5-stars for “The Anesthesia Game” by Rea Nolan Martin

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5stars

This amazing story revolves around a terminally ill fifteen year-old girl, Sydney; her clinically depressed mother, Mitsy; her somewhat-flakey-but-well-meaning aunt, Hannah; and a somewhat fallen-from-grace mystic, Pandora, who has succumbed to indulgence in some substances that compromise her many talents. The story’s viewpoint rotates by chapter from woman to woman, and I must say that I almost didn’t make it past Chapter 1 where I met Hannah, since she was such a piece of work I wasn’t sure I could handle an entire book about this self-centered, dysfunctional woman.

We all know that there’s nothing more boring than perfect people, especially in a novel, but sometimes they can be so flawed that you just want to slap them upside the head. Fortunately, I usually give a book three chapters to grab me, and I’m glad I persevered, because it got better and better after that.

Nonetheless, the dysfunctionality of this group was rather extreme, though I suppose credible; there are plenty of people out there that are that messed up. The only thing that keeps Mitsy sane as she deals with her daughter’s horrible illness is her phone consultations with Pandora, a psychic who’s really out there, but that’s what makes her good at what she does. Being in touch with other dimensions and the etheric plane is what defines a psychic’s value. Hannah, however, thinks she’s a fraud, a complete unbeliever in such hocus-pocus.

Everyone’s life in the story revolves around Sydney, a feisty, wonderful teenager with some horrible disease the name of which they refuse to say or even think, though the implications are that it’s leukemia. When Sydney goes in for treatments, she plays the “anesthesia game”, where she asks Hannah to mention a place for her to “visit” while she’s unconscious, then come back and report what she finds.

However, as it turns out, these are not hallucinations or dreams, but excursions to another place and time during which these women were also connected, though this is not obvious to her.  At some time or another, all of them have the same dream, though the only one who comprehends its significance is Pandora. The entanglement of these four women throughout the ages has involved repeated tragedies and problems, which have again manifested in their current lifetime. Pandora believes it’s her mission to heal the root cause, once and for all, through identifying the problem at the energy level.

The main story targets whether or not Pandora would succeed in healing Sydney, but there were subplots galore. These characters were not only 3-dimensional, but possible 4 or 5, given the full scope of the story. Each has a distinct personality, the imagery vivid enough that I could easily imagine what each looked like, to say nothing of the glorious vistas describing the various settings in Connecticut, Virginia, and the Lake Tahoe area.

There’s a heavy dose of mysticism, which is why I loved it. The author did an outstanding job capturing Pandora’s spiritual connections to this other world with all its metaphysical characteristics. As someone who has similar beliefs with regard to who and what we are, including the fact that we’ve all lived multiple lifetimes, I was thoroughly sucked in and enchanted. Like Pandora, I believe that our physical bodies, spirits, and minds are intertwined at a mystical energy level that touches on the world of quantum physics. As a physicist, I loved the particle/wave duality references. Good job!

Readers of the same mindset as Hannah who aren’t into the paranormal may do a lot of eye-rolling at these mystical elements, but I ate it up. These are obviously the types who gave this great story poor reviews. Undoubtedly, it had too much depth for the casual reader.

This story took me on a magical journey that was part soap opera and part fantasy adventure, of which I loved every moment–at least once I got past the somewhat awkward introduction to Hannah. Of course this is only my opinion, but I think I would have started the story with Sydney, since in many respects she was the central character and built a lot more reader sympathy off the bat than her crazy aunt. But the good news is that she and Mitsy shaped up considerably by the mind-bending end of the story.

I’ll definitely be looking at other novels by this author. She really nailed it.

Today’s Writing Tip

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A series has more substance if each volume has an independent plot, even if it’s part of a larger conflict. A reader who picks up a book out of order should be able to follow the action while still wondering what happened earlier, which is likely to drive them to read earlier stories eventually.

