The 6th, and last, free ebook I’m offering is the Innerscape Omnibus which includes all three books of the Innerscape trilogy.
If you’ve already downloaded the individual books, there’s no need to download the Omnibus, unless you want to, of course. 😉
The Omnibus is free on Amazon now, and I’ve provided some of the major links to the various Amazon market places below. As with the first five books, the Omnibus will be free for 5 days [ending April 3, 2021].
I left the Omnibus until last because I intend to unpublish it on April 14, 2021 which is two days after I first published it on April 12, 2020 – an almost-anniversary. I know we’re not in the clear from Covid yet, but at least there’s light at the end of the tunnel, so I feel it’s a good time to retire this particular version. I may drag it out of mothballs for the odd special occasion, but for now it will enjoy a well earned rest. 😀
I would love everyone to grab a copy of the Omnibus while it’s free. I’d also urge anyone who hasn’t grabbed a copy of the other books to do so now, while they’re still 99c. On April 3, they will all return to their normal pricing.
I’ve tried not to check the Amazon reports too often so I’ve been gobsmacked by how many people have downloaded the books. I’ve also been incredibly heartened by the wonderful reviews they’ve all received. That was a very pleasant surprise as I’d only been hoping for a couple of reviews for Miira and Vokhtah. Thank you, all of you. -hugs-
Due to the difficulty of finding excerpts that don’t give too much away, I’m only going to post one favourite bit from Nabatea, and this is it:
The control room of the Innerscape facility was hushed as all eyes watched the numbers counting down on the wrap-around wall monitors.
“Any second now,” the duty tech said softly.
Standing right behind the tech, Phil Jacobs could see for himself that Alex Tang, murdered two days before by Kenneth Wu, was finally breathing his last.
The AI and specialist medical teams had done their best, but the outcome had never really been in doubt. It had simply been a matter of time. Now, all the monitors focused on Alex Tang’s vital statistics told the same story – he had put up a heroic fight, but the battle was almost over.
Relief and sadness jostled for position in Phil’s mind as he stared at the heart monitor.
“Flatline,” the duty tech said, his voice almost drowned out by the bleep of the alarm.
The heart monitor was joined a moment later by the Brain Interface Monitor.
Patting the tech on the shoulder, Phil signalled for the alarms to be turned off. In the sudden silence, the voice of the AI seemed unnecessarily loud as it confirmed brain death at 1:46 pm, Sunday the 25th of December, 2101.
Merry Christmas, Phil thought as he affixed his biometric signature to the death certificate.
“Inform the police forensic team that death is confirmed.”
Glancing up at the wraparound screen, Phil watched as the yellow-clad technicians waiting in the Catacombs sprang into action. They, too, had been waiting for Alex Tang to die, and now that he was gone, they were free to take possession of his containment unit…with him still in it.
Once the unit was disconnected, the forensic team would put it inside one of their huge Hospice trucks and take it away for examination.
“I don’t get it,” the duty tech said as he watched the frenzied activity on the central monitor. “Why all the portable batteries? It’s not as if they need to keep him alive during transit. And why take his AI as well?”
“They probably don’t want to miss anything,” Phil replied, his tone bleak.
“But we already know how he died.”
“No one’s ever been murdered by the common cold before,” Phil replied, his eyes never leaving the monitor. “So this is all new territory. And they don’t trust our systems.”
In fact, the police had found a great deal not to trust, from Innerscape’s reliance on the AI to Phil’s own handling of security.
“Dr Jacobs, can you explain why you didn’t revoke Dr Wu’s permissions when he left Innerscape?”
Just thinking of that interview made Phil’s ears burn hot. He had been forced to explain that, as Kenneth had not, technically, been fired, he could not, technically, have his permissions revoked. It had even, technically, been true as the AI did assign security permissions automatically, based on the employee’s position in the company.
What Phil had left unsaid was that those permissions could have been changed manually, using the CEO’s executive override, had anyone foreseen the need to do so. But no one had.
Least of all me, he thought as he forced his eyes away from the monitors. If he had, Alex Tang might still be alive. But then again, who could have guessed that Kenneth Wu would turn rogue?
For those who have never read any of Innerscape, each patient’s body is kept in a containment unit, about the size of a large coffin. Each containment unit has its own AI whose job it is to keep the body alive and functioning. Once the patient is in the containment unit, nothing is allowed to enter the sealed internal environment because even a breath of outside air could introduce a virus or bacteria. Nothing deadly. Just the common cold. Opening the door to the containment unit is a death sentence.
