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Jun 17

Historical Fiction Writer Ellen Brazer Visits with Mike Angley

MA: I’m joined today by author Ellen Brazer. Before getting published, Ellen did just about everything but write. She was in business. She worked for the State of Israel, and she was involved with the community. She actually did not begin to write seriously until she was in her forties. So tell us, Ellen, with no real writing background, how was it that you came to pen novels?

EB: I was waiting for some medical test results to come back. I was extremely successful in business when I was very young and while waiting for that phone call I asked myself what mountain had I yet to climb. The answer for me was writing a book. I have a dear friend who is a Pulitzer Prize winner. When I wrote my first draft of Hearts of Fire I pressed the Caps Lock key on the computer and wrote the entire first draft in capital letters with almost no punctuation. It was my writing friend who said, there is something here and you must keep going. That first book took me 10 years to write. The manuscript went from under the bed to the closet and then back under the bed again. A doctor friend took it on a ski vacation and he was the one that finally got me to become serious about getting the book published.

MA: I can’t even imagine going more than a full sentence with the Caps Lock Key on! Tell us about what you write.

EB: I write historical fiction. Let me tell you about Clouds Across the Sun. Before the end of WWII, Hitler charged a group of his most trusted and brilliant comrades with a mission—educate your progeny and then elevate them to positions of power throughout the world. Steeped in fact and impeccably researched, Clouds Across the Sun is the story of just one of these children.

From Naples, Florida, New York City, and Washington D.C., to Israel and then the killing grounds of Vilnius, Poland (Lithuania) this story is one of great romance, discovery, redemption, and enlightenment as Jotto Wells unravels the intrigue surrounding a plan to take over the government of the United States.

MA: How did you develop your characters? Was there a great deal of research involved into the lives of people from this era?

EB: I am not sure as writers that we develop our characters. I think they are born to the page and then they develop us. Whenever I have a new character I find myself sitting back and watching their personality emerge. Sometimes I have to rein them in when it feels like they are doing something out of character but most of the time they are in control of me. In Clouds Across the Sun I have more than one protagonist and I was always amazed that they each had their own distinct voice.

MA: More than one protagonist? Tell us about one of them.

EB: I will focus on Jo for this question. She is very independent and self-assured. As the first woman Senator from New York she is intelligent and opinionated. Her greatest weakness is that she falls prey to her family’s influence over her.

MA: Any unique antagonists, other than the obvious?

EB: I think I do bad guys really well and in this book there are some really evil people. When creating an antagonist in the Holocaust time period it is challenging to show all sides of the personality. My antagonist is a Nazi doctor from the Concentration Camps. We see him as a dangerous monster but we also see him as a loving father. The danger is constant when he comes to America after the war with one goal: placing someone under his influence as President of the United States

MA: Do your novels ever fool people into thinking more of the fiction is actual fact?

EB: I write historical fiction that is so based in fact that when people finish my book they tell me that they are chilled and always ask themselves: Could this happen? Is it happening? I talk about IBM, The Red Cross, Hitler and Henry Ford’s close friendship and how the U.S. allowed thousands of known Nazis into the U.S. in exchange for information about our new enemy, Russia.

MA: Interesting…so what’s next?

EB: I am writing an historical novel that takes place in the year 135 of the Common Era. It was a time period when the Jews believed that Shimon Bar Kockba was the Messiah. Following him, they managed to defeat Rome and for a three year period Israel was under the control of the Jews. And So It Was Written is the story of two brothers, one who becomes a famous physician in Rome and the other becomes a commander in the Jewish army. There are some very unique and controversial elements to this book that I am keeping close to the vest so stayed tuned. I am in the process of rewriting and I hope to be finished within the year.

