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Saturday, October 31, 2015

The Memory Keeper’s Daughter | Kim Edwards

“He'd kept this silence because his own secrets were darker, more hidden, and because he believed that his secrets had created hers.” 

Genre: Literary Fiction
Number of Pages: 401
Perspective: Third
Location: Pennsylvania and Kentucky

The Memory Keeper’s Daughter is about a doctor that has to help his wife give birth to their twin babies during a blizzard. When the doctor realizes that his daughter is born with Down’s Syndrome, he tells his nurse —who is in love with him—to take his daughter to a group home. The nurse tries, but decides to keep the daughter as her own. When the wife wakes up, the doctor tells her that the daughter died during birth, but they have a healthy son. We see how this one decision affects these families over a quarter of a century. For a complete summary, you can go here.

I’ll be honest, this book is very difficult for me to review. At some points, I hated it and at other points I was deeply moved and connected to the story. After reflecting on it for a bit, I think that this book was important to society, but it was hard to get through. It’s important to society because a lot of people don’t realize how poorly children (and adults) with disabilities used to be treated. They were seen as defective and were usually given away and ended up in horrible conditions. It is horrific what happened in the story, but I think it will open up people’s eyes to how things used to be and how we can continue to fight for the rights of people with disabilities since they are still not always treated fairly. I do think that Phoebe — the daughter with Down’s Syndrome — should have had more of a voice in this story since she was such a focal point. Instead, we only hear about her through the eyes of other characters. 

This was a hard book to read for a variety of reasons, First of all, it was very dry. It actually took me awhile to finish this book. I would read it a little bit then read another book then come back to it. I probably read five other books in the time it took me to read this one. The descriptions are just too much. There’s no denying that Edwards is a talented writer. She really does have a way with words. Her scene descriptions really make you feel like you are watching the story as a movie, and that literary skill tends to be pushed aside in the fast-paced style of most modern readers that want the writer to just “get to the point”. But this style is very difficult, and time-consuming to read. It’s not a book that you can binge read in a day or two. 

It was also hard to read because of the content. The whole story is just sad. Period. At some points, I felt sympathy for the characters, and there was even some sense of hope and resolution at the end, but mainly it was sad. The doctor’s decision in the very first part of the book affects him, and everyone around him, their entire lives. This book spans across a quarter of a century, so you can really see how one decision can ruin everything. But you also have to wonder how they would have turned out differently if he made the opposite choice because he thought his choice would have the better outcome. 

This is certainly a book that will make you think, and will make you feel many different emotions. But prepare yourself for a long, drawn out journey with all of these characters. If you are interested in buying the book, you can buy it here. After you have read it, leave a comment and let me know what you think! 

“A moment might be a thousand different things.” 

 3/5 Stars

*****

o Amber Gregg

Friday, October 30, 2015

Something Different, Something New

This is a guest post by Ryan R. Reilly.

I love to write. I love creating worlds, populating them with characters, and throwing those characters into overwhelming situations. As a fan of this website, I'm assuming that you love reading, and that it is quite likely that you have a passion for writing, too. Like me, you probably have a favorite genre, the one that draws you in and refuses to let you escape. For me, that flavor is fantasy. High, epic, urban, paranormal, adventure... give me some level of fantastical make-believe, and I am deeply engrossed. I will stray occasionally—dabble in a little sci fi, court some historic thriller, dance with a bit of contemporary fiction, and even dive into a sampling of sports science—but I always find myself enthusiastically running back into the realm of fantasy.

That said, in recent years, I have stepped outside of my comfort zone of fantasy novels and attempted to write screenplays and graphic novels, and let me tell you: those things are hard. It is easy to criticize a show or movie from the outside looking in, but when you get into the writing trenches, it is a whole different animal! The number one rule for either medium is show, don't tell. Comics give you a bit more freedom through the use of narrative boxes and internal monologues, but screenplays—good screenplays—do not benefit from the same tools. Certainly, a character can have a voice-over and an exposition can feature on-the-nose explanation for setup, but if done wrong, those things can backfire in a big way.