Why did I choose this short excerpt from the very start of book 3? Because every time I read it, I’m surprised that I wrote it.
Since publishing Vokhtah in 2013, I’ve become a lot more comfortable calling myself a writer, but there are times when I still feel like a bit of a fraud. Me? A writer? Yeah, right. But when I read this bit I feel as if yes, maybe I do deserve that title after all.
I really like the epilogue as well, but I can’t tell you about that, or about Kenneth’s grandmother, or the scent of lemon, or sensory deprivation, or a host of other things. All I can do is hope that you take a chance and read Nabatea for yourselves on February 16th when it begins its five days of free on Amazon.
This day really couldn’t get any better. Just found this new review for The Godsend:
‘WOW the action certainly ramps up in this second book of the series. Miira and Jamie are trapped outside Innerscape and in mortal danger, there’s an assassin determined to kill The Burned Man, the falsely accused Kenneth Wu reappears, and much, much more.
I’ve reached a point in my writing where I’m stuck. It happens. So what do you do when your writing is stuck? You read, of course. But who in hell can afford $10 USD for an ebook?
I read 99.9% Indie only and noticed a price hike from $3.99 to around $5.99 USD a while ago, but suddenly this morning, I discovered that a great long list of Indie authors are pricing their books around the $10 mark. Given that I’d already bought most of their books at the ‘normal’ Indie price, I was shocked at the sudden leap.
After rejecting book after book because it was simply too expensive, I finally thought to look at the book details and…doh. Without fail, these previously Indie authors are now ‘published’ by a company.
Indie to traditionally published… I understand. No matter how much we may extol the virtues of being an Indie – creative freedom, product control, more money – a part of every author wants to be traditionally published. Why? Because of the validation.
We still think that traditional publishers are the doyens of good taste and literary value, the way they used to be before publishing became a big business like any other. Even those who know that’s not true succumb to the siren song of validation.
I get that. What makes me furious is that these publishers are reaping the benefits of ebook sales without having done any of the work. And it’s loyal readers like me who suffer because we cannot afford to spend that much money on ebooks. Or any books for that matter. Not when we often read two books a week.
I’m also angry at the fact that it’s the pandemic that’s brought about this price grab by publishers. They can’t get their ‘normal’ books out there because most bookshops and retail outlets are closed, so they hoover up ebooks that cost them next to nothing, and suddenly they have a cash flow again.
The third thing that makes me spitting mad is that these previously Indie authors who had it all – money coming in, fans by the thousand, control of their art and their future – have probably signed away their copyright for ‘life plus 70 years’.
What happens when this pandemic finally ends, and most of them become the equivalent of midlist authors? Will the publishing companies be grateful that these authors gave them a cashflow for next to nothing? Or will they consign them to publishing limbo as they did with a previous generation of midlist authors?
Okay, I tell a lie. I do not care what happens to these authors. I care about me and readers like me. So…having struck a heap of authors off my to-be-read list, I’m asking you guys for recommendations, but true Indies only, please!
I love scifi, first and foremost, then fantasy, then thrillers, and murder mysteries. Can you recommend a good Indie for me to read? Someone who doesn’t charge $10 for an ebook?
As a reader, I’m loyal, and if I like the author, I will read everything he or she has ever written. My Kindle is testament to that.
I read one of Melinda Clayton’s book some time ago [psychological thriller ], and I read C.S. Boyack’s, ‘Serang’ just recently, so I know both writers are great value. But I need more, so please tell me about your favourite Indies in the comments.
Back in January, many of my Aussie writer friends joined together to produce an anthology of short stories and poetry, with the proceeds going to bushfire relief. I didn’t join in because I’m not very good at short stories, but I’ve wanted to do something ever since. And now there’s this damn virus…
Anyway, to do my bit, I’ve poured all three books of Innerscape into one omnibus, and I’m going to be offering the omnibus for a limited time – basically the 90 days Amazon requires in order to give readers 5 free days. After the 5 free days are done, the omnibus will revert to 0.99 cents. I wish I could offer the whole 90 days for free, but Amazon won’t let me.
So…I’ve done the formatting and the omnibus is ready to go, but I need to settle on a cover. These are the three I knocked up yesterday:
I quite like this one as the white squares can be either shoji screens or the ‘catacombs’, both of which feature in the story. But…the image will only have meaning for those who have already read the whole story. I fear that it will do nothing for potential new readers.
