What has possessed the normally level-headed Isabelle to abandon her childhood friend among strangers and make a madcap dash across windswept moors in a frantic search for help?
Two months earlier - the summer of 1856 - and the two girls are eagerly anticipating a stay at the imposing Blakefields Mansion in the West Riding of Yorkshire. They dream of grand balls, dashing young men, and mysterious, elegant ladies. But the reality will prove very different.
Intrigue upon intrigue builds to an unexpected and dramatic climax.
As they come to know the various gentlemen – the Lord of Blakefields; his cheerful friend and confidant; the ambitious but seemingly honest guest; the enigmatic neighbour with a dark past - it becomes less and less clear who will turn out to be the champion of decency and integrity.
Blakefields Mansion and its soon-to-be-released sequel, Stonecrest, are both realistic historical romances set in a tempestuous period of England's history. Queen Victoria is on the throne; social values are beginning to change - something that Isabelle will discover as she learns that true friends and true love are to be valued above either fame or fortune.
If you enjoy the likes of Austen, Thackeray or Dickens, then Blakefields Mansion is for you.
Interview with Clive A S West
What part of the world are you from?
South West England although I now live in Central Italy
What was the first important thing that you've ever written?
I've literally drawn up thousands of contracts and legal letters and I've long since forgotten which was the first important one. In terms of creative writing, I'd have to say that it was a series of training articles that I did for upwardly mobile employees.
Did you keep a diary as a child and do you still write one today?
No. I've tried many times but I just don't have the discipline. I really admire those who do (like my wife, fortunately) but 'it ain't me babe'.
Which book are you currently reading (or are just about to read)?
Because of the Westerns I'm ghost-writing, I'm reading some books written at the end of the 19th century to help give me a better feeling of the era and the way of life 'on the trail'.
What made you take up writing as a career? As I said, I've always been a commercial writer so it was a natural thing to become a freelancer when I got disabled. I enjoy writing and I get a real feeling of the wind in my hair when I've got a subject and I know where it's going.
What have you written so far that's been published? I've written a series of twist-in-the-tail stories while I was in a lymphedema clinic (I've got 'worse case scenario' as far as that disease goes). I read them out to my wife every day and put them together into a book when I got home. That's called Hobson's Choice. Since then, I've written a full length blockbuster called The Road. That's about the corruption that surrounds the construction of a new road and how this affects the people whom it touches. Despite its seemingly 'cold' subject matter, it's actually a very human story - just read the (genuine) reviews on Amazon to see that I'm not alone in thinking this. I've also written a patient's guide to lymphedema and a self-helper for interview candidates telling them how to take charge of their job interviews. My latest book is a Victorian romance called Blakefields Mansion which I'm co-writing with Jen Smith - it's very much in the style of Austen, Thackeray and Dickens and is a mixture of romance and dawning social awareness.
What books do you have in the pipeline?
I'm able to write in my head - often in my sleep - and I've got 3 stored up there at the moment. The one which I'd most like to finish is a tortured view of life seen through the eyes of a serial killer. A follow-up to Blakefields Mansion will soon be published (it's provisionally called 'Stonecrest') and another volume of twist-in-the-tails (called 'A Snake In The Grass') is at the final polishing stages. On a different tack, I recently spent nine months in hospital (having gone into a coma and then having a 2kg tumour removed). It was followed up with a further 6 months living 24/7 on our sofa while I waited for medical assistance to organise itself. My wife wants me to put that into a story but it's still a bit painful to recall - maybe later.
What or who inspires you?
I'm inspired by the events that I've seen - many bad, sadly. I'm a keen observer of patterns and I love the use of probability trees to help me consider all possible outcomes of any given event.
How do you begin a story, chapter or scene?
I take what I hope is an interesting event and then ask myself - what if ...? I then run with it. My stories must always be possible and plausible: as a reader I don't appreciate slipshod tactics such as skipping over contradictions and plot hitches therefore I try to make sure my own writing is watertight in that respect.
Which famous authors do you admire?