It’s a good idea to increase the plot’s complexity as the story progresses. Without further obstacles and challenges, your story can get boring and predictable. I loved reading “The Hobbit” series, but when I saw the first movie, while I admired the visuals, special effects, and casting, I got bored after about an hour thinking, “How long can I stand to sit here watching monsters chasing hobbits?”

I’ve also read stories that just went on and on and on with too many obstacles. They can have a “ho-hum” factor as well.

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Today’s Writing Tip

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Bear in mind that readers may come to a sequel months, or even years, after reading the first book, or possibly not in order. Always recap the plot and describe the characters again to refresh their memory as well as assure any new readers don’t feel lost.

I run into this a lot, and have even caught myself guilty of this while writing my series. To the author, it is one continuous story. To the reader, however, who may have read the predecessor ages or at least many books ago, remembering exactly what was going on as well as the function of minor characters, is often unclear.

In some cases, you may want to use a prologue or a “The Story so Far” section for this purpose. Those who don’t need the review can skip it while those who do will appreciate it and allow them to get fully engaged in the story more easily.

Today’s Writing Tip

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Ending a book in a series with a jaw-dropping cliffhanger comes with a risk, especially if the next episode isn’t yet available. There’s a fine line between leaving a reader intrigued versus frustrated. The latter may lose a potential fan.

If the sequel has been released, this is less risky. If not, and you absolutely want to end it that way, consider waiting to release the entire series at the same time. If the ending isn’t so abrupt that it drives readers crazy, then it’s not quite as hazardous to your fan base if they have to wait a while for the next episode.

However, there is nothing more disappointing to a reader than really getting attached to a great story that doesn’t have a satisfying ending. If there’s any doubt you’ll complete the story properly, especially within a reasonable amount of time, then avoid cliffhangers. Use a reasonable, albeit soft ending, you can pick up from later.

Today’s Writing Tip

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Details and descriptions are important to support imagery, but balance is required so they enhance, rather than slow down, a story. This is genre-dependent, however, because some, such as romances, thrive on description. Thrillers should have less, but enough for readers to envision what’s going on.

Integrating details into the action is a challenge, but a skill serious writers must develop. This is where strong verbs are essential. A diligent author will take the time necessary to find the exact word needed to convey action and imagery with an economy of words. This is part of your job as an author.

Today’s Writing Tips

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When you write a murder mystery, you must keep your readers guessing. Any “whodunnit” story needs red herrings to place doubt in the reader’s mind regarding who the culprit might be. No matter how many novels your readers have experienced, they shouldn’t be able to easily predict how it will end. Readers thrive on suspense and wondering what will happen next.

These red herrings may necessitate a few characters who are technically extraneous. These, of course, are the exception to the rule to not include people with no function in your story. The fact of the matter is that they DO serve a function, and that is to keep the reader guessing.

Today’s Writing Tip

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Next on the list for scratching 5-stars is no challenge. If the protagonist breezes through the entire story without any obstacles or personal growth, it’s pointless. Whatever it is s/he wants, the harder it is to get it the better.

Most of us are somewhat annoyed by those who have everything they want handed to them, perhaps on the proverbial silver platter. Starting out a story that way is fine, but then having your protagonist lose everything and get a hefty dose of the real world will get your reader involved.  An example of where this is well-done is the relatively new sit-com “Schitt’s Creek”, where a family formerly in the millionaire range loses everything and is living in a cheap motel.

The harder your protagonist has to work for what he wants, the better. This also builds suspense, a critical ingredient in any story.

Today’s Writing Tip

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The last complaint was directly related to style and the skill of the author, i.e. too many adverbs. While useful, they shouldn’t be overdone. Before using one, see if you can find a better verb. More often than not, this can be done and eliminate the need.

For example, instead of saying “she walked slowly” how about “she trudged”, “she strolled”, or “she moped, dragging her feet”? See how the verb also implies imagery and mood? Economy of words increases their impact. Verbs are powerful. Make sure you use them to make your story more vivid. Scrutinize every one to see if you can replace it or really need it.