This is the one I prefer, aesthetically, plus it’s more consistent with the individual covers, but will the contrast between the ideal beach and the circuitry intrigue readers enough to give the story a go? No idea.
Okay, this is the one I like the least, but it may well be the one that most closely fits the scifi/thriller genre of the story. As my Indies Unlimited buddy, Lynne Cantwell wrote in her post about covers:
‘My cover was terrible. Oh, it’s pretty enough. But I’d been marketing the book as urban fantasy, and the cover screamed women’s fiction. The image was all wrong. The font was all wrong. Even the title was all wrong. There was nothing there to entice a reader of urban fantasy to click through and buy my book.’
I know my covers are never going to match either genre exactly because the typical sci-fi cover has stars and space ships, while many thrillers include images of weapons. Still, I’d like the cover of the omnibus to convey something of the two genres, and the simple circuit board of version 3 may just be it.
I would really love your feedback on the three versions, or if none of them appeal, suggestions as to how I could make the look and feel of the cover better.
Forgive me if I reproduce this review in its entirety, but as a pantster, it’s validation of a sort I never expected to get:
Oooh, I loved this series, and now that it’s over, I’m suffering from a book hangover.
Nabatea is the final book in the Innerscape series. Book 1 primarily introduces the main character Miira Tahn and guides the reader through her entrance into the virtual world of Innerscape. During Book 2, sabotage, scheming, and political intrigue results in multiple victims including two people close to Miira. In Book 3, the search for truth commences and resolves amidst a cover-up that threatens Miira’s life.
The plot takes off quickly when Miira is confronted with disturbing information about the murders, and her prying questions raise alarms among those who want to hide the truth. A plot to silence her brings in two dedicated investigators who start gathering clues and unraveling the web of lies.
Miira is tenacious, a strong woman, but also vulnerable both physically and emotionally. Her character is compelling and consistent throughout the series, and I teetered on the edge of my seat as the danger to her life increased. Several pivotal new characters enter the action in this book, and though late in the overall story, the author pulled it off without a glitch. All characters are distinct, believable, and emotionally charged.
Flory did a marvelous job of tangling up the truth by loading the story with lies and misinterpretations. The unraveling of the events around the murders as well as the investigation into the cover-up required an intricate job of storytelling that was rather impressive. Several characters are investigating the truth simultaneously, and because they’re coming at it from different angles, their assumptions and conclusions are often erroneous and mismatched. I would recommend reading these books in a tight timeframe to help keep all the complex plot threads straight.
The worldbuilding is exceptional, the dialog natural, the writing and editing flawless. And the ending was highly satisfying as all of the threads tie up nicely. I will definitely read more of this author in the future.
Update April 4, 2019: I was so carried away that I totally forgot to add a link to the actual review. Here it is!
Do you believe in Voodoo? I don’t, and yet I had no trouble suspending disbelief as I read Carrie Rubin’s The Bone Curse.
For the record, I won a pre-review copy from the author.
The story begins in Paris where Ben Oris receives a small wound from an ancient bone. Ben’s best friend, Laurette, fears that some sort of evil has entered his his body through the wound, but Vodou is no part of Ben’s world and he dismisses her fears, even as people close to him begin to sicken with a mysterious illness.
To add some context, Voodoo is Hollywood, Vodou is the belief system of Haiti. It has good and evil spirits, just as most Western religions have angels and demons. More importantly, it has practitioners who actively believe. That counts for a great deal when Ben’s ordered, logical world turns upside down. First his ex-lover gets sick, then an ex-girlfriend, and finally the woman who birthed him.
Nevertheless, it’s not until Ben becomes a father and fears for the life of his newborn son that he begins to wonder if there’s more to Vodou than he wants to believe. What follows is a fast paced race against time as he tries desperately to save those he loves.
I wasn’t sure if I liked Ben Oris at the start, but as the story progressed, I found myself empathizing with him more and more. Not just because he was a Doubting Thomas like me, but because he slowly evolved into someone capable of putting others’ lives ahead of his own. As he began to care, so did I.
I can’t say any more for fear of spoiling the whole story, but I devoured The Bone Curse in under two days and I strongly recommend it to anyone who enjoys a fast paced, medical/psychological thriller that makes you think.
The book will not be published until March 27, but you can put it on pre-order here:
I haven’t done a review in a long time, but I finished The Communion of Saints last night, and I simply had to review it.
