used his skills in a way that gave the audience a little thrill. After all, part of the appeal of the superhero genre is power fantasy.

New shows like Stargirl brim with that sort of joy. Doom Patrol subvert the power fantasy expectation in funny and interesting ways. Black Lightning has always done a good job managing the precarious balance between enjoyable power fantasy and credible threat to the main characters.

This third season, with its government occupation, illegal experimentation, and foreign superpowered commandos, leans heavily toward the latter.

Still solid, though. I’m waiting for season four.

Also, in case you didn’t know it, there are only a few days left to pick up ONE MAN, my dark fantasy crime thriller, as a $1.99 Kindle Monthly Deal. If you like books about desperation, magic, intrigue, expeditions to mysterious islands, giant skeletons, people living inside giant skeletons, creatures made of burning iron, vampire hobbits, and also the fear of failing the one person in the whole world who relies on you, take advantage of that deal right away.

Also, redux, the audiobook for Circle of Enemies drops on the 29th. More on that, including links, when I have them.

Binge-demic 2

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Continuing my Binge-demic posts, let me move backwards to the show I watched before Korra.

BURN NOTICE

There was every reason for this show to be a forgettable one-and-done gunfight and bikini action series. It was on the USA network, it’s set in Miami, fills scene transitions with shots of beautiful young girls in swimsuits walking near water, and follows all the Action TV Show Gunfight Rules. 

Some of those rules:

  • Concealment = Cover, except those times when Concealment =/= Cover is cooler.
  • Everyone has terrible aim, except highly trained badasses (and their pals).
  • It’s pretty much impossible to shoot someone while they’re running, even with automatic weapons.
  • Every gunman, no matter how angry, sadistic or psychotic, will give their enemy time to say one more thing before pulling the trigger.

Person of Interest, mentioned in the previous post, had some of this too, but even that show didn’t compare to the number of bullets and bombs unleashed on Burn Notice. 

What makes Burn Notice a great show is, first of all, Jeffrey Donovan. He’s electric in the lead, and to this day I don’t understand how he didn’t immediately pivot to a starring role in something else. Maybe the dude was tired and needed a break. Maybe he found greater creative fulfillment as a character actor in supporting roles, and in a Hulu series that I’ve never had the chance to see. [Added later: he was exhausted when Burn Notice ended. He was in most of the scenes, did a lot of his own fights and stunts, and was utterly worn out by the time the series wrapped.]

The premise is straight forward: Michael Weston was a spy until the CIA burned him, freezing his bank accounts and cutting off all contact. He has lost the work that defined his whole life. The subplot of each season concerns Michael’s efforts to clear his name and get himself reinstated. For the main plot In each episode, Michael uses his skills as a spy to help some ordinary person in trouble. 

That makes it a heroic con artist show with car chases. 

Plus, at a time when Jack Bauer was still running around interrogating people under threat of torture, the makers of Burn Notice put a little more effort into it than that. They made it clear that these weren’t bad guys being bad for good ends. When Michael and his friends were forced to do something terrible, the show never portrayed that as heroic, and the characters always paid a price.

I love the second-person voice over, the split screen sequences, the humor, the whole deal. Gabrielle Anwar is great, once she drops the accent they asked her to do in the pilot. Sharon Gless is great as Michael’s chain-smoking mother. Bruce Campbell is great and also, on occasion, subtle (if you can believe it). 

So great. Love this show.

VERONICA MARS

But not as much as this show. 

I have all of Veronica Mars–original series, film, revival series–on disc, (rare for me–I was never a collector of dvds) and I used to own the two terrible novels. (I donated them to the library, which is how I throw away books.) One of the benefits of watching the discs is that the pilot episode is slightly extended, starting at the no-tell motel (first line is Veronica in voice-over saying I am never getting married.) instead of the school parking lot, and for once the extra scenes don’t feel like a waste of my precious time.

And yeah, that first season is iconic. The pilot has a little too much backstory to set up, and the second episode is marred by a bit of stunt casting, but both are still great. After that, it takes off running and doesn’t look back. 

It was renewed for two more (excellent) seasons, despite being near the bottom of the ratings every year. I sort of hated the way the third season ended, but this was a show that put its characters through the ringer. If the last thing it made me feel was Veronica’s regret at a harm she’d caused that could never be made right, that was perfect for the overall tone of the show.

Then came the Kickstarted movie. The show had been a critical darling and retained a dedicated fanbase, so the fundraising campaign was a rousing success. And sure, people complained that the movie that came out of it had too much fan service, but it would have made a fitting (and happier) ending to Veronica Mars’s story. 

But I guess the success of the crowdfunding campaign convinced someone there was an audience to be micro-marketed to, so we got two terrible novels that did not seem to understand the appeal of Veronica Mars as a character, then a new series on Hulu featuring Veronica as an adult.