MA: Well thank you, Ellen. I encourage everyone to visit Ellen’s website for more information: http://ellenbrazer.com/Home_Page.html Read More

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Jun 02

First Formal Review of “Child Finder: Revelation” by Joyce Faulkner, President of the Military Writers Society of America (MWSA)

Child Finder: Revelation, the third in award-winning novelist Mike Angley’s Child Finder Trilogy, lives up the promise of its two predecessors and then trots another mile down the road. Back are the protagonists readers have come to know and love―synesthetic psychic Pat O’Donnell and family, John Helmsley, General Swank, and Woody Davis. This time, the good-guy cast includes such luminaries as the President of the United States and the Pope. The antagonists aren’t just any old kidnappers or run of the mill psychopaths. Lurking stage left is North Korea’s Dear Leader and his minions. At stake are the lives of two precocious, psychic little girls―twin daughters of the US Ambassador to South Korea.
Like Angley’s prior volumes, Revelation is filled with secrets―codes, equipment, paint, airplanes, weapons, abilities, and adventures. The characters are both tough and sensitive. Their stories explore the usual thriller theme―good and evil. Their battles are cataclysmic, their issues primeval. It’s the stuff of superhero action movies with dark undertones.
Don’t let the drama fool you.
Angley’s story explores politics and religion with the same sense of fun and what’s-under-the-lid excitement as Steven Spielberg did with Close Encounters of the Third Kind and E.T. Who are these girls? Why do they matter so much that the President is willing to risk Pat―an important resource for the US (and all mankind)? Why do they matter so much that the Vatican gets involved? They are so cute, so sweet―so adorable. But they are just little girls―aren’t they?
Readers are seldom treated to such a clever, thoughtful and intriguing tale. The suspense takes two forms―action and philosophy. I mean it―philosophy. Not just the who, what, when and where of things, but the why. For those of us who seldom go through a day without pondering the mysteries of life, Angley’s sojourn into alternate possibilities is delightful. In particular, I love the short discussion about fiction toward the end of the piece. I have always found fiction to be the more eloquent genre―because the author is free to interpret his message―and to offer his version of the world to the reader as entertainment. Angley’s coy suggestion that the classified Level 4 secrets revealed to Pat O’Donnell are really true makes the reader chuckle but five minutes after finishing the book, persistent thoughts tease the cerebellum like feathers tickle the nose. Could it be? Let’s see what Google does say about The Speech of the Unknown….Hmmm. Read More

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Mar 02

You! Hey You! You…Are the Book Promoter…Wise Words from Mary Deal

You, the Book Promoter
Mary Deal

One sure fact you hear about the writing industry is that writing the book is 10% of the work while promotion takes the remaining 90%. Knowing this, it’s best to be prepared beforehand, having a clear picture of what’s expected of you, the author, if your book is to sell.

With the advent of print-on-demand, if you do not do any advertising and promotion, you may not end up with the proverbial stack of unsold books in your garage. However, you will notice that your sales figures never climb out of zero and your royalty checks are non-existent.

Something else you may have heard about this business is “Write the book first.” While I agree that you must have the finished product in order to promote, once that book is in its final stages and moving through the publishing process, little time remains to learn even the basics of promotion. So while you write your book, have numerous questions in mind that must be answered:

Which publishing format should I use – print-on-demand, self-publishing, or…?

Should I try to get a literary agent to represent me?

Which publisher should I consider?

What audience do I intend for this story?

How do I reach them?

Do I need a website?

A blog?

Should I join social sites?

Will my close friends and relatives spread with word about my book?

Should I write articles and get them posted on various blogs?

Do I have the funds it takes to make my book a success?

Do I have a list of magazines and newsletters for mailing review copies?

Do I need bookmarks, business cards, post cards, flyers, posters?

How do I set up book signings?

Should I contact various media? Which ones?

Do I know media protocol?

Do I know anyone from the local newspaper?

Many questions will cross your mind as you research all that is necessary and answers will come as you immerse yourself in the writing industry. As you meet people across the Internet, even in your own community, you may learn of one person’s success. Investigate their history and techniques in selling their books. Befriend them, if possible, especially on social sites.

The questions asked above should give the prospective author an idea of what it takes to promote a book and rack up sales. But still, so much more needs be learned. This list is in no particular order because that’s the way the questions will present themselves to you. You will, most likely, know when to handle each one over time.