But first a little background. Communion is the third novel in the John Ray series that began with Hope Road and continued with Father and Son. My reviews of Hope Road and Father and Son are here and here. It’s been a long time between drinks, but the wait was worth it. Here is the review I just posted on Amazon:
Like ‘Hope Road’ and ‘Father and Son’, the first two John Ray thrillers, The Communion of Saints is that rare beast: a character driven genre novel. And like its predecessors, Communion is brilliant.
The Communion of Saints can be read as a standalone novel because the author weaves enough prior knowledge into the story to make the character and motivation of the protagonist realistic and satisfying. Nevertheless, I highly recommend that you read the earlier novels first.
Why? Because all three novels are character driven thrillers, and it’s the character of John Ray, the protagonist, that sucks you in and keeps you turning the pages.
John Ray is the last surviving member of a crime family. He’s the white sheep, the one that broke away and tried to live a straight life. But it’s hard to remain divorced from your past when you see your brother shot to death in front of your eyes. It’s even harder to stay detached when the Law tries to lay every nasty crime at your door.
After the gruesome death of his father, the old crime boss, John Ray tries to start afresh. He gives his business away and takes a job as a lowly lecturer’s assistant, but he’s shrivelling up inside.
Enter Detective Chief Superintendent Shirley Kirk. She needs John’s help. Or, to be more exact, she needs the help of his historical links to the underworld because someone is making allegations of child abuse against an institution to which they both have ties.
In the process of unravelling truth from lies, John discovers yet more about his own past, none of it good. He also becomes a suspect in two murders, simply because of who he is.
The plot is tight, with no ‘what the…?’ moments, and the prose is elegant, painting a vivid picture of the characters and their world without ever being flowery or pretentious. But the true joy of Communion is in the characters. Not even the walk on/walk off characters are two dimensional. All of them possess a vitality that makes them feel real, no matter how minor.
As for John Ray and Shirley Kirk, they’re real people to me. I care about them. I’d like to meet them, talk to them, spend time with them. More importantly, they are people I will not forget.
I cannot think of greater praise for an author’s work.
Something I didn’t write in the review was that I wondered whether I’d still have a wee bit of a crush on the charming rogue, John Ray. The answer is yes. He’s still a bad boy with heart, and we know how women like them. 😀
I’m in way over my head! I write sci-fi, not thrillers or mysteries…so how did I get to a point where I’m having to work out time differentials for the plot?
Before I try to explain what’s been driving me crazy, I need to say that all of my favourite sci-fi books weave together a mix of history, culture, psychology, politics, technology, conflict and an element of mystery. Think Dune, and working out the relationship of the great worms to the planet’s ecology. All of that is normal because good sci-fi creates worlds, and worlds are full of people, and people do ‘stuff’.
I understand all that, especially the bit about people doing ‘stuff’. My problem is that I never expected the characters in Innerscape to finish up doing mystery thriller type stuff.
I’ve read mystery thriller type books by the boat load, but there is a world of difference between reading in a genre and trying to write in that genre. I feel as if I’m groping for the ‘rules’ on the fly, and it’s hard. Integrating the requirements of mystery/thrillers into a sci-fi environment is even harder, and at the moment I’m stuck on ‘time’.
To make the plot work, various people have to do various things, together and in sequence, so I have to know when things happen, right down to the last minute. But…in order to make the Residents of Innerscape feel as if they are living for longer, time in Innerscape runs faster than time on the outside. About twenty minutes faster.
As an aspect of science fiction, this time differential between Innerscape and the outside world is not a big deal. I do some hand waving and a bit of arithmetic and the time flows make sense. Easy peasey…until I introduce the twin elements of mystery and thriller to the mix. Suddenly the difference between Innerscape time and real world time matters, a lot. So does how I present this conflict between internal and external time.
Right from the beginning of Innerscape, I’ve worked hard to make the reader feel as if time really is passing, hopefully without hitting them over the head with dates and durations and elapsed blah blah. Now, though, I’ve reached a point where I really am going to have to elevate time to the position of Very Important Plot Element, and I’m struggling.
The pic below is a screenshot of the StoryBox navigation pane for Part 10. It’s one of the reasons I love StoryBox as it allows me to outline, more or less on the fly:
As an outline, the pic only makes sense to me [just as well or I’d have to post a Spoiler Alert!]. But it does show how I’m trying to work out what happens when.
Sadly, the reason I’m writing this post is that I’m sort of stumped…and procrastinating. Once I finish the post, I’m going to have to resort to pen and paper to storyboard the exact sequence of events because at the moment, I feel horribly muddled. -sigh-
If there are any thriller/mystery writers out there with tips, I’d love to hear them.