Monday, July 28, 2014

"Don't Talk to Strangers"

Amanda Kyle Williams burst on the thriller scene in 2010 with her first crime novel, The Stranger You Seek, which was hailed by Publishers Weekly as an “explosive, unpredictable and psychologically complex thriller that turns crime fiction clichés inside out.” Stranger In The Room (Bantam 2012) is the second book in the Keye Street series, and book 3 is Don’t Talk To Strangers (Bantam 2014), which has been called the strongest, most exciting book in a series that keeps getting better. Williams has been shortlisted for both the Shamus Award from the Private Eye Writers of America, and the Townsend Prize for Fiction. She is currently at work on the 4th book in the series, A Complete Stranger.

Williams applied the Page 69 Test to Don’t Talk To Strangers and reported the following:
It’s that moment every investigator hopes for, that moment when he or she understands something vital about a scene and about an offender. A pivotal scene on page 69 in Don’t Talk To Strangers, the 3rd Keye Street novel, involves my detective and police consultant deep in the Georgia woods at a crime scene that has grown cold. Understanding what happened there, all the terrible, chaotic interaction between victim and offender, is like a road map into the killer’s brain; Keye Street would later tell the Sheriff she’s consulting on the disappearance and murder of two teenage girls. And so we find her in the woods where a killer used to murder and dispose of his victims, retracing his steps according to original evidence recovered, trying to figure out why he had veered away from the disposal site, and why evidence was recovered in a nearby creek.

From page 69:
Spatter. That was it. He’d come to the creek to rinse off Melinda Cochran’s blood. He didn’t want to walk out of the woods and drive away with blood on his face and hands. And that’s when he’d dropped the blouse. Had he come in the night and worked his way up tangled paths with a flashlight and a weeping girl? Or was he comfortable enough to come in daylight? How bold was this killer? Did he know the area and the routines so well that he could walk out here just like I had? He’d made mistakes last time. He’d dropped the blouse and as a result a crime scene I didn’t think he ever wanted exposed was uncovered. Maybe we’d discover he’d made other mistakes too. But he wasn’t stupid. That much I knew.

I knelt down, cupped my hands in the clear, cool water, splashed it on my face, raked my hair back with wet fingers. I imagined his hands rinsing off Melinda’s blood in the creek, him splashing his own heated face, the evidence tinting the water and trickling downstream. I closed my eyes and breathed in the mossy banks, let myself feel it, feel the serenity of this place falling down around me like rain, feel him kneeling here as I was now, his knees pressing into the soft soil at water’s edge. My ticking pulse, the blast of adrenaline that shoots through me when I’m learning a killer, was as welcome and familiar to me as this place must be to him. It felt good. I don’t know how else to explain that moment when you know you’ve understood something about a scene, something intimate about the dark, veiled movements of a psychopath. All those tiny moments, all those little actions—they add up, one stacked on top of another, building a tower that would sooner or later come tumbling down.
Visit Amanda Kyle Williams's website.

--Marshal Zeringue

Saturday, July 26, 2014

"The House of Small Shadows"

Adam Nevill was born in Birmingham, England, in 1969 and grew up in England and New Zealand. He is the author of the supernatural horror novels Banquet for the Damned, Apartment 16, The Ritual, Last Days, House of Small Shadows, and No One Gets Out Alive. In 2012 The Ritual was the winner of The August Derleth Award for Best Horror Novel, and in 2013 Last Days won the same award.

Nevill applied the Page 69 Test to his latest novel, The House of Small Shadows, and reported the following:
Page 69 in The House of Small Shadows is right in the middle of a scene in which the lead character, Catherine Howard, an antiques dealer, breaks up with her boyfriend; a man she considered a significant part of her future. A couple of pages later, she’s disoriented with shock and grief. It’s the only break-up scene I have ever written, but in no way is the novel a romantic story – it is a story about terror and enchantment. On this page, and in this scene, there are no preserved and uniformed rats arranged in dioramas depicting horrific battles in the Great War, no ghastly puppets with a long and disturbing history, no scented dolls, the eccentric Edith Mason does not appear, and nor does the magnificent Red House that protects Edith and her treasures. So, although the page 69 scene may not appear representative, it features one of several significant triggers that blur, then break down, the barriers between reality, sanity and nightmare for Catherine Howard. And as for the boyfriend, the old adage says that hell hath no fury like a woman scorned, but readers may come to believe there is a more terrible fury, and that’s the one enacted on a scorned woman’s behalf by something as cruel and yet innocent as a child.
Learn more about the book and author at Adam Nevill's website.