Unfortunately, by the end of the Hulu series, every aspect of the original show had been brushed aside except for Veronica’s profession and her relationship with her father. Gone was Neptune High as a place where the young rich collide with the young poor. Gone was unincorporated Neptune, the place without a middle class. Gone was Wallace, Veronica’s first healthy peer relationship on the show, who is left behind in Neptune when she drives up the coast to a new case. Gone was Logan, the OTP that obsessed the most dedicated fans of the show. 

Killing off Logan seems to have squelched any hopes of a fifth season. The fans were furious, and I can’t really blame them. Thomas seemed to think that the romance elements were supposed to be a C-plot, bringing a modicum of soap opera conflict to contrast with the mystery plots. No one seemed to believe Logan could function as a support character like Keith, so out he went. 

Which is a shame. The setting and network of relationships are a big part of what we love about a show. You can’t just strip away that context and expect the character to thrive. If you want a brilliant, tough female private investigator in a new context, create a new one.

But still, Veronica herself is a wildly appealing character. In those first three seasons, she’s not just brilliant and funny, she’s fearless, too. Not, I mean, physically fearless. Threats of violence still terrify her, as they should. No, she’s been socially ostracized and come through it with exactly zero fucks left to give. Even when mortifying things happen to her, she refuses to be made ashamed or to back down.

That’s a powerful thing, especially for people of high school age (and near-high school age). I remain convinced that’s the secret sauce of Veronica’s appeal.

Anyway, I recommend the show, obviously. The first three seasons are genius, and the movie makes a nice little bow tie at the end. And, if you still want more of Veronica and Keith and Logan and Leo and so on, season four is only eight episodes long and has all the brilliance and wit of the previous incarnations, even if it does fundamentally break the old show and create a new one in the last twenty minutes or so. 

Up next: Strange Luck and Kipo and the Wonderbeasts

Also, in case you didn’t know it, there are fewer than ten days left to pick up ONE MAN, my dark fantasy crime thriller, as a $1.99 Kindle Monthly Deal. If you like books about desperation, magic, intrigue, expeditions to mysterious islands, giant skeletons, people living inside giant skeletons, creatures made of burning iron, vampire hobbits, and also the fear of failing the one person in the whole world who relies on you, take advantage of that deal right away.

Binge-demic 1

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Here’s my COVID lifestyle: I wake at 9am, then stumble out of bed for coffee and breakfast. With any luck, this involves some sort of sandwich. I’m a big fan of sandwiches.

Then it’s chores and writing. I’m currently revising The Iron Gate, and if I hit my daily goal, I reward myself with a little writing on something else, like bluebooking for a tabletop rpg or brainstorming The Flood Circle which is the next Twenty Palaces novel. Then, a little reading.

After dinner, my wife and I settle in and watch a few shows. My wife hates binge-watching anything. Occasionally, she will watch two episodes of a show on one night, but I only rarely. Too much of one show bores the shit out of her.

At 9:30, she goes to bed at 9:30 and I get my alone time. Which I need. At the end of the day, when I’m alone in my darkened living room, I binge-watch shows. 

And I feel an inexplicable urge to talk about them. So, for a couple of blog posts, I’m going to write about them, starting with the most recent and working backwards.

Person of Interest:

I was talking about the characters on Person of Interest with someone on Twitter, and I was admiring the way the show used exaggeration in building its characters. Reese isn’t just hired muscle, he was once the CIA’s most deadly assassin, an American James Bond (on a TV-crime-thriller budget). Finch isn’t just a computer guy, he’s the reclusive genius who spent his whole adult life living under false identities and who created an artificial intelligence capable of monitoring everyone on Earth.

Reese knows very little about computers. Finch suffers from an unhealed injury he won’t discuss, which leaves him unable to fight or sprint. So it’s not just that each is an expert in their respective roles. They’re also incapable of filling each others’ roles. They compliment each other perfectly. 

It’s the same for the two cops on the show: Fusco is a corrupt homicide detective under the thumb of other corrupt cops, and Carter is the honest, empathetic one. One is being blackmailed into helping Reese. The other wants to arrest him. Both are extremes and opposites, and that naturally creates drama.

The person I was talking to called the characters archetypes, which I don’t think is a good description. To me, calling a character an archetype is an insult. It means they’re a copy of another thing, not an individual in their own right. If these were archetypes, I wouldn’t like the show as much as I do.

In its first season, PoI plays out as a well-made CBS procedural with an unusual and intriguing premise: A surveillance AI called, simply, “The Machine” sends Finch the social security number of a person who will be involved in a murder, either as victim or perpetrator. The team has to work out what’s happening and save a life, possibly several. There’s no season-long subplot, but the seeds of upcoming subplots are planted here and there.