That's easy but it does depend upon the context. Asimov for his sheer perceptiveness regarding the way people behave. Technology may change but people don't. RD Wingfield for his witty dialogue. Just read his Frost books and be prepared to be blown away by the man's talent. Tom Clarke for the gritty realism of the brilliant Muck and Brass series (for my book, The Road) Alan Bleasdale for Boys from the Black Stuff (again, for The Road) Robin Hobb (Margaret Ogden) for her wonderful and detailed fantasy worlds. I appreciate the attention to detail that goes into her writing - the 3D worlds she creates are amazing. Maybe I should say the 3C's (Culture, Customs and Characters) - something we should all bear in mind when we're writing any kind of fiction.
How do you come up with your characters?
Most of my characters are composites of people I've known although I'm at great pains not to make any individual a 'real person'. I love colorful people and I've been told I do my 'bad guys' particularly well. They're the ones who give me the most pleasure describing, I do confess!
How would you describe your style of writing?
I like to think my writing has a light touch. I'm a plot fiend and I try very hard to make sure that I never resort to deus ex machina devices. I hate books like that and I assume my readers feel likewise.
Would you say your books are realistic?
I know they're realistic! In The Road, the sheer number of dirty dealings that I've seen during my years in the construction industry form its basis. It's chillingly realistic, believe me. In Blakefields Mansion and Stonecrest, I've been at great pains to get everything right - from the tracks that they would have rode down to the actual times of the trains. I've checked the birth and death certificates of any real characters, downloaded the house floor plans, read the legal statutes - you name it.
Could you describe your plots in just one sentence?
In The Road, the story is one of how the corruption centered around the construction of a new ring road impinges on the lives of the ordinary people who come into contact with it. In Blakefields Mansion, the story is of how a romance gradually develops between two people who, in turn, have come to appreciate that true friendship is the most valuable gift of all and that it is not based on class, gender, attitudes etc.
Which part of your books gave you the most trouble and why?
In The Road, significant chunks of the book follow young people. I wanted to get the interchanges - dialogue, actions, dress, tastes - as accurate as I could. It took considerable research but I think I got there in the end. In Blakefields, I remember getting bogged down with dance cards would you believe? What dances occur when, who holds the cards, where they came from, how did men remember who they'd arranged to dance with, how did a lady reject an invitation, what happened if no-one asked her to dance and so on!
Did you learn anything from writing the books?
Yes, in The Road, I learnt about ecstasy and I also discovered a lot about offshore banking and moving money around. Blakefields Mansion really boosted my knowledge of history and law. So much happened. My specialist subject at university was public health engineering so I was able to use my knowledge to write about cholera but I'd little idea about how much attitudes changed towards it in the space of just a very few years. It went from it being 'A curse of God' to 'this is how we treat water' in the blink of an eye. Not only that, John Snow (who finally convinced people what cholera really was) introduced the idea of an incident map - the same kind of thing that is used to plot the activities of serial killers today.
If you were to rewrite your bools, what would you change?
In The Road, I'd definitely try and find a way of splitting it into 2 volumes. I'd then be able to put the books out at a lower price per book and this would probably attract more buyers. They might also feel less daunted by two thinner books. In Blakefields, I'm torn about whether I should have created more balls but I decided at the time that it would end up appearing as just padding and thus detract from the story. There was so much more to include but it was always going to be a balance between detail and story. My feedback so far is that I 'got it right' but it was definitely something that I was and am aware of.
Is there anyone whose help you'd particularly like to acknowledge?
My wife, Damaris West, who is also an author, helped me very considerably with editing, characterization and also with snagging. Corny as it might sound, I couldn't have done it without her. Blakefields Mansion was co-written in conjunction with Jen Smith, a lady who lives in Illinois. It was her original idea and storyboard that we worked together.
Does the e-book format give rise to any specific challenges or benefits? I wouldn't say that there was much in the way of challenges about it although it is always awkward to include images or tables because of the nature of the reading software. As far as benefits go, e-books are the way forward - we sell twenty to thirty times as many copies of an book in electronic format as we do in its physical counterpart.