A few years ago, I collaborated on the screenplay for three episodes of a television show (as well as a script bible, season outline, and a few other broad stroke accessories) with my best friend, Bill. We had the concept, but once we started writing the script, things got hairy. The story centered on a superhero with desire to join a big time super team, and he found himself getting his foot in the door via less-than-admirable means. Bill and I argued over so many aspects of that initial script. We fought over the use of voice-over to explain our protagonist's motivation; we rallied against each other over Tarantino-esque dialogue to move the story forward; we even pushed back and forth over scene descriptions! Somehow, despite all this, after some compromise and three drafts, we had a script we were proud of and a direction we agreed on. (Eventually, we will wipe the dust off what we worked on and try to get this thing made, but that is a tangent for another time.)

As a writer, sometimes the best thing you can do for yourself is play in a different park. Take off the novelist hat and try your hand at poetry, scripts, or even songs! The rules and expectations are different, and the experience can only make you better at your craft. If you love writing dialogue, try writing that same scene with your characters not saying a word. If you write everything in third-person, try your had at a little I- and you-driven prose. Jump into a different medium and give a shot at a stage play. It will be frustrating, heartbreaking, and absolutely maddening... but it will also be a load of fun, like a writer's vacation! 





Ryan R. Reilly is a man of many hats: writer (obviously), musician, audio engineer, animator, rugby hooker, personal trainer, dog lover, and firefighter. A Deep Dark Pit of Despair, the first novel in his Pirate in Theory series, is available online wherever fine books are sold. For more of his ramblings, check out www.RyOfAllTrades.com.

Thursday, October 29, 2015

Q and A with Author Phil Harvey



Phil Harvey is an award-winning author, philanthropist and libertarian whose stories won a prize from Antietam Review and were nominated for the Pushcart Prize. His dark fiction and controversial ideas have broadened debate on violent entertainment, relationships and sexuality. At the core of his fiction stand the motives, methods and goals of the characters. Here he talks about his latest novel Show Time and the release of three new collections: Wisdom of Fools: Stories of Extraordinary Lives, Devotional: Erotic Stories for the Sensual Mind, and Across the Water: Tales of the Human Heart

Your three new books are collections of short stories in which characters touch something important in themselves or in others. 

The centerpiece of my fiction is always the individual. I like to put characters in demanding physical/psychological settings that force them to respond. Frankly this saves work and imagination because some responses are fore-ordained. Other ideas come from experience. Fly fishing. Sex. Upbringing. And so on. Some ideas even spring from other books. Really, the stories run the gambit. A few end in death, one in time travel, a few in redemption.
Show Time engages with seven people and their idiosyncrasies, lust, belligerence, and desire to survive. How they are attracted to each other, how they fight with each other, how they sometimes undermine and then strengthen each other. They boil, they confer, they fight, they make love—but overall, they must survive. 
For all my characters, life goes on but is changed.

Tell us about Show Time. The novel challenges seven reality show contestants with the possibility of starvation or freezing to death. 

My book explores the use of violence and death as entertainment. We already have real-world examples like the potential fatal violence that helps fuel the popularity of car racing. We like violence. It fascinates us. That’s why it leads the news every night. My idea is that policymakers someday will, perhaps without knowing it, encourage certain kinds of violence to keep people satisfied. Presidents like wars—even though they won’t admit it. Wars unify us. We always support the troops. So deliberate steps to encourage controlled violence are not so farfetched.

Your fiction is occasionally threaded with darker impulses. Why delve into the shadow side?

A wise writing instructor once said, “People don’t read nice. It puts them to sleep.” 
I write dark-side fiction because that’s the only kind people read. I am not especially interested in venality, violence (which I really do not like), human weakness, etc. but these are essential elements of fiction. Of course we’re all fallible, and some of my fiction reflects this theme. 
In Show Time, the producer arranges for a murder to happen on the show because her entire focus in life is on her ratings. Nothing else matters. We humans can get blinkered that way and occasionally take desperate measures to keep things on track. That’s true reality. But overall, I write in this vein because it is artistically satisfying and readers demand it. 

In Beena’s Story an Indian woman is disfigured by acid, in Virgin Birth a surrogate mother is attacked, and Show Time explores personal and social violence. How do you address violence without becoming graphic?

Writing that is too graphic turns people off. Different readers (and writers) have different limits; mine are probably about average. Some would say I’m too cautious but bodies run through and guts spilling out simply seem unnecessary and distracting. It comes down to a matter of style. A very clear case is the “cozy.”  There’s always a murder but never a body.

These three new books include one that has a more erotic tone yet you don’t shy from sexual activity in stories that aren’t specifically erotic. Is there a line here, too? 