In the second season, the extended story arcs begin, and by the third season, the show becomes positively addicting. The procedural elements are slowly, season by season, eclipsed by the underlying story of The Machine itself, the dangerous bureaucracy around it, and the battle with a rival AI. It’s tremendous fun.

Normally, I’d suggest skipping ahead so you could jump to the fun stuff, but I already tried that myself. As the show was airing, people in my timeline were praising the second season so I tried to jump in at the third. It didn’t work. PoI trades on the relationships between the characters formed over the previous two seasons, and without that background, it’s hard to care. If you’re tempted to watch this, don’t skip ahead.

I know that sounds like weak praise. “It gets good after [X] episodes” is the death song of many a Netflix show. But the early episodes are very good. The later seasons are fantastic. 

I just wrote way more about this show than I intended.

On Netflix until 9/22. If you’ve never seen it, it’ll take a mighty binge to finish it before then. Me, I have the last four episodes set aside for tonight. 

Before that: The Legend of Korra

I originally let this show pass by because I heard good and bad things about it. Fans liked/hated the main character. They hated that Aang, as a grownup, made mistakes and was not the greatest father in the world/or they were comfortable with that level of fallibility. They loved/hated the pseudo-steampunk setting. They loved/hated the way the show expanded the magic and world-building. So I wasn’t in any rush to watch this.

Honestly, I don’t understand what people are complaining about. I thought it was genius, and I’m currently re-watching it with my wife (one episode a day, as I mentioned above).

It’s gorgeous. It’s funny. The fight scenes are inventive, which is no small feat over so many episodes. Korra herself is flawed in the best way, making the show inherently more complicated and interesting than the original (even if it isn’t as charming). I loved it. 

Of course, the ending of the series is famous now. I knew the final scene where Korra and Asami head off to start their lives together as a couple was coming, but I didn’t know what to expect. When I saw it, all I could think was, “That was it?” Considering the attention that ending got, overwhelmingly but not exclusively positive, I thought for sure there’d be a kiss or something. Maybe just the two characters leaning toward each other, fade to black before their lips touch. 

Nope. This is the level of representation that LGBQ fans had to be satisfied with back in 2014. Just six years ago, it was considered brave and groundbreaking. 

I probably should have watched this before I watched She-Ra. 

Coming up next time: Burn Notice and Veronica Mars

Also, One Man is currently the Kindle Monthly Deal. If you read ebooks and think you’d enjoy a high fantasy crime thriller, check it out. 

One Man is the Kindle Monthly Deal, now only $1.99

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Keeping this one short, because there’s not much to say:

One Man is a Kindle Monthly Deal for September. It’s only $1.99.

It’s a dark crime thriller in a dark fantasy setting, and I think it’s the best thing I ever wrote.

The description:

One Cursed City. Two Dead Gods. Ten Thousand Murderers and Thieves. One Orphaned Girl.

As a child, Kyrioc was groomed to be the head of one of the most powerful noble families in Koh-Salash, a city built inside the skeletons of two murdered gods. Kyrioc himself dreamed of becoming head of the High Watch, the highest political position in the land.

Those dreams have turned to dust.

Presumed dead after a disastrous overseas quest, Kyrioc now lives in a downcity slum under a false name, hiding behind the bars of a pawnshop window. Riliska, a nine-year-old pickpocket who sells stolen trinkets to his shop, is the closest thing he has to a friend.

When a criminal gang kills Riliska’s mother and kidnaps the little girl, Kyrioc goes hunting for her.

He doesn’t care about the forbidden magic the gangs are fighting over–the severed ear of a glitterkind, a creature whose flesh contains astonishing healing powers. He doesn’t care about the bloody, escalating gang violence. He doesn’t care about the schemes of power-hungry nobles.

In a raging city on the verge of civil war, Kyrioc only wants to save his friend. He will risk anything for her, even awakening the powers that murdered the gods so long ago.

“One Man is a superbly realised story set in a rich and fascinating world. The horror grips, the fantasy delights and the characters remain vivid and real to the end. I bet there’s more to come, and I will be reading it.” — Justina Robson

 

Cover for One Man

Get your copy here.

And please spread the word, if you can.

One Man Audiobook Drops in a Few Weeks

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On May 19th, this will be available:

Yep, the folks at Tantor Media have signed on to make audiobooks of some of my work, starting with this one.

Then, in June through September, they’ll be releasing the four core Twenty Palaces novels:

June: Twenty Palaces
July: Child of Fire
August: Game of Cages
September: Circle of Enemies

And once The Iron Gate and The Flood Circle are finished, they’ll be coming out, too, with “The Twisted Path” piggy-backed onto Iron Gate.

So, that’s a lot of my words to put into the auditory centers of your brain. And… that’s it. That’s what I have to say. Audiobooks incoming. I hope you are keeping safe and comfortable.