Many of the topics mentioned in this list are discussed separately in other articles. However, as you write, make notes of things you need to know. Spend some time each day researching just one aspect of book promotion. Over time, you will gain solid knowledge of just what it takes to make your book a success.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Nov 24

“Plot Elements” by Mary Deal

Plot Elements


Mary Deal

Plot elements are always the same when writing any story through the stages of writing development. This includes when writing creative nonfiction.

If you are adept at summarizing stories, I doubt you will ever find stories where any of the points listed below are missing.

Analyze some of your own stories. Notice if you, too, have included each of these elements in your writing.

If any of these elements are missing from your stories, chances are, it will be a story you felt you weren’t ready to sell or publish because something “wasn’t quite right.” Check the stages of writing development of your story for plot elements.

The list below shows the major construction blocks and the order in which they will happen as a story progresses.

Set Up (Want): The protagonist’s or characters’ needs

Rising Action: What the character does to reach his or her desired goal

Reversals (Plots Points): Something happens to the character to thwart him or her achieving their heart’s desire. Either right choices or mistakes are made by the character.

This is one of the areas that allow you to take your story in a new direction from what the character had intended. This is a major portion of the story because your character should be headed toward his or her goal when an occurrence stops them cold.

This will be the lengthiest of the stages of writing development. This section is considered the middle of the story. You’ve heard people refer to “sagging middles?” A sagging middle means the writer did not keep up the action going through the middle of the book. An attention grabbing beginning falls flat when the excitement fades in a dull sagging middle. Then while slogging through a questionable middle, the reader may never make it to the climactic ending.

Recognition: The character realizes what he or she must do, how they must change, in order to overcome their mistakes and achieve their goal(s).

This is one of the plot elements that bring about an Aha! experience. However, the character may not always make the right decision for change.

The Recognition portion of plot elements is NOT the climax. Do not confuse recognition of a problem with the climax of a story.

This is another of the major story building points. Perhaps the character still insists on pursuing what they set out to achieve, in spite of receiving great setbacks. Then finally, once they acknowledge that they need to make changes, those elements and change need to be developed.

This is the second lengthiest of the stages of writing development. Now the character must not only right the wrongs, but also forge ahead to heal the situation.

Climax: The climactic – or at least surprising – result of the action, or where the character ends up, what situation they find themselves in, embroiled or accomplished.

This is also the lesson of the story, the message or metaphor that you, the writer, hope to accomplish by writing the piece. You need not incorporate a moral or ethical message in your stories. However, as you move your characters through their story lives, you inadvertently give the reader a lesson in right and wrong.

Plot elements say this portion of the story should be quick, for added impetus of the realization. It brings the story to a close.

Denouement (Sometimes optional): Of the plot points, this is the lesson learned by the character(s), the after-thoughts, from the character’s choices made in seeking their desire.

If the character happens not to realize his or her mistake, then this is the place where the reader will understand the result of the character’s actions, no matter how naïve or in denial the character remains.

Plot elements are easiest to build in longer stories such as novellas or novels, and creative nonfiction. The length of the story dictates how much time and verbiage can be allotted to developing the steps of the story.

In short stories, the writing is controlled, dependent upon the length of the story. Short stories need to be, at times, punchy, quick. It’s a nice test of making use of fewer words while utilizing all the plot elements.

In building a story through the limitations of Flash Fiction, you will see just how adept you’ve become at writing when you can incorporate all of the above plot elements in very few choice words.

However, do not be mistaken by thinking that in a full length novel you can use more words, take all the time and use all the verbiage you need to make your story work. Novels and long works need just as much attention, if not more, to writing lean as any shorter stories.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Nov 17

From Soup to Nuts…”Parts of a Story” by Mary Deal

Parts of a Story


Mary Deal

Parts of a story can be seen as action scenes or major scenes tied together with other action. They can also be seen simply as beginning, middle, and ending.

Tips for writing a story are many and varied. I’ve put together some suggestions that will help you analyze your own story plot. Or you may finally be able to get your story started. You’ll be writing a book before you know it!