As to sex, I think I provided the appropriate amount of detail in Show Time and, very differently, in Vishnu Schist, Swimming Hole, and Devotional. Sex scenes can be sexy, even graphic as in Devotional, but clichés must be avoided like the plague. In Charlie Stuart’s Car got a little close to that, I think. I’ll let readers decide. 

How do you align your dark fiction with your Huffington Post article about the world getting better?

The reality is that dark impulses, especially violence, will always be there. The world is getting better in part because we are learning to curb our natural violent instincts. We sublimate by watching violent sports. Boxing. Football. NASCAR. We punish. Murderers and rapists are jailed. And so on. 
Backing this up must be the rule of law. People are capable of unspeakable horrors. And that includes nice, civilized people. See the enforcers of the Holocaust. See Uganda. See North Korea. The fact that the government has a monopoly on legal violence (wars, executions, etc.) is a good thing. The great majority of citizens want violence curbed, and only a governmental entity can do that consistently. 
So, yes, humans will always love violence (see video games), and in the societies that function best, violence will be sublimated. Hence my novel Show Time. Hence my short story Hunting Dora. 

You support the rule of law but some of your stories demonstrate abuses of power. Should readers beware authority?

No society can exist without rules that prevent people from harming others. But the government can be a poor purveyor of justice. Where’s the justice in the War on Drugs?  Where’s the justice in taking (by force) billions from hard working taxpaying Americans and giving it to rich farmers and agricultural corporations?  And on and on. 
The government is necessary for some things, and I appreciate that. An army. Rule of law. Enforceable contracts. But it is not such a stretch to depict the government as complicit (behind the scenes!) in a brutal scheme to satisfy Americans’ lust for violence as in Show Time. Readers should worry, because government’s perfidy is backed by government force. The worst perpetrators of violence have been governments. Stalin. Mao. Hitler. Pol Pot. Dystopian fiction is perhaps popular because in the digital age it seems more feasible. Big brother is watching. 
On the other hand, people are generally very good about making decisions for their own lives. Over two centuries or so we’ve seen that life can be pretty successful and satisfying in democratic, free market societies. That’s why messy democracy is so terribly important. 

What’s the takeaway for readers of your fiction?

I would hope they have journeyed to a place they would not have seen without the novel or one of the stories…that they experienced it and enjoyed being there, became engrossed, and had the pleasure of a good read. I always welcome emails with serious and thoughtful questions. I invite readers of Show Time to think about the complexities of violence. Perhaps this is worth considering: “War unites us. Love divides us.”

It’s interesting that some of your stories revolve around activists. Your own efforts range from philanthropy to utilizing social marketing to distribute birth control, yet some of your characters view “do-gooders” with sharp cynicism. 

We compassionate humans so love to think highly of ourselves that we do “good” things without using the brains god gave us. For a decade the U.S. sent huge amounts of grain to India. Result: Indian farmers couldn’t make a living, Indian agriculture stagnated, Indians were generally worse off than they would have been without our “help.” 
Doing stuff that feels good instead of stuff that will acutely help is something I really abhor. Feel-good giving is self-indulgent and occasionally cruel. It’s great to feel superior to that panhandler on the corner, so give him a dollar (and assure the future of panhandling) and think how morally superior you are. Whatever you do, don’t think about how you could actually be helpful. Not emotionally satisfying!  
So the cynics in my stories are right, only it’s not really cynicism. It’s clarity. It’s intellectual integrity. If you want to help people then empower them to take control of their lives. And don’t expect gratitude. You’re doing your job; they’re doing theirs.

What’s next for you?

My most promising novel is Just In Time, in which a Wall Street trader is deposited back in the Pleistocene era. The other, Indian Summer, follows a Peace Corps volunteer’s transformation fighting famine in India during the 1960s. I plan to write more short stories focused on the transformative powers of sex and alcohol. 
As for myself, I will continue enjoying my married life, being a stepfather, and nurturing my very promising grandkids. And, of course, I’ll continue organizing projects that promote civil liberties through the DKT Liberty Project, work to end the War on Drugs, and debunk yahoos who ignore the reason and science behind immunization and the genetically modified crops that can relieve suffering worldwide.

o Amber Gregg



Wednesday, October 28, 2015

I Need a Hero | Emma Bennet

“In fact, she was rapidly coming to suspect her fictitious image was just that, and it didn’t quite fit with the real [him] at all.” 