5 Things Make a Post (nostalgia remix)

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1. Remember the old days when a person would simply turn to their blog and record a bunch of thoughts, instead of giving them away to a profit-free social media company like Twitter? Man, those were the days.

2. I’ve reached a tricky part of The Iron Gate. That’s not a bad thing (the exact opposite, in fact) but this is a part of the narrative where I’m going to be second-guessing myself and jumping around, trying to iron out a decent sequence of events so that things are fun and also cool and also make you want to keep reading. Every once in a while I see writers talk about writing a first draft and just going out with it, and I wish I could do that. Never happen, though.

3. Watched Ernst Lubitch’s final completed film last night: CLUNY BROWN. It’s a rom com that doubles as a satire of upper class British manners. (“Darling, if I trust you now, I’ll always have to trust you. And I won’t.”) Often, when a movie criticizes social mores, it makes itself a period piece. Its much more palatable (marketable) to GREEN BOOK racism than to address racism in the here and now. But CLUNY BROWN, released in 1946, was set in 1938. Anyway, it’s a funny, clever film with terrific performances. Worth watching.

4. Two weeks ago, I asked you guys to please review One Man and my other books, too, and you have really responded. Before I that blog post, sales for all my work on the Kindle store were in the mid-20s. Almost immediately, they jumped to the high 50s or low 60s, and now One Man is only 8 ratings/review from that sweet 100 mark on Amazon. Thank you all. It really makes a big difference to discoverability and to overall sales. If you’ve been meaning to post a review but haven’t gotten around to it, the links at the bottom of the main post should make for easy clicking. Thanks again.

5. My son has been working on a novel and has given me his first draft. It’s pretty good for a first effort, although no where close to ready for public consumption. But every moment I spent doing something other than editing his book or working on my own makes me feel guilty, like I’m slacking off. Luckily, guilt has never stopped me from being super lazy, so I’m going to log off, make a couple of notes about our respective works, and then put in the library dvd for TITANS, which I’ve heard is terrible. If so, I can turn it off after ten minutes or so and never be tempted by it again.

One Man Reviews and Discoverability

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One Man has been on sale for nearly two months, and while sales have not been life-changing, they’ve been holding fairly steady. And that’s mainly because of the reviews.

The reviews so far have been very positive, with a number of people saying One Man was the best fantasy they read all year. To which I have to say:

Wow, thank you.

I spent two years on this book. I’m not what you’d call prolific, and I thought it might be wise to stop trying to be. What if, I thought, I stopped streamlining and started dawdling. What if I gave it extra time and attention to make something complex? What if?

Well, publishers said Meh, which has me thinking that what I want to see in a second-world fantasy is not exactly in the mainstream. (Like all my other books, I guess.) But still! There’s space outside the mainstream if I can connect what I love to the readers who would also love it.

Which is why I’m so grateful for the reviews you guys leave, and why I keep asking for them. Last week, One Man passed the fifty review mark over on Amazon, which is a huge boost to discoverability. Amazon likes to prioritize books that get a lot of reviews, and I’m hopeful that One Man will pass the next level for Amazon’s algorithms, which is 100 reviews. Child of Fire has over a hundred, and so does The Way into Chaos.

However, Game of Cages, Circle of Enemies, and several other works of mine have not, so I have to keep coming here to talk about this and ask you to drop a review if you haven’t already.

Amazon makes that easy. When I enter the book title “One Man” into their search function, the results actually include books with that title. It puts them at the top, even.

It’s different for Goodreads, though. Goodreads’s search algorithm seems like it assumes you don’t actually know the title of the book you’re searching for, and throws up a lot of weird results. For example, when I type “One Man” into a search window, the auto-complete looks like this:

autocomplete includes book titles unlike the search string I entered

What you get before you press enter

I get that Camus is more popular than I am, but are they really putting in a book that I didn’t search for instead of one that I did?

What happens, you may wonder, after I press ENTER to see the results?

Search for One Man, get a lot of books with a different title

It’s like they’re ignoring the title I actually entered.

This shows the scroll bar on the side, and you won’t be surprised to hear that my book doesn’t appear on that first page at all. In fact, it doesn’t appear on pages two through five, either.

The reason I bring this up is that some folks have said they had trouble finding the book on Goodreads, especially when it first came out. You’ll have to throw my name in there to actually find the right page, at least until Amazon brings the search algorithms on Goodreads up to the standards of their online store. Or click this link.

And thank you again for the reviews you have already written. I’m incredibly grateful.

By the way, if you want a direct link to an online vendor to drop a review, see below:

Amazon | Barnes & Noble | iBooks | Indiebound | Kobo | Mysterious GalaxyPowell’s | Smashwords