These suggestions apply to any stories of any length. The only difference is in genre.

In fiction, you may lead your characters to do whatever the story dictates.

In nonfiction, you will have the usual beginning, middle, and ending, but you cannot manipulate occurrences since they actually happened.

Paying attention to the details given below can help you put your own story together. Other articles on this site will cover many more aspects of building a short story or novel.

The suggestions below apply to plot action and holding a reader’s interest. Building characters, a scene, or settings will be covered in other articles.

Here then, discussing parts of a story, are some valuable tips for writing a story, or for writing a book.


Always, that’s ALWAYS; remember to include the five senses in all parts of a story.

Most always, you will write the story from the point of view of your main character’s five senses. If any other character must say something about the heat that’s about to make them faint, this is a great way to have a person other than the main character contribute to the description of a setting.

If your reader’s five senses are stimulated, you are more likely to immerse that reader in your story.

The very first word or two should grab the reader’s attention.

In books written ages ago, it might have been okay to begin “The weather was temperate. I was feeling good.” Today, this is a waste of eight first words. Today’s readers want action or something to grab their attention to entice them to read further.

One of the most important tips for writing a story is to make sure you realize the value of your very first words. They must grab the reader’s attention.

The beginnings are the most crucial parts of a story.

All the main characters should be revealed early on.

Oftentimes, when writing a book of some length, new characters are introduced late in a story or plot. This seems only a crutch to get out of a dead-end plot situation to get the story moving again. There can be no saviors dropping into a story, only characters interacting together from near the beginning and carrying the plot toward conclusion.

In multi-genre writing, characters might pop up anywhere. Still, in order to make them credible, they must have a reason for being included.

Important characteristics of each character should be exposed.

Not important is a visual run-down of what each character may look like. Most important is to build each character’s personality.

It’s okay to state a few facts about their physical appearances, but it’s best done when describing them in action. If some information doesn’t help the reader visualize the character, or doesn’t apply to action to take place deeper in the story, leave it out.

An example: If a man never ties his shoelaces, only include something like that to emphasize his lackadaisical attitude (that you’ve already established) and if, deeper into the story, it’s what causes him to fall and break his neck. Otherwise, leave it out. Every act, every word, must have a reason for being included in parts of a story.

The main dilemma of the entire story line should be introduced in the first chapter.

Of all the parts of a story, this one is crucial.

The main dilemma can also simply be strongly hinted at as long as it’s immediately and progressively developed as the story moves along. The reader must see the succession of events moving along as it reveals more and more of the dilemma.

I don’t advise stringing the reader along. Let them know the dilemma as soon as possible. Otherwise, the reader may ask, “What’s the point.” They will put your book down and may not pick it up again.

When writing a short story, unlike writing a book, the dilemma must be revealed as soon as possible.

Almost everything in the first chapter should be considered foreshadowing.

All the plot action and character traits are set-up to propel the rest of the story. I have written a great article titled Foreshadowing, which deals with exactly that – better than I can explain here in few words.

Keep in mind that all parts of a story must lead to another, must hint at the next event. A future event should cause the reader to remember something that was said or done a few pages or chapters back.


Give your characters tough situations to face that make the readers wonder how things could possibly be resolved.

Make it seem there is no resolution. The situations are what flesh out the story.

Readers know that most situations get worse before they get better. This should determine exactly where you step into the action of the dilemma. Yes, step into it. Do not try to build the dilemma. You will be building back-story.

Have the situation already happening when your story jumps into it.

If you want to have your characters having a fun picnic in a park, and then a shooter comes along and ruins the day, that’s okay too. Just don’t waste too many words setting up how nice the day turned out to be.

Think of this example as if watching a movie. We see the family having fun in the park. We SEE everything immediately. Ten seconds after the film begins, the shooter comes along. If you think of the scene this way, you will know how quickly you must start the action in your written work. You will know how much to include in the first few sentences and how much to omit.

Thinking of your opening as a movie is good practice for including only that which applies and then getting on with your story.

Back-story is information that helps show why the characters have a dilemma.