Genre: Contemporary Romance
Number of Pages: 163
Perspective: Third 
Location: Great Britain 

I Need A Hero is about Bronte, a writer of popular romance novels, so she has a very strict idea of who her real life love interest should be. When she finally meets her storybook hero, she realizes that maybe her idea of romance is different than what she writes about in her books. For a complete summary, you can go here.

How was this book only 163 pages? I read this book on my Kindle—which I hate to do, but sometimes I have no choice if that is the only way that the publisher is offering the book—so I had no idea how many pages this book was until I just looked it up. That was the longest 163 pages I have ever read. I should have flown through this book, but that was not the case. 

This book wasn’t bad, but it wasn’t great either. I was intrigued by the concept, but it still ended up being pretty predictable. The ending was so blatantly obvious that I wanted to shake Bronte because she was obnoxiously oblivious to what was going on around her. 

This book also felt very staccato. Just a bunch of sentences strung together. Everything was described as this happened then this happened then this happened. I didn’t feel like the world building and story telling was as strong as it should have been.

With that said, it was a cute story and I still think its worth a read for people who enjoy love stories. If you are interested in buying the book, you can buy it hereAfter you have read it, leave a comment and let me know what you think! 

“Maybe your hero isn’t right for your heroine.”

3/5 Stars

*****

*Disclaimer: I received a free copy of this book, but it did not impact my review in any way.*

o Amber Gregg



Monday, October 26, 2015

Make an Unreliable Narrator Work for You

This is a guest post by Samantha Saboviec.


I love unreliable narrators—those characters that tell you part of the story and leave you to your devices to figure out what’s actually true. Some of them lie on purpose, such as in The Usual Suspects. Some of them accidentally lie because they want you to think well of them, such as in Lolita. Some of them have no idea that they’re not telling the truth, such as in The Sixth Sense or Fight Club. But all of them have one thing in common: you, the reader/watcher, has to decide for yourself what’s true and what’s not.

I recently read a book that employed the use of an unreliable narrator, Liar by Justine Larbalestier, a YA contemporary. At the end, I was mad. Yes, mad. I felt cheated. I don’t give out one star lightly, but I finally did to this book, after contemplation and several conversations with others who hadn’t even read it.

Why?

Among other things, Liar does not employ the one thing I believe is important for the unreliable narrator: a way for the reader to discover the truth.

The beginning of the book was fun. It was a game. What’s this narrator, a self-proclaimed pathological liar, really saying? What parts of her story are true and which are made up? Have I guessed her secret or am I completely wrong?

Halfway through the book there’s a big reveal that ends up making me hate it for a different reason (namely, genre shift without warning—you can read Goodreads reviews if you’re interested in more, but I won’t spoiler it for you). Despite my “What is this train that just ran over me?” feeling, I slogged on toward the end. In fact, I was more committed to finishing it because I wanted to find out what happened. I hoped beyond hope that that this “twist” was more lies.

Nope. The ending was even more disappointing. Assuming that the narrator finally told us the truth—by telling us we shouldn’t assume something and thereby revealing what actually happened through the lens of another lie—it wasn’t fun because nothing that happened in the book previously had hinted at it. I couldn’t reframe what I’d already experience. The entire book was 100% fabricated.

The great thing about the movies and books I mentioned earlier is that at some point, you’re able to figure out the truth. Whether it’s a big reveal, like in Fight Club, The Sixth Sense, or The Usual Suspects, or a series of small claims that just can’t be true, like in Lolita, you see each scene in a different way than what the narrator wants you to see it. “Oh!” you exclaim, “so when he was in the restaurant and his wife snatched away the bill, it’s because she couldn’t actually see him!

That’s fun. That’s why unreliable narrators, especially ones who have a big secret I don’t know about the entire book, appeal so much.

It’s also why the “and then I woke up” ending doesn’t work. It’s not simply because it’s an overdone cliché in children’s stories. It’s because we don’t want to be tricked—we want to be cleverly tricked. And with Liar, we’re not cleverly tricked. We’re told everything was made up.

So, I’d like to know, what’s the point of that? A novel is a fabricated story to begin with. I want a fabricated story that I can see truth in.

Unreliable narrators aren’t easy to write, but in the end, I think well-done ones are worth it. Have you ever tried writing one? How did it turn out?



Samantha is a self-published author whose dark, thought-provoking science fiction & fantasy contains flawed, relatable characters and themes that challenge the status quo. Her first release, Guarding Angel is available at several major eBook retailers and on Amazon in paperback: Kindle | Kobo | Nook | Google Play | Paperback (Amazon) | Goodreads. The sequel, Reaping Angel, will be released in early 2016.