--Marshal Zeringue

Friday, July 25, 2014


M.D. Waters lives with her family in Maryland. She is the author of Archetype and its newly released sequel, Prototype.

Waters applied the Page 69 Test to both novels and reported the following:
Page 69 of Archetype really sets up the underlying issue within the pages. Dr. Travista explains to Emma that “Fertility is questionable with a majority of the female population, and because of your accident, we feared you would lose the ability to bear children.” And that’s just the top of the page.

He goes on to explain why, which were things I believe possible, and ultimately inspired the world I built. He blames it on Mother Nature trying to compensate for the overpopulation of our species. Add that to a time when families are already limiting the number of children, as well the use of science to make sure there were men to carry on the family name… Suddenly we have a shortage of women.

Page 69 of Prototype deals with an overall issue Emma faces throughout: her freedom. She’s just learned that a doctor who she should trust has run her genetic sequence even though she forbade it. Emma struggles throughout to regain her freedom, from physical to literally having a life in the world without fear. She wants the freedom to make her own choices, make her own way, and she’s prepared to fight for it.
Visit M. D. Waters's website.

Writers Read: M. D. Waters.

My Book, The Movie: Prototype.

--Marshal Zeringue

Thursday, July 24, 2014

"What Is Visible"

Kimberly Elkins was a finalist for the National Magazine Award and has published fiction and nonfiction in the Atlantic, Best New American Voices, Iowa Review, Chicago Tribune, Glamour, and Village Voice, among others.

Elkins applied the Page 69 Test to What Is Visible, her first novel, and reported the following:
Note that Sarah Wight is the teacher of real-life historical character Laura Bridgman, the first deaf-blind person to learn language 50 years before Helen Keller. Here, she is teaching Laura to dance. It is 1845, and Laura is 16.
... -she yanks with it some hair from my braid, and I cry out, I mouth her name, but she doesn't stop, she is tapping away, and I'm trying to stop the spin, all in one or two seconds that are sprinkled with bright lights in my head, and then I'm turned--taptetaptapTAP--she has turned me most the way around--taptap--and the shade pulls clean off my eyes--TAP--and Sarah Wight stops completely, stumbling back a little when she sees, I guess, what has happened, and taking my shade with her.

I have lost her arm's protection, and I go down at the end of my twirl, my dance, crouching on the floor with my hands over my face. Doctor has made it a rule that I am never to uncover my eyes for anyone but a physician in private, and he certainly brooks no argument from me on that point. It is as far from my desire as Boston is from the North Pole to offend my friends' sensibilities, to frighten or disgust them.

Stop touching me! Miss Wight is all about me, hands and arms, patting, poking.

"So sorry." Waiting. "We'll put it back."

No, I am comfortable making my ball here on the carpet, with its varied beveled tufts against my cheek. Jeannette told me this pattern is roses and angels in blues and golds. How beautiful to behold roses and angels together. Sarah Wight is practically lying on top of me, causing us both to sweat, in her what--grief? anguish? embarrassment? I am the one eyeless, revealed, naked in the face in the cruelest way of all nakedness--why should she be aggrieved? If the eyes are the windows to the soul as one of Doctor's poet friends recited, then what kind of soul do I have, Wightie? What did you see of my soul before I went down, cowering on the floor like the wild child, the beast, I used to be?
This passage in my fictional biography, What Is Visible, finds Laura at her most absolutely vulnerable; by this time at the age of 16, she is considered the second most famous woman in the world in the nineteenth century, save Queen Victoria, for her unprecedented ability to learn language, fifty years before Helen Keller. The scarlet fever that left Laura blind and deaf at age two also took her senses of taste and smell, leaving her bound to world by touch alone. Laura is practicing dancing with Sarah Wight, her new teacher, whom she is trying desperately to impress, feeling the beats of the music through her feet. But then her ribboned shade becomes tangled, and is pulled violently from her eyes, and she knows that Sarah has seen those empty caves of bone, the eyeballs suppurated by the scarlet fever, the only person to have seen them except for doctors and her mother. While the benighted, tragic tone is not representative of most of the novel, you do get a clear sense of Laura’s voice: her precocity, her stubbornness, her demanding intelligence. She is both fierce and frail, by turn, but always alive to all of life’s possibilities, endlessly curious and seeking connection at whatever cost. This moment will prove a great turning point in Laura’s relationship with Sarah, beginning the establishment of a deep and loving bond, made all the more poignant by the fact that the two are tragically parted just four years later.