Use back-story sparingly. Introduce it in snippets of conversation, or in your characters’ memories. Use it only if it enhances the present action. Too much back-story and the plot will stall instead of plunging your reader head first into the bramble bush.

An open ending of each chapter, known as the proverbial cliffhanger, encourages the reader to turn the page.

Another invaluable point in the parts of a story is to try to have cliffhangers at the ends of each chapter. Don’t bring all the action to a close just because the chapter is ending. The reader won’t have a reason to read further.

Leave some events open and questions unanswered. All the while, infuse that chapter with all that it can hold for that particular scene.

When writing a book, you will have many chapters in which you can build cliffhangers as well as great endings when the meanings of these are later revealed.

In various parts of a story, when developing the plot and continuing the action, what the characters experience must be a result of the plot dilemma you originally introduced.

Think about what you created. If you have someone robbing a bank, the plot dictates how these people elude the police. In the end, they are caught. A simple trail to follow only made interesting by complications you add.

Another example is if you begin your story with a seamstress sewing clothes, this could lead anywhere. However, you’ve chosen a topic that may be difficult to develop enough to hold a reader’s immediate interest. Your market for such a story would be limited.

The seamstress would then have to create some gorgeous line of clothing, maybe accidentally, that propels her to fashion design stardom. Maybe she comes in contact with the socially elite, while she, herself, lives in squalor. Think how a story like that might end. Her status is either elevated, or she remains an unknown.

Parts of a story such as this might suggest this seamstress is blind to improving her lot though she wants to. The ending must show the reader how the seamstress overlooks her chance at a better life – and is, perhaps, better for it. Or maybe she finds happiness and reason to stay in her own little world.


Endings make or break your story.

If a reader reads all the way to the ending and the ending falls flat, you will have a greatly disappointed would-be fan. That reader will not suggest her friends read the book. In fact, she may never buy another of your books.

The ending must follow the action. Only one ending would be apropos for any story, with rare exceptions.

The parts of a story must come together so that, with the climax and denouement, the reader feels a degree of satisfaction at having shared the characters lives.

Many stories have more than one ending.

More than one ending would be where the plot contains one or more subplots that, while carrying the main plot, are also nearly stories unto themselves. See my article Forensic Evidence in Plots. In the case of strong subplots, you would then have the main story ending, along with a wrap up of one or more subplots.

Ideally the subplots should wrap up before the main ending. That way, the wrap up of the subplots feed into the climax of the main story line.

When crafting the climax of any story, the actions of the characters will dictate the ending.

You’ve heard the saying “Let the story write itself,” haven’t you? Your story will write itself.

Don’t be concerned about the ending till you’ve arrived at the ending. Allow your characters to perform, to achieve greatness in their endeavors or their dastardly deeds. When you finally arrive at the ending, the characters’ actions will dictate the ending.

Then, as I always say, There is always an exception to every rule.

When I wrote my Egyptian novel, The Ka, I had the ending before I began. I also had many other scenes and knew how the story would flow. But I had to massage and manipulate the story line to arrive at the ending I could not change.

The denouement is the lesson learned after the climax has been realized.

Either or both the character and reader understand the result of the action that occurred in all the parts of a story.

For example, let’s say your character bumbles around doing bad things to people. Then he is caught in a situation where he needs help and things look pretty bleak because no one wants to help him. But someone steps forward, sees the good in the kid, and gives him a chance to turn his life around.

The climax to all this would be the kid getting help in the eleventh hour. The denouement would be the realization the kid has about how his actions hurt people and almost ruined his chance for getting help for himself. The kid’s life does a turn around and he now teaches other kids about good and evil.

The denouement is his self-realization, plus what the reader gets from it also.

Parts of a story can be developed on their own.

Often times, my mind is overflowing with the action of a scene that I write the scene without anything leading to it. Later, I go back and bring threads forward into the new action.

As long as you tie the scenes together in a cohesive manner, nothing says you can’t write the parts of a story that come into your mind in a rush. Write it! Catch that spark of creativity as it happens.