If you had to pick a genre you'd not previously written in or considered, what would it be and why? I'd love to write a fantasy saga. I know there's a lot of that about at the moment (with the HBO serialization of the George RR Martin books) but I'm sure I could come up with something original. I'm also quite sold on doing a series of ultra-realistic (used advisedly, of course!) dystopian novels.
How much time do you set aside for your writing?
Like most authors (I'm sure), 'not as much as I'd like'. My work involves getting our publishing business up and also ghost-writing. I'm currently involved in a non-fiction book about cyber-crime (definitely the most technically challenging book that I've ever written) and also a series of Westerns (again, with the idea of being realistic).
Is writing going to be your career for the foreseeable future?
I'd like it to be. Obviously the publishing business is in there, too. I don't want to split them.
Do you have any news you can tell us?
I've written the first three chapters of that serial killer book I mentioned earlier in the interview. I won't say too much but it's in the First Person (that makes it a little unusual) plus it's from his birth (which is definitely rare). I really want to finish that!
What advice would you give new or would-be writers? Everybody has their own way of writing but what I do is to figure out a plot from beginning to end and write it up without bothering much about side plots, setting or details not directly relevant to the story line. I even skip over dialogue. Once I've done that, I return and fill in the missing pieces. I then return a third and fourth time to polish and edit it. Doing it this way avoids continuity breaks and also ensures that I do actually have a viable and plausible story. Far too many people get bogged down with minutiae. Of course they matter but they shouldn't come between you and the story. My books tend to get about eight edits before they get released - yes, that's a lot of work but it produces a more 'fluid' book than if you grind away word by word.
What would you like to say to your readers? I get a genuine pleasure out of writing although I'd hate to think what I write is 'comfortable'. I want people to enjoy my books but also to stop and think - even with the romances where I endeavor to cover all the emotions and not just love. For example, in my short stories, several are dedicated to creating situations which are 'obvious' (only so because we are all inherently prejudiced and blinkered) but turn out to be anything but. I like to challenge people - I hope I succeed - as well as entertaining them, of course!
Clive West writes for Any Subject Books Ltd
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Our website (available in mobi, epub and pdf formats)
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Clive and Damaris West personal Facebook page
Understanding Show, Don’t TellBy M.E. Brines
“Show, don’t tell” is commonly repeated advice for writers, but there seems to be a great deal of misunderstanding about the meaning. I know I misunderstood it at first. I mean, writers tell readers things all the time, right? We’retelling them a story. We have to tell readers about the beautiful sunset, that there’s a piano in the background and about that lovely roast simmering in the oven. But description isn’t what we mean by telling.Telling is stating story facts bluntly, explaining and handing out conclusions. It’s informing the readers of facts you want them to know, rather than allowing them to deduce them for themselves. If you state there’s a roast simmering in the oven, you’re telling. If you describe heat coming from the oven along with a sizzling noise and the succulent scent of something broiling its own juices down into a thick, beefy gravy – that’s showing.If you’re writing non-fiction, telling is how it’s done. People read non-fiction to get the facts. They want everything set out where they can see it so they understand completely and don’t miss anything.But they read fiction for entertainment. They want to watch a story unfold in the movie theatre of their mind’s eye.James N. Frey in How to Write a Damn Good Novel called this “dreaming the fictive dream.” An author is like the tour guide of a specific daydream. If you’re good at it, people won’t want to put your book down until the very end. But telling turns the fictive dream into a documentary.Documentaries have narrators whose job is to lecture the ignorant viewers on the pertinent facts and figures so they’ll be able to pass the test next Thursday. This is how textbooks read – boring! Nobody reads textbooks for fun. And nobody reads novels for the facts and figures. They get those from Cliff’s Notes.But people pay to experience a movie. Movies show what’s going on and let the viewer reach his own conclusions. Movies, even bad ones, don’t load down the viewer with three paragraphs of back-story whenever a new character comes on screen. They don’t spoon-feed viewers by revealing a character’s