So as a random pull from the text, this page proved lucky in providing a nuanced glimpse into not just Laura’s soul, but also in the way into which she interacts with others. Lucky 69!
Visit Kimberly Elkins's website.

My Book, The Movie: What Is Visible.

--Marshal Zeringue

Wednesday, July 23, 2014

"Cup of Blood"

Jeri Westerson's first six books featuring Crispin Guest are Veil of Lies, Serpent in the Thorns, The Demon's Parchment, Troubled Bones, Blood Lance, and Shadow of the Alchemist.

Westerson applied the Page 69 Test to Cup of Blood, a prequel to the series, and reported the following:
Here we are in the middle of the protagonist, Crispin Guest's, thoughts. He has just run into his former fiance seven years after his fall from grace and the end of that betrothal. Crispin has always been a man to wear his heart on his sleeve, and in this prequel to the acclaimed series, he is no different. Sour about life, about his situation (banished from court, and bereft of his title, lands, wealth--all that defined him) he goes on, finding a kind of penance in his new occupation of "Tracker," the medieval equivalent of a private detective. In Cup of Blood, Crispin finds a dead man in his favorite tavern who turns out to be a Knight Templar, guarding a most precious relic which has vanished. Hired by more Templar knights to find the object, he runs afoul of minions of the French anti-pope who also seek it. In the midst of his troubles, a good turn is done him by an unlikely source; an orphaned cutpurse by the name of Jack Tucker, who insists on being Crispin's servant.

From page 69:
She never even fought it. She never stood up to Stephen and came to me. I thought she might. But what woman would have done? Willingly become a pauper and the laughing stock of court, all for him? How could he blame her? Yet he did. A year earlier they had both signed the betrothal contracts and the families thought it a fine match. But something happened between the contracts and the courtship: Crispin fell in love.

How could I not? She was so beautiful. There were many days they would steal away, leaving her maidservants behind. They would kiss and touch and whisper those silly phrases only spoken in romances and love songs. And though he loved and desired her, often raining kisses along her throat, he would go no further. A proper courtier was he.

A proper fool!

Only a mere fortnight after his disgrace, another man conquered that virginity which should have been his. It was that pain that pierced him the most, that could not be undone.

He looked at Jack standing in the tinker’s doorway, waiting for orders. What was he to do with the boy? Jack was like a stray dog that would not leave, even when kicked. “Tucker, I appreciate your loyalty, but this has to end. Now. When I get back, I do not expect to find you here.”

“But Master…”

“I am not your master. You must leave.” He turned on his heel, uncertain where he was going. Did it matter? He needed to think, but it was difficult with a headache pounding between his temples.

He turned up the street to Gutter Lane—walking toward the Boar’s Tusk—when he saw it. A man in a long, dark robe, hood up over his head, standing under the eave of a shop across the way. He merely looked in Crispin’s direction, or at least his covered head and shadowed face was turned toward him.

A fleeting sense of recognition propelled Crispin toward the man, but the man abruptly turned and dashed up the lane.

Crispin paused before he leaped forward, sprinting after the man.
Learn more about the author and her work at Jeri Westerson's website and her "Getting Medieval" blog.

The Page 69 Test: Veil of Lies.

The Page 69 Test: Serpent in the Thorns.

The Page 69 Test: The Demon's Parchment.

My Book, The Movie: The Demon's Parchment.

The Page 69 Test: Troubled Bones.

The Page 69 Test: Blood Lance.

The Page 69 Test: Shadow of the Alchemist.

--Marshal Zeringue

Tuesday, July 22, 2014

"Blade of the Samurai"

Susan Spann is a transactional attorney focusing on publishing law and a former law school professor. She has a deep interest in Asian culture and has studied Mandarin and Japanese. Her hobbies include Asian cooking, fencing, knife and shuriken throwing, traditional archery, martial arts, rock climbing, and horseback riding.

Spann applied the Page 69 Test to her new novel, Blade of the Samurai, and reported the following:
Page 69 drops into a conversation between my ninja detective, Hiro Hattori, his Portuguese Jesuit sidekick, Father Mateo, and a Portuguese weapons merchant (Luis Alvares) whose sales finance Father Mateo’s missionary work in Japan.