Tips for writing a story, as outlined above, are meant to help you understand the creative steps along the way to writing a book or short story; steps a writer must utilize in the beginnings, middles and endings of stories.

The parts of a story are scenes of action. Tie them together. Make one action cause another, and write it one page at a time.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Jul 28

“Creative Writing Prompts” An Article by Mary Deal

Writing prompts and story ideas can be found in numerous lists on the Internet, but the best ones are found right around you.

How many times have you searched to find topics that might serve to shake a story out of your Muse? A list of words or phrases just might jog your Muse into action. Then, when you find such a list, you are not enthused by its offerings and you continue to search for more.

Story starters that encourage descriptive writing abound around you. Everything you see day-to-day is a writing prompt. If you don’t see life that way, I encourage you to take another look.

Take new interest in the things you take for granted. Let your mind wander from the probable to the improbable. Fantasize about things and events. Give them new life.
Here are a few samples of story ideas taken from everyday life that might help you see what’s around you in your world.

Imagine you’re walking down a road. Normally you see rocks and you side step and walk on.

If you’re a fantasy writer…

What would happen if all those rocks lying dormant for eons suddenly came to life? They pop. They explode. Wow! Would they be friendly? Or would they be alien, just waiting for the right moment to change the universe?

Want to write a mystery?

Suppose one of those ordinary rocks had fresh blood on it?

A romance?

You find an envelope caught under a rock along the road. It’s open and money is sticking out. You want to get the money to its rightful owner so you return it promptly and find yourself looking into the fiery eyes of…

See where I’m going with this? Writing prompts are everywhere.

In my day to day life in Hawaii, just this morning, I saw or heard the following writing prompts out of my window from where I sit composing this bit of descriptive writing at my desk.

~ The man across the street is trimming branches off a tree with a buzz saw. He stops suddenly and tries to see into the window of the house. (Someone from inside that house may have called to him. But as a mystery writer, I can make a real thriller out of that teeny bit of action.)

~ A kid runs down the street, like he’s real scared. Now I hear a siren coming close.

~ A dog limps across my yard. It has a broken leg, or its favoring an injured leg, and hobbling. A moment later, another dog crosses the yard. Looks as though it’s had one leg amputated.

~ A car passes by on the street. The girl looks like she’s gushing all over her guy, the driver. She’s almost in his lap. They look blissfully happy.

~ I hear a strange sound and it doesn’t sound like any of the neighbors using power equipment as they repair their houses and structures. The sound is most curious and I can’t get it out of my mind.

~ I hear a loud bang, like a gunshot. It comes from the next group of homes adjacent to this small neighborhood. I hear another.

~ The woman in the house to the left is standing out in her yard. She never just stands there. She’s always on the go. Her husband comes out. They talk. They hug. She cries. He comforts.

The best writing prompts are right around you. However, if you wish only words or phrases to trigger your Muse, then here are a few samples.

Buried money and valuables in a box
White powder in the kitchen and you don’t bake
Loving a married person, learning he is divorcing
A child who leaves alien footprints
An ugly knot growing on your body
Learning your spouse is a murderer in hiding
A horrific recurring dream that gets closer and closer
Lightning always striking only your house
The neighbors on your left practice swinging with the neighbors on your right
A rock containing clear facial images that seems to pull you in
A grotesque Halloween mask
A drop of acid rain
Unidentified creature footprints

This list is just a sampling. I could go on and on.

When searching for writing prompts, keep in mind that it is said only twenty types of stories exist. All stories have been written. This is true, but every story contains a different setting, unique characters, and unusual occurrences and endings. That is how we’re able to create new stories all the time.

As you seek mental stimulation through prompts, begin by having an idea in which genre you wish to write. Genre is what you need to decide first. Take for example, this prompt listed above:
~ A car passes by on the street. The girl looks like she’s gushing all over her guy, the driver. She’s almost in his lap. They look blissfully happy.

A romance writer will turn that scene into, perhaps, one of a happy couple of kids. Then life pulls them to opposite ends of the world. They meet again years later, only by chance, depending on the circumstances of the plot, and realize that they still love each other.