You can also follow her on social media: Twitter | Pinterest | FaceBook | My newsletter (No spam!).

Sunday, October 25, 2015

The Fixer: The Naked Man | Jill Amy Rosenblatt

Genre: Mystery/Chick-Lit
Number of Pages: 122
Perspective: Third 
Location: New York

The Fixer is the first novella in a series following Katerina. She is struggling to pay her bills and tuition for law school, so she finds herself working in a private concierge position that makes her tons of money, fast. But the catch is that she has to do services that no one else wants or is able to do. For a complete summary, you can go here.

I really loved this book! It was a great speed and had enough description and action to keep me engaged the whole time. I was actually planning on giving this book five stars, but I really hate books that force you to read the next book by leaving huge cliffhangers. My opinion is that books in a series should leave one loose end to be tied up in the next book to keep readers wanting more. But this just felt like I only read the first half of one book. There were no resolutions or answers. By the time the next book comes out, I will forget all about this book and I will never really know what happens. This is especially annoying for a mystery book. That genre relies on the ending to tie everything together and to give the reader an “ah-ha” moment. Plus this book was only 122 pages. I felt like another 50 pages could have sufficiently ended the book, but still persuade the reader to go on to the next book in the series. It just really felt unfinished and frustrated me. 

With all that said, the part of the story that I did get was amazing! I like how the men in Katerina’s life seem like a metaphor for who she is. There is her ex-boss/hook-up that represents the person she hates, but is becoming herself. Then there is her new love interest that represents who she used to be, and perhaps still wants to be. And then there are a few guys that are helping her in this transition from “good” to “bad”. 

I also really love the theme of ethics and morals throughout the story. Where is the line drawn, and what dictates what is good and bad? 

If you are interested in buying the book, you can buy it hereAfter you have read it, leave a comment and let me know what you think! 


 4/5 Stars

*****

*Disclaimer: I received a free copy of this book, but it did not impact my review in any way.*


o Amber Gregg o













Q and A with Author Jill Amy Rosenblatt


Hi, Jill! Thanks for joining me. What is your favorite theme/genre to write about?

I seem to be drawn to the theme of growing up/growing older/growing wiser. I’m very attached to the idea of a character going through a definite arc of change through a story and being able to look back and see this character at the end of the book is very different from Chapter 1. The Fixer: The Naked Man is the start of Katerina Mills’ origin story, so expect that she is going to go through many trials by fire before it’s all over.  As far as genre goes, I’ve written chicklit (Project Jennifer), drama (For Better or Worse), and now suspense. One constant through all of the genres is I do try to add a bit of humor when and where I can, if I can. 

Where did your love of writing come from?

My mom. She passed it down to me in a gene. My mom is amazing. She’s so smart, talented, and creative. She has always been and is a huge reader. She is 
always honest with me about my work, and she is a wonderful editor. 

Reading and writing do seem to go hand-in-hand. What was the hardest part of writing The Fixer? 

This book has been a pleasure to write. I don’t think I’ve ever enjoyed the process as much as with this book. If I had to pick something, I would say the most difficult part of the writing was to make sure I kept detailed notes on all of the plot points and character descriptions/traits. There are some plots that will continue into the next books in the series so I have to make sure I am consistent.

That does seem to be the hardest part about writing a series. What did you enjoy most about writing The Fixer? 

Everything! I have gotten so attached to these characters that I wish I could write faster and see the whole series on paper already! The experience has been wonderful and I’m very grateful for it. It’s hard to explain and sounds very strange but my overactive imagination has been running amok with these characters and sometimes I feel like I’m just the typist taking everything down! I always do research when I write and the research has really helped the ideas flow. The plots and characters are coming together. I’m quite amazed by the whole process, really.

Do you write every single day? 

I don’t. I wish I did. There are some days when I just think about the series and I write down ideas, bits of scenes, and dialogue. Some days I will do research and read articles. However, if I don’t write for two or three days in a row, I become irritable and annoyed and I have to get back to it. I always feel better when I write. 

How hard is it to establish and maintain a career in fiction writing?

That’s a tough question to answer, because self-publishing has opened up a whole new world of possibilities. When I wrote Project Jennifer, self-publishing wasn’t quite as huge as it is now, so back then, I think the answer to that question was very difficult. I think if a writer can introduce readers to the character, and the character and story resonate with the reader, then it’s possible to begin to establish a career. 