thoughts so they know exactly how a character feels. We have to make our own conclusions from watching the actor’s expressions, his actions, hearing the shrill anger in his voice, watching him tremble, seeing his knuckles whiten as he clenches a fist.Movies rarely employ a narrator, and when they do he usually shuts the hell up after the movie gets going. The text at the beginning of Star Wars movies that crawls up the screen into the distance never explained the Force or any of the characters’ back-stories.The old noir-style detective films where the protagonist’s introductory voice-over ramblings might seem like telling. But even those are just a different style of showing. Sam Spade doesn’t come out and tell us he’s a low-down womanizing jerk. But when we find out in The Maltese Falcon that he’s worried about becoming a suspect in his partner’s murder because he’s been sleeping with the guy’s wife, we get that. It’s obvious from their relationship that he’s been sleeping with the secretary, too. And it’s never overtly stated in the book or movie versions that creepy Joe Cairo is queer as a three-dollar bill, but we get that just by watching the guy. If you’re especially clever you figure out the young gangster is his catamite. All that got past the movie censors of the time by being shown not told.Telling gives lengthy explanations of the how, what, when, where, and why that belong in newspaper articles, not prose. It informs readers of conclusions rather than presenting the evidence and allowing them to figure it out for themselves.Description isn’t telling unless you include a conclusion. “The homeless man had been living on the street for years,” tells. “The man in filthy rags limped along, pushing a battered shopping cart filled with his meager possessions, his expression one of hopes too often betrayed and now abandoned,” shows.Good writers show emotions through the use of expressions, body language, dialogue and word choice rather than overusing adverbs or just bluntly telling us “Mary was angry.” Telling us why she was angry is even more blatant telling. Such things are usually obvious from context.Actions speak louder than words, and sometimes you can say a lot by what hasn’t been said. If a scene opens with a fully dressed man having his breakfast and reading the paper when his wife shuffles in wearing a housecoat and yawning and starts fixing herself something, that he just sits there reading gives the reader a more telling view of their relationship than anything the author could state.The important thing to remember is, readers don’t like to be told a bunch of back-story as if there’s going to be a test later. They want to watch the movie and come to their own conclusion. Ernest Hemmingway’s famous “iceberg writing style” is all about this. In an article on bullfighting, Death in the Afternoon he wrote:If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water.That said, there are times and places for telling. If you “show” the whole novel you’ll end up with Ulysses or One Day in the Life of Ivan Denislovich, which might win you a literary prize, but nobody’s going to want to read it for fun. It’s okay to skip the boring stuff and just tell the reader what happened.For example, in one of my early novels I included several pages describing a lengthy train journey through Occupied France in World War II during which nothing important occurred. It was a typical train journey, and about as much fun to read about as somebody’s daily commute. A critique group said as much and I was clever enough to follow their advice and replace it with a one-sentence comment to the effect that a week later they got off the train in Paris. But for all the interesting scenes where people discover important things about the characters or plot, you want to show, not tell.Show, don’t tell by avoiding “was.” Besides being passive and weak, declarative sentences are used to state facts, the very definition of telling. Use word search to examine every “was” in your work. Unless they’re used in dialogue, odds are when you use was, you’re telling the reader instead of showing him.Stay out of your character’s heads. Telling readers your character’s thoughts and feelings is a cheat that dispenses with showing them through actions and dialogue. And if you do show us those thoughts and feelings elsewhere, there’s no point in telling us, too. Not only are you treating readers like imbeciles and spoon-feeding them the story, but then they have to sit through you telling them again what you showed them in the first place.
Remember the fictive dream. That’s what your readers want to experience. Every time you stop their mental movie so the narrator can come out from behind the curtain and lecture themon back-story or to make a plot point clear, you risk readers getting bored and leaving the theatre. Textbooks can get away with being mind-numbing. Peoplehave to buy those books. But readers aren’t required to read yours. Don’t make your story come across like a textbook. Show, don’t tell.