The racist, self-important Luis alternates between a useful discussion and his usual litany of complaints about his samurai customers— in this case, the shogun’s ally Matsunaga Hisahide.

Hisahide needs the weapons to defend Kyoto against the approaching forces of a rival daimyo, Oda Nobunaga, who intends to seize the capital from the shogun. Hiro also believes Lord Oda’s men are behind the murder of the shogun’s cousin two days before, and the evidence suggests Hiro’s friend and fellow ninja, Ito Kazu, is involved in the plot.

Unbeknownst to Luis, Ito Kazu is hiding in Hiro’s clothing chest, hoping Hiro will help him prove his innocence … or at least escape the city before the shogun tracks him down.

The page contains the tension, verbal sparring, and hidden clues (here, literally, in the form of Kazu) which characterize the novel and the series. The page and chapter end (as many do) with a cliffhanger, which I hope keeps readers engaged and turning pages.
Visit Susan Spann's website.

My Book, The Movie: Blade of the Samurai.

Writers Read: Susan Spann.

--Marshal Zeringue

Monday, July 21, 2014

"The Girls from Corona del Mar"

Rufi Thorpe received her MFA from the University of Virginia in 2009. A native of California, she currently lives in Washington D.C. with her husband and son.

Thorpe applied the Page 69 Test to The Girls From Corona del Mar, her debut novel, and reported the following:
Page 69 of The Girls from Corona del Mar plunks the reader down in the midst of a very long, winding story about Lorrie Ann's mother being attacked in her home, bludgeoned over the head with a ceramic gnome, and then hospitalized with a traumatic brain injury. It is a swarm of characters, tiny details, "and then's" and would not be at all how I would introduce the reader to the book.
And so it came to be that Bobby never returned to the hospital that night, but instead had his buddy Seth pretend to be the sheriff's office and call Lorrie Ann, cryptically telling her to go to the hospital, where her mother was in critical condition.
It's a lot of names to keep track of, a lot of long sentences with too many dependent clauses. I would rather, of course, that they start with the first sentence of the book, "You're going to have to break one of my toes," I explained.

And yet, this feverish run-on quality is something my work is always teetering on the edge of, flirting with. It seems to be a space I find again and again, even when I try not to. In my experience, life is never simple, and things happen because of a cascade as opposed to a single trigger, and so I try to create this in my work, sometimes obsessively. There is also a comedic quality to The Girls from Corona del Mar, even though it is also a very dark book, that I think can be a little baffling. Ultimately, it is a book about growing up and trying to love your best friend even when you can't understand her at all. It is about your life turning out nothing like you could have ever expected it would. It's about trying to be a good person, even when you are positively sure you are a bad person. As far as I can tell, life is thrilling and beautiful and scary and funny, and so I tried to write a book that was like that too.
Visit Rufi Thorpe's website.

Writers Read: Rufi Thorpe.

--Marshal Zeringue

Sunday, July 20, 2014

"All I Love and Know"

Judith Frank is the author of Crybaby Butch, which was awarded a Lambda Literary Award in 2005. She received a BA from Hebrew University in Jerusalem, and a PhD in English literature and an MFA in creative writing from Cornell. She was the recipient of a grant from the National Endowment of the Arts and has held residencies at Yaddo and MacDowell. A professor of English at Amherst College, she lives in Massachusetts with her partner and two children.

She applied the Page 69 Test to her new novel, All I Love and Know, and reported the following:
How lucky! – page 69 of All I Love and Know is a pivotal moment of the novel! It’s the end of a chapter, for one, so ideally, it rings out. Partners Daniel Rosen and Matt Greene are in Jerusalem; Daniel’s twin brother Joel and his wife Ilana have been killed in a café bombing, and the couple has come for the burial. They are devastated, and they are the only ones who know that in their will, the deceased parents designated Daniel the guardian of their children. In this scene, the Israeli lawyer (Assaf) discusses the will with Daniel, Daniel’s parents (Lydia and Sam), and Ilana’s parents (Malka and Yaakov) and reveals that in Israel, the decree in the will doesn’t necessarily hold – that the Israeli courts will decide who gets custody based on “the good of the child.” Malka and Yaakov, Holocaust survivors who have lost their only daughter, are horrified that the children might be taken out of Israel, not to mention raised by gay men. Daniel’s mother Lydia is stricken because she doesn’t like Matt; she thinks he’s vain and shallow. Daniel feels desperately undermined: the possibility of an Israeli court ruling in favor of a gay man seems unlikely to him, and the prospect of raising the children has been the only thing keeping him going after the loss of his brother. Everybody in the room is exhausted, grief-stricken, and stressed out.
“Daniel,” his father said.