A mystery writer could turn writing prompts such as this into a thriller where the girl is gah-gah over the guy, but he’s got other plans. He turns out to be a serial rapist!

A science fiction or fantasy writer would have the guy taking the girl out to a deserted field, she thinks for a bit of petting. Instead, he beams her up to a hovering ship and whatever fate waits.

Know your genre and then, as you read prompts, determine what appeals to the type of story line you wish to create.

Begin to make a list of story starters that you notice. They are innocent gestures and occurrences that you might find in any good novel or short story. Make a list of anything that strikes your Muse.

Allow yourself to dwell on story ideas that may come to mind. Loosen your imagination. Do it now. You will need to free your Muse to write any story. Begin with your writing prompts.
Any story starters that you discover can also be used as occurrences and highlights in the story itself. Story starters need not only start a story. Starters can also fill in the story middles and endings.

I have used many instances from my life and ancient family history as writing prompts. You might wish to read “Grandpappy’s Cows” in the Flash Fiction section on my website to see how my Muse hilariously stretched the truth.

Or you may wish to read what my Muse made of seeing a boy out in the dead of night with a scissors in “Boy at the Crossroad.”

Writing prompts, story starters, or story ideas, wherever you find them, can trigger descriptive writing if you will loosen the reins of your Muse and let your mind wander on things sometimes best left alone. But then, after all, it’s only fiction. Right?

Mary’s stories mentioned above are further analyzed in the Flash Fiction section of her website writeanygnere.com.
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Jul 09

Co-Authors Deborah Shlian & Linda Reid Talk about their Novel “Dead Air” on the Child Finder Trilogy

Deborah Shlian, MD, MBA practiced medicine in California where she also taught at UCLA. She has published nonfiction articles and books as well as medical mystery/thrillers. Her first two novels, Double Illusion and Wednesday’s ChildRabbit in the Moon is an international thriller and has won the Gold Medal for Genre Fiction from the Florida Book Award, the Mystery Book of the Year Silver Medal from ForeWord Magazine, an Indie Excellence Award, a National Best Books Award Finalist from USA Book News and First Prize in the Royal Palm Literary Award from the Florida Writers Association.

Yolanda “Linda” Reid Chassiakos, MD, is a Fellow of the American Academy of Pediatrics, a Fellow of the American College of Physicians, and a Clinical Assistant Professor of Pediatrics at the David Geffen School of Medicine, UCLA. After graduating from and completing her residency in Pediatrics at the Georgetown University School of Medicine, Dr. Reid Chassiakos served as a Lieutenant Commander in the US Navy, and as the Assistant Head of the Ambulatory Branch of Pediatrics at the Naval Hospital, Bethesda and an Assistant Professor of Pediatrics at the Uniformed Services University of the Health Sciences. She then moved to the Department of Health and Human Services Office of Disease Prevention and Health Promotion and served as a medical editor and feature reporter for the evening Eyewitness news at the CBS affiliate in Washington, DC. Dr. Chassiakos joined Lifetime Medical Television as a medical editor, writer, and host of educational programming for healthcare professionals and the public in Los Angeles, and developed and hosted programs and features for media such as the NBC Network Sex, Drugs, and Rock ‘n Roll, Lorimar-Telepictures, and You TV.

During her thirteen-year tenure as an Associate Physician Diplomate at UCLA’s Arthur Ashe Health Center, Dr. Chassiakos also served as a staff writer for the television series, Family Medical Center. She is currently the Director of the Klotz Student Health Center at California State University, Northridge. Dr. Chassiakos’ features and essays have been published in the Washington Post, Baltimore Sun, Woman’s Day, Salon.com, the Los Angeles Times, the Los Angeles Daily News, and Tribune International. She has recently co-edited a text on Collaboration Across the Disciplines in Health Care. Dr. Chassiakos has also written a fantasy novel, Where Angels Fear to Tread, for imaginative young adult and adult readers. Dr. Chassiakos and her husband are the proud parents of three teenagers and live in Los Angeles. Read More

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