M.E. Brines spent the Cold War assembling atomic artillery shells and preparing to unleash the Apocalypse (and has a medal to prove it.) But when peace broke out, he turned his fevered, paranoid imagination to other pursuits. He spends his spare time scribbling another steampunk romance occult adventure novel, which despite certain rumors absolutely DOES NOT involve time-traveling Nazi vampires!A former member of the British Society for Psychical Research, he is a long-time student of the occult and a committed Christian who sees himself as a modern-day Professor Van Helsing equipping Believers for battle against the occult Principalities and Powers that rule a world in darkness. (Ephesians 6:12)The author of three dozen books, e-books, chapbooks and pamphlets on esoteric subjects such as alien abduction, alien hybrids, astrology, the Bible, biblical prophecy, Christian discipleship, conspiracies, esoteric Nazism, the Falun Gong, Knights Templar, magick, and UFOs, his work has also appeared in Challenge magazine, Weird Tales, The Outer Darkness, Tales of the Talisman, and Empirical magazine.
M.E. Brines Links
Desert Breeze Publishing
M.E. Brines’ Web Page
Detective Meka Secretan is use to handling preps and hunting her prey. Meka’s work is her passion, focus and destiny until she becomes the focus of a stalker. Now, she is the hunted. The stalker will stop at nothing to have her and anyone in the way will pay the ultimate price.
Strong Chance of Showers.
Meka Secretan is use to handling preps and hunting her prey. Meka’s work is her passion, focus and destiny until she becomes the focus of stalkers. Now, she is the hunted. The stalkers will stop at nothing to have her and anyone in the way will pay the ultimate price.
#sfrommer #romance #love #soulmate #thriller #kindle #fiction #novel #paranormal #betrayal
2. What are your future career plans? What are the sources of your skill sets and your talents?As an author of fiction, I will continue writing and covering topics that capture readers’ interest while at the same time offering them a world in which to escape. Nonetheless, I aim to teach, provide guidance and direction, and highlight the salient and cogent issues that we humans are confronting. I would like to try different genres to produce divergent and diverse fictional pieces for my readers. However, I view writing not as my career, but as a hobby. As a motivator, mentor, and coach, through deploying my radio voice and other communicative skills, I plan to conduct a radio program and TV shows where I can help others find solutions. The inspirations for my skill sets derive from my natural talents and abilities such as a solid education, acting abilities, influential tendencies, persistence, faith in my own talents, a belief in positive outcomes, and a rich life experiences.
3. What does the title of your book, Broken Chains, symbolize and has it been published and reviewed by publishers, editors, and your readers?Broken Chains symbolizes a yearning for freedom from one’s fears, anxieties, and negative predicaments. It demonstrates a firm desire to break from everything that keeps one down and shackled in place, while moving forward to new and better pastures without looking back with regrets. However, although it has not yet appeared in print, a few publishers have requested to see the entire manuscript. Currently, it is being translated into the Russian language. Nonetheless, it has already been reviewed, including at Readers’ Favorite. Based on these positive reviews, it seems as though my book has the potential to become a bestseller that will rescue many readers from their lives of servitude. You can read the reviews at www.emiliyaahmadova,com
Reviewed By Divine Zape for Readers’ Favorite (5 stars):Broken Chains by Emiliya Ahmadova is a touching story that will appeal to a wide audience because of the sensitive, not-so-often discussed questions it raises. In the heart of this story is the important question: What does it take to live with a deep sense of inner freedom? The author opens her narrative with a fortuitous encounter between the parents of the protagonist and moves on to show how this encounter leads to a brief affair that culminates in an unwanted pregnancy. Esmira, the mother of the protagonist, raises her daughter alone, under difficult conditions. Now an adult, Silvana has to face the challenges of growing up and the horrors of abusive relationships. How she deals with her abusive Christian partner is what will blow readers’ minds. This is a page-turning tale of one woman’s struggle to avoid the same fate that befell her mother, a story of suffering, inhumanity, and redemption. Emiliya Ahmadova’s
Broken Chains is a powerful work in the area of protest literature, a tale that gives voice to the voiceless people who suffer in any form of relationship. In Silvana, Ahmadova develops an icon of protest against the numerous forms of injustices orchestrated against women. The author writes confidently about issues in a wide selection of themes, including religion, interracial and inter-religious marriage, the primacy of human dignity, the primary right to freedom and happiness, and a lot more. Silvana is a compelling and well-developed character who will not only interest readers but will be a powerful example of a warrior for freedom and human rights.