“What are my chances?” Daniel demanded in Hebrew, ignoring his father, fixing Assaf with a cold look. He remembered something. “They’re American citizens; doesn’t that count for something?”
“Not necessarily, Daniel,” Assaf said. “You’ll still need a court order to take them out of the country.” He reached forward and clasped Daniel’s shoulder. “But don’t assume anything, either good or bad. There are many factors.”

His father gripped his elbow. “Don’t worry, son,” he said softly. “We’ll fight this.”
Daniel shook his arm free. “I don’t understand this,” he said. “The parents decided what was for the good of the children.” He felt he was about to cry, and mortified, covered his face with his hands. “Poor Joel and Ilana,” he moaned. “It’s what they wanted.”

“This is crazy,” Lydia was saying, looking to Sam for corroboration.

The lawyer crouched and tried to take them all in with his gaze. “Everybody, please be calm,” he said, first in English, then in Hebrew. “Look. We are shocked by these terrible deaths. When we recover a little bit, I know that we’ll all do our best to make sure that Gal and Noam have lives that are as safe and normal as possible.”

Normal? Daniel burst into tears.

Malka was clutching at Yaakov and asking him how Ilana could do this to them, and he was urging her, with increasing impatience, to calm down, to try to understand that the court would surely be on their side.
Visit Judith Frank's website.

--Marshal Zeringue

Saturday, July 19, 2014


Alecia Whitaker is the author of The Queen of Kentucky and Wildflower.

She applied the Page 69 Test to Wildflower and reported the following:
I think this page in Wildflower gives the reader a great glimpse at the rising star of the main character, Bird Barrett. She has just been discovered by a talent scout and is on the verge of getting a deal. This may not bode so well for the rest of the members in her family band, since the scout is only interested in Bird as a solo artist, but it's exciting for readers to get a behind-the-scenes look at life on Music Row. I think the last sentence of the chapter, which just happens to end on page 69, says it all:

"...I have eight hours to turn the stories on the pages of my journal into songs worthy of a record deal."
Learn more about the book and author at Alecia Whitaker's website.

Writers Read: Alecia Whitaker (February 2014). 

Writers Read: Alecia Whitaker.

--Marshal Zeringue

Friday, July 18, 2014

"A Possibility of Violence"

D. A. Mishani is a literary scholar specializing in the history of detective literature. His first novel, The Missing File, was the first book in his literary crime series introducing the police inspector Avraham Avraham.

Mishani applied the Page 69 Test to his new novel featuring the inspector, A Possibility of Violence, and reported the following:
Page 69 in A Possibility of Violence, the second installment in my detective series featuring police Inspector Avraham Avraham, finds my protagonist in his station in Holon, again, moments before another team meeting in which he would present the case he is working on now. This case opened with an explosive device placed near a daycare and gradually becomes even more violent and complicated.

I emphasize the again and the another because this page and this scene represents one of difficulties and one of the pleasures of writing, and reading, a detective series: repetition.

In the first novel in the series, The Missing File, Avraham already was in this same room and in similar team-meetings. And there he is again, and me too, writing a similar scene but with the distance of time, his time as police investigator, and my time as a writer.

The time that has passed from the previous case (and novel) is omnipresent in this scene, at least when I read it now: Avraham remembers the last time he was in that room, exactly as I remembered it while writing. And he wants this staff-meeting to be different, just as I wanted it to be a different scene. He wants it to be different because in the previous case he made some crucial mistakes and he's eager to prove (to himself and others) that he has learned his lesson; I wanted it to be different because a writer can't write the same scene twice. But on the other hand, doesn't the pleasure we have upon reading a detective series also lie in this repetitious return to the same characters, same locations, sometimes even same scenes?

I think that while reading my page 69 I discover a true protagonist of every detective series: the time that passes; the need to change with time - but also the desire to freeze it.