When did you realize you wanted to be a writer? 

In my early twenties. My first love is screenwriting, because I was always a huge tv and movie watcher. I spent my twenties working on screenplays. Finally, I put that aside and moved on to writing books. 


o Amber Gregg



Saturday, October 24, 2015

Q and A with Author Heather Demetrios


Thanks for participating in this discussion, Heather! What are your ambitions for your writing career? What would your career look like in an ideal world?
I’d like to be part of the YA canon, with at least one book that stands the test of time. Of course, I'd love all the awards, too! I like straddling that line between literary and commercial, so I really just want to keep writing the books I want to write for, you know, the rest of my life! 
Well you did win my Best Book Award ;) Which writers inspire you?
Walt Whitman is my favorite poet and I go to him when the well runs dry. I really enjoy reading Laini Taylor for fantasy and E. Lockhart for contemporary. Writers who write both contemporary and fantasy – like Libba Bray – also inspire me, since that is what I do. 
Some people say that all stories are inspired by real experiences. Were any of the events in your books inspired by your own life? 
I think there’s always a little piece of the writer in whatever book they’re working on. I’ll Meet You There is my most autobiographical in that my dad is a Marine who suffers from PTSD. I’m also a lot like Sky in that I was an artist stuck in a small town. With Something Real, I was very much like Chloe in that I want to travel the world (33 countries and counting!). And Exquisite Captive is set in LA, where I’m from, so all my favorite places are featured there, as well as countries I’ve traveled to. 
Wow! You've gone to so many different places! Give us an insight into how you create your main characters. 
I just start writing them and let them tell me who they are through scenes. I also like to use Pinterest to develop the world of the story. (HDWriter is my Pinterest name).
I've never considered using Pinterest for story development. That's a great idea! Your stories touch on really serious issues without making the whole novel seem dark and dreary, especially I’ll Meet You There. How do you accomplish that?
I’m a sucker for good romance and I think that brings the lighter side to these novels. It can’t be too dark with romance between characters who really want to make it work. 
Something Real is about the harsh realities of reality TV. Do you have any guilty pleasure reality TV shows that you watch?
When I was living in Korea (as an ESL teacher) I got really homesick and would watch America’s Next Top Model, since it was one of the only shows in English on TV. I don’t watch reality TV, but I love UnReal. 
ANTM was also one of my guilt pleasure shows. How much research did you have to do before writing your books?
I had to do a lot for I’ll Meet You There. I interviewed several Marines and Soldiers, as well as read a lot of non-fiction and online articles in order to capture the war properly. My husband is an actor, so he helped me with all the filming stuff in Something Real. With Exquisite Captive, I did a ton of research about jinn mythology and traveled to Morocco for Book 2. 
How do you pick names for your characters?
They honestly just come to me. 
What are you working on right now?
I’m working on my next contemporary. It’s called Bad Romance and it’s about an abusive high school relationship. Very autobiographical! I’m also working on my new fantasy series, which is set in a Gotham/Hong Kong city with fashion and music from the 1930’s. Magic, mobsters, and mayhem! 
I can't wait to read those! What draws you to young adult books?
I love that they chronicle “firsts” – first love, first kiss, first everything. I also love the hope in them-they’re not cynical. 
Is that also your favorite genre to read?

Yes! I mostly read YA and the occasional adult literary novel. I also love craft books. 

Why do you write? 
Because I can’t not write. It’s who I am. I literally feel unwell when I don’t write, like physically. It’s a real thing. 
What is the hardest thing about writing? 
Writing!  No, the hardest part for me is when it’s not flowing. Some books are harder to crack than others. 
What is the easiest thing about writing? 
Living in my imagination. 
What book/s are you reading at present? 
I’m reading my dear friend Lisa Papademetriou’s book, a middle grade called A Tale of Highly Unusual Magic – delightful! I’m also reading Natalie Goldberg’s Writing Down The Bones, a great craft book. 
I'll add those to my "To-Read" list! Do you have any advice for other authors? 
Write every day and know even the most seasoned writers have crappy first drafts. Also, read!
How can readers discover more about you and you work? 
They can check out my website: www.heatherdemetrios.com
Thanks for being a part of this Q and A! Good luck in all of your future writing!
o Amber Gregg



Check out my reviews of two of Heather’s books!