4. What is the nature of your narrative in terms of both plot and themes? Why do you think readers will grab it off the bookstore shelves or online and want to read it?My novel invites my readers to new experiences in the Asiatic country of Azerbaijan with its exotic culture, customs, and beliefs and its vibrant inhabitants. From Azerbaijan, I take my readers to Kenya with a tale of emotional topics and formidable characters. The main protagonist of my novel is an Azeri woman named Silvana, who has had a sad childhood. She grows into a young and beautiful Muslim woman. However, when one thinks that finally she finds love and happiness, in fact Silvana ends up in horrid circumstances after marrying a false charmer named Mark. Every reader can relate to Silvana’s life experiences and the lessons she learns along the way. Silvana is a compelling and well-developed character who will not only interest readers but will be a powerful example of a warrior for freedom and human rights (Readers Favorite). Scenes in the book and Silvana’s strong personality compel readers to keep reading it. They will keep wondering what will happen the next. For example, in one part Silvana lifts a knife to commit suicide, leading readers to wonder if she will carry through. Seeing her fears, hopes, frustration, and unfortunate experiences with abuse in all its forms, readers will keep reading to find out whether she will find a solution and how she finds the strength and fortitude.
5. In its genres of women’s fiction, romance, family saga, and protest literature, what makes your first novel different from others in competition and in those respective genres?The plot itself and the issues presented make it different from stereotypes and templates in many of these genres. Readers can find everything in my book: romance, betrayal, problems with parents, teachers, abortion issues, child bearing, dealing with stigmatization, love, abuse, faith, and drama. Here are examples of what makes Broken Chains different:EXCITEMENT: A wedding set in exotic Azeri culture is new and different for Western readers. Central is a divorce from an abuser and at the end a true love, transforming a fearful woman into a shrewd businesswoman.ADVENTURE: Silvana’s whole life is full of excitement and disappointments. She ends up in a school for children without parents and has confrontations with teachers. Moreover, her father beats her mother while she is at home. She has a life full of rich experiences and moves away from Azerbaijan as a Muslim woman and becomes an Orthodox Christian in Kenya, upsetting her mutinous Muslim family in Baku for betraying her own religion.MYSTERY: Samed uses a false identity, conceals from his family the existence of his children until he ends up in jail. Esmira abandons her other bastard daughter, Arzu, to her friend for adoption. Her daughter knows neither about the existence of her siblings nor about the mother who gave her away.
6. In your book, you serve as a potent voice against abuse in all forms (generational, sexual, domestic, parental, and child) and thus a motivational coach and mentor in the person of your main protagonist Silvana. If she were an actual living person, what would be her message to all readers, specifically, and any victims of abuse, generally?Many females choose to be victims of abuse because of fear of leaving their abusers. Thus, they allow these fears to chain and mire them down in negative and hopeless situations with escape routes. Some lose hope and faith in God, wondering if anything good will come their way or whether God will be there for them. There are two types of abuse: emotional and physical, Emotional abuse is the worst one because negative and derogatory words are said, which can be more damaging and inflict more harm than physical wounds, It affects someone’s life, self-esteem, health, and relationships with others. Some may fall into depression. Knowing all these facts, Silvana would say: “Today I am here to let you know that you can turn your life around and find a happy ending. God did not desert you. He is here and will deliver you. You just have to lean on Him, keep praying and keep asking for His help. However, you must exert some effort, stay strong, remain focused, and work hard to find a solution and a happy ending. In return, God will open up doors or opportunities for you. If you are in need of help, do not feel ashamed to ask for it. If you do not ask, no one will come to your aid and rescue you. Remember that there is always bright light at the end of a dark tunnel and an end to the bad that surrounds and envelops you. However, you must be willing to exit the bad situation and move to something better! You do not have to tolerate someone’s foul and inappropriate behavior or be a victim of abuse any longer. You are beautiful souls and deserve to be happy and respected. So, stand up for your rights by making every step to break your chains and eradicate negative syndromes from your lives.