Avraham, I believe, passed the second investigation test – he knew how to change and so his second case ends quite differently than the first one. This time he leads the investigation to a successful resolution. But did I manage to pass the second-novel-in-the-series test? Did I write a new novel while not forgetting the (reader's and writer's) desire to return to the first? I'll let you decide.
Learn more about the book and author at D. A. Mishani's website and Facebook page.

My Book, The Movie: The Missing File.

The Page 69 Test: The Missing File.

Writers Read: D. A. Mishani.

--Marshal Zeringue

Thursday, July 17, 2014

"The Stager"

Susan Coll is the author of the novels The Stager, Beach Week, Acceptance, Rockville Pike, and

Her work has appeared in the Washington Post,, and a variety of other publications including The Asian Wall Street Journal and the International Herald Tribune. Acceptance was made into a television movie starring the hilarious Joan Cusack.

Coll applied the Page 69 Test to The Stager and reported the following:
I love the page 69 test, and have taken it several times now. It always seems to work---or maybe it’s simply the case that every page of every book contains critical book DNA.

Lars Jorgenson is a former tennis star who has become obese, depressed, and addicted to a cocktail of prescription drugs. In the scene on page 69 he is lying in bed in his London hotel room, but he is, at the same time, inside his wife’s head. He knows her thoughts and he can hear the conversation in the room even though he is not actually there. He is devastated to learn he has not been invited to the dinner party.

“Why, for the love of God, am I privy to all this private chatter?” he asks at the top of the page.

This is an important question, and one that speaks to a key plot point in the novel. In fact this entire page contains three critical strands of the novel:

1. Lars is beginning to figure out that he has developed an omniscient point of view, which a few pages later he will discover is the side effect of mixing too many medications containing the letters X and Z.

2. Lars gets out of bed and draws the curtains to block out the light, even though it is already dark outside. Lars’s obsession with the light is an important theme throughout the novel.

3. Lars has become obsessed with Jorek, the Polish handyman who is helping to install a skylight in the new London home that does not have enough light.

The only thing missing on this page is the rabbit, but he is arguably there in spirit.
Learn more about the book and author at Susan Coll's website.

Read--Coffee with a Canine: Susan Coll & Zoe.

The Page 69 Test: Acceptance.

The Page 69 Test: Beach Week.

--Marshal Zeringue

Wednesday, July 16, 2014


Susan Slater's books include the Ben Pecos Indian series and the Dan Mahoney mysteries.

Slater applied the Page 69 Test to Rollover, the second Dan Mahoney novel, and reported the following:
I love the page 69 “test”. I once took a workshop with editor/agent Donald Maass who said that there “must be tension on every page that you write—no matter what you write!” I assume that even meant cookbooks! Maybe something like “will the soufflé fall?” Well, maybe not cookbooks but it’s great advice and absolutely needs to be taken to heart by mystery writers!

When I read this assignment, I couldn’t wait to turn to the sixty-ninth page of Rollover—and (thank God) I wasn’t disappointed. It’s the last page of Chapter Seven and ties up one of the first of several loose ends. Actually, it gives the name of a possible culprit who might have set up Dan Mahoney to be killed and fingers another. One of those “the plot thickens” sorts of events.

Dan who barely escaped with his life after a rollover accident (that wasn’t an accident) is trying to find out just who knew which route he was taking from Hobbs, NM to Wagon Mound, NM. He’s just called the insurance office in Hobbs where he wrapped up a case of insurance fraud for a United Life and Casualty satellite office. (See the first Dan Mahoney mystery, Flash Flood) And the secretary tells him someone called:
“Do you remember what she asked?”

“Well, they were planning a little welcoming get-together for that afternoon and it would make a difference which way you were coming. That is, the back way would get you there quicker but up through Albuquerque would be an easier drive—more four-lane.”

Lie number three. “And you told her I was taking the scenic route?”

“Yes, up through Roy. I remember you saying that you’d never seen the lesser prairie. And I mentioned that you’d gotten away early . . . She was so sweet and the party sounded so thoughtful.
The caller’s name was Amber and was a possible direct tie-in to the bank and one Lawrence Woods, its president. This page is loaded with foreshadowing and solves one aspect of who had him followed, cut his car’s hoses stalling him on the side of the road and then tries to kill him. In all modestly I’d move forward after this page and read on. Page 69 of Rollover passed the test!
Learn more about Rollover at the publisher's website.

Read--Coffee with a Canine: Susan Slater & Toby and Tess.

--Marshal Zeringue