7. Silvana is a worrier and a strong woman who experiences many trials and tribulations, in addition to pervasive abuse. However, at the end she surmounts this abuse and severs her shackles and chains. Through what strains of thought and owing to which sources of strength does she achieve this feat? Besides her upbringing, what other sources inform her worldview?Silvana has always been a fighter and a strong believer in positive outcomes, Even as a child, she continually fought for her beliefs and rights while supporting what is right as opposed to a pervasive wrong. She never justified the wrong behavior, especially abuse or cruelty. She is a firm believer that every human being has a right to freedom, respect, love, and understanding, especially for women who struggling to make significant sacrifices for their children. She understands that she deserves the best and did not come into this world to be ceaselessly abused, manipulated, or controlled. She strives to rise above and move to the future that she always visualized for herself. She absolutely needs her freedom and peace of mind. Silvana despises being disrespected and abused by her partner. Hence, abhorring abuse, she faces her fears and terminates an existence that she never accepted by standing up for her rights and raising her voice against abuse. She understands that the role of a victim is not for her. Her relationship with God through prayers, dreams, goals, and hopes leads her to contend that there will be a happy ending to feed her strength.
8. We live in a world of borders and the trespassing of them. In finding love beyond Islam’s borders, what is Silvana’s primary lesson in life?After enduring an unhappy marriage, Silvana comprehends that when you meet someone you do not jump into an intimate relationship or even marriage unless you know the person well. Marriage should be based on love, respect, care, and understanding, not control and abuse. She learned that sometimes we attract the wrong people into our lives with our negative thoughts and fears. When we think that we do not deserve happiness, love, or in fact anything good, that is what we attract.
To be happy, one must first learn to love oneself (instead of depending on someone’s love) and spread love. Thus, love must grow within you and shine toward others. The more you give love to others, the more you get back. You must also think of yourself positively and nurture your self-esteem. This will help you find and attract a healthy relationship. And, yes, there is true love waiting for you. At the end of my book, Silvana learns that the greatest love is God’s love toward us.
9. You have covered a delicate topic that some are even afraid to talk about. What compelled you do to treat it?I have met too many people who went through abuse. Some of them have been able to turn their lives around, but others still struggle. Not only seeing their desperation and pain, but also knowing that sometimes society ignores them can lead us to think that society in general does not understand the seriousness of abuse. I decided to write a book that would help victims of abuse and act as a powerful and motivating voice against abuse.
10. Have you written other books?
Yes, I have scribed Across the Darkness, a collection of mysteries. However, I am still in search of a quality publisher. Currently, I am working on a children’s book, My Twin Sister and I.
Emiliya Ahmadova was born in the city of Baku, the capital of Azerbaijan.When she was just nine years old, she developed a passion for reading, literature, poetry, and foreign languages. In high school, she participated in and won many poetry competitions. Starting at the age of ten, she began writing poems and short stories in Russian.
Emiliya has diplomas in business management as well as a Bachelor of Arts (B.A.) in human resources management. She also has international diplomas in the advanced study of the theory and practice of management, administration, business management, communication, hotel operations management, office management and administration, and professional English from the Cambridge International College, in addition to a certificate in novel writing. Emiliya speaks four languages (Azeri, Russian, English, and some Turkish), but her native language is Azeri. Because of her love for humanity and children, she has started volunteering in a local school and in 2011 became a Cub Scout leader and won a trophy as the first female parent leader. Emiliya likes being around people, adores travel, enjoys playing soccer, and relishes in helping other people.
During her lifetime, she has encountered a variety of female friends who have been physically and verbally abused as children or adults. Some of them have subsequently been neglected, had childhood traumas, or ended up in relationships with abusive, controlling men. Knowing that these people were unconsciously crying for help but no one was there to help them or hear their voices, she felt and understood their pain and witnessed their hopelessness, frustration, fears, disappointment, and isolation. In writing Broken Chains, Emiliya seeks not only to depict other people’s struggles and dilemmas, but also to give a voice to those who are in the same situation. She also wants to show that there is always hope and light even in the loneliness of darkness. Emiliya sincerely hopes that this novel will assist other people to get their lives on a positive track as her protagonist Silvana does.
As a sophisticated prose writer and masterful storyteller, Emiliya has an innate sense of style and narrative, betraying a marvelous talent for weaving an intricate story of victory over domestic violence in all its pedigrees. Thus, beyond the fictional world, she emerges as a global voice and motivational speaker for combating abuse in all its carnations (sexual, parental, familial, spousal, partner, and child)
Crystal and Sylvia are best friends, each the only one the other one trusts. But they each have a dark secret, and neither one knows how to tell the other. Crystal’s secret is that she’s gay and strongly attracted to Sylvia. She wants more than friendship, but she’s afraid to destroy what they already have by letting Sylvia know. And after all, friendship is better than nothing, isn’t it? But Sylvia’s secret is more sinister. It could not only destroy their friendship, it could also hurt Crystal—in more ways than one.
What is an important aspect of writing that is often overlooked?
I feel that writing education focuses much more on content than marketability. There is this belief that if you write something good, that the readers will come to it. Unfortunately, there is an overabundance of fantastic writing out there. Business savvy is also necessary. For that reason, detailing target audience is probably the most overlooked aspect. There is nothing wrong with writing in small, niche readerships. There is less to compete with, but also less potential customers. It’s something you should consider as you are brainstorming.
What book are you promoting today?
A Turbulent Affair is a F/F romance with light bdsm elements. It is the story of two women attempting to overcome their perceived flaws and build a lasting romance. Please note, trigger warnings for suicidal thoughts and self-harm as both are themes in the book. The book is a novella, so my goal was to capture the essence of the relationship without bogging it down with erroneous information. I am not a terribly congenial person, so another goal was to show that stoic characters can still be likable.
What is something interesting about the book that surprised you?
Believe it or not, there have been several reviewers and blog slots that have declined to feature the book because of the F/F element. I could see not wanted to present the darker or violent themes to a readership, but I was surprised that a F/F story would negatively affect their audience. I was additionally surprised that they were so willing to say it was because of the same sex relationship when they could have omitted the reason or left it ambiguous. I suppose it has been a hot button topic in recent years.
Visit http://yesterdaydaugher.blogspot.com/ for more from Sarah.
Unresolved emotions are toxic to our body. Our body is a remarkable storage device (just like our intestines) for unprocessed thoughts and feelings. Most people spend a lifetime depositing unresolved emotional issues throughout the body; in fact, it is not only painful experiences that are stored; all sorts of memories get lodged in the body's tissues. We tend to store our unpleasant or negative feelings in a “file cabinet” deep down inside of us (our subconscious) thinking they will never come out. Dr. Candace Pert, who was an internationally known pharmacologist and published over 250 research articles was a significant contributor of Mind-Body Medicine. In her book, Molecules of Emotion: The Scientific Basis Behind Mind-Body Medicine (Scribner, 1997), she explains how emotions are stored in the body. Dr. Pert stated that “Your Body is your subconscious mind.” Pert goes on to say, “Buried emotions can impact your perceptions, decisions, behavior, and even health, all unconsciously.”
For more for Paul Cartone, Licensed Psychotherapist visit:
Gary Starta has done it again. You’ll love the explosion of excitement in this thriller that will keep your brain in over-drive as you try putting the pieces together and cheer the main characters to solve the serial killings. - Terry Klein
Enjoy the first three Caitlin Diggs books now all at $.99….
BLOOD WEB - Caitlin faces a killer controlled by a crystal via biological internet ‘riveting’
EXTREME LIQUIDATION – Caitlin must stop an occultist who tempts with magic ‘pulled me in’
DEMON INHIBITIONS – Caitlin crosses realities into a demon world and meets her other self
- SelfWriter, present
- Midcity MedicalOffice Manager, 2005 - 2010
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