Tuesday, July 30, 2013

AUTHOR INTERVIEW: R. Janvier del Valle

R. Janvier del Valle, author of the swords-and-sorcery epic Sword from the Sky, talks about his background and inspirations.

Sword from the Sky (Book I) 

Hi, Rey! Welcome to Zigzag Timeline. Can you tell us a bit about your background as a writer? What got you into writing?

Hello Mary, thanks for having me! Well, I’ve always been a creative person. I used to draw a lot when I was a kid and had a vivid imagination, but I was never really into writing until I got into my mid twenties. I was always a film lover, and to this day film is still my primary passion. During my high school days, I wrote a few action screenplays for a few of my friends' films, but when I went to college, I put the creative part of me aside so I could concentrate on my studies until many years later when the creative bug came back in full force. Initially, I was strictly a screenwriter, spending my time writing romance films (yes, romance), but they were more of what I call romance noir, that is, dark and moody romantic thrillers (which I hope to one day revisit in the novel form). After that, there was a weird period (that I’m sure most authors have) of writing poetry for a year or two, and finally, when I entered my master’s studies, I discovered Tolkien and Lewis. It was then that I decided to become a novelist.

I've noticed that you've written a number of epic, swords-and-sorcery type fantasy novels. What is it about the genre that appeals to you as a writer? 

Good question. Like I said, I first wrote romance for a few years, and from there I went into writing spec scripts for tv anime, more specifically, space operas. So, it wasn’t until I actually started writing novels that I broke into the fantasy genre. I guess because I was so involved in my studies in philosophy and theology and in the works of Lewis and Tolkien that I believed fantasy to be one of the highest forms of literature (though to a lot of people is known as the lowest), being that it used fantastical elements to inform the reader of the metaphysical realities not readily seen or understood in our natural world, and that’s what first drew me to the genre. Plus, growing up in the eighties, I was heavily influenced by movies like Conan the Barbarian, The Beastmaster, Willow, Legend, Flash Gordon, Star Wars, Dragonslayer, and Japanese mecha anime/live-action kaiju series like Ultraman, Ultraseven, Robotech, Mazinger Z and Voltron. All of these works were very epic in scale, very fantastical, and I completely fell in love with them. And I also think that with epic and heroic fantasy, I had the opportunity to really delve into what Tolkien called sub-creating, and that is creating a world from scratch, full of dynamic individuals and creatures living among certain physical and natural laws that the author brings to life, effectively mirroring not only our natural world but what is greater than our empirical world, and that to me is the world of spirit and of universal and eternal truths.

"Sword from the Sky" is the story of a 12-year-old boy with a wooden leg aspiring to be a master swordsman. What inspired his character? Why did you choose to give him a wooden leg?

The evolution of Luca has been a long metamorphosis. For instance, Luca’s character started as a powerful adult woman. Many years later, he is what he is today, a humble boy with an artificial leg. To make a long story short, I’ll tell you of a dream I once had. I saw Santa Claus walking through a cold and snowy forest one day, and suddenly, a sword landed on the ground behind him, seemingly falling from the sky. As expected, I woke up confused. Was I supposed to write about Santa Claus and a sword falling from the sky? At the time I had the dream, I was taking a class on Christianity and Jungian Psychology, and we were discussing dream analysis (coincidence?). And so through careful analysis I came to the conclusion that Mr. Claus represented childhood or something to do with children and myth, and the sword from the sky had something to do with a more powerful and unseen reality. So, a few days later my sci-fi novel I was working on at that moment suddenly gained a young boy as its hero and a change of genre--epic fantasy. And as to why I made him have a wooden leg, well it wasn't all my idea. I first created Luca without it, that is, with both legs intact. And after some time with Luca running around in my imagination, I discovered that his leg had been lost for some reason. Now, as an author, I could have either accepted that new revelation or intervened and made him whole again, but I decided to leave his crippled leg as it was because I knew that he would face more hardships that way and it would build a certain strength and character that would ultimately create a great hero. I also wanted to make his journey with him and understand his sufferings and faults. So I left his leg as it was and I think it has made him a better character because of it.

What stuck out to me about "Sword from the Sky" was the mythology and history woven into the story. Can you tell us a bit about your world-building process? 

Wow. Where do I start? In all sincerity, it did take a number of years to research and build my world before I even started on the manuscript. Did it have to take a couple of years? Probably not. At that time, I was working in advertising so I was using writing as a hobby of mine and I felt quite content just writing about different characters and creating various lands and having mock-interviews with Luca and everyone else. I also wrote short stories and folk tales involving some of my characters and other characters that weren't even mentioned in the main manuscript. It was sort of a geek cathartic thing, I guess. It wasn't until I decided to become a true novelist that I actually started working on the manuscript. But I guess the point is that, yes, creating a fantasy world does involve a long period of developing characters, worlds, cultures and mythical elements. I first start with creating the land and geography (I go from macro to micro), and then I go and construct the cities and the economic, political, and religious systems, and I do this by researching the great cities and civilizations of old and applying what is relative to my world. Next, I move on to the characters, and once that is done, I create the plot’s shell, a sort of cage if you will (i.e.: outlines, story arcs, etc.). I proceed to throw my characters into that plot cage and I let them run around inside the plot structure for a few weeks or so until the characters start taking a life of their own. And then I just observe. I’m like a journalist trapped in my imagination. I watch and write down everything they do. 

How has your background in theology affected your novels? 

I would safely guess that my background in theology and philosophy greatly influences my writing, especially when it deals with epic fantasy. Because of my education, I believe I’m able to understand the bigger eschatological picture of the war between good and evil, that is, what it is to understand the idea of the last days or of the end of the world which is very prevalent in fantasy literature. Also, my grounding in classical Aristotelian metaphysics and scholastic philosophy helps me understand my story’s narrative through the lens of an objective morality, of a world full of black, white, and gray, of universal concepts like truth, beauty, and goodness, and of the meaning of pure evil. Theology also helps me when dealing with spiritual things, especially with concepts like that of the supernatural, of immaterial spirits, of angels and demons, of sin and suffering, and of faith and hope. All of this helps me to build a world that’s not nihilistic but very meaningful, that is not relative and subjective but operating under absolutes and an objective natural law, and that is rooted in the belief that there is something greater than ourselves beyond what we can see, touch, taste, hear, and smell.

Can you share one of your favorite passages from "Sword from the Sky" with us? 

One passage that stands out to me consists of a small group of paragraphs describing Luca’s temperament during the aftermath of his pronouncement of exile. The contrast between the immaculate bridge and Luca’s somewhat soiled self was very symbolic, representing the coexistence of the earthly and heavenly. Even though, from a theological standpoint, we live in a fallen world, we are cradled and nurtured by a higher, maximally perfect spiritual realm, and because of this, Luca felt as if his temporary suffering was nothing compared to the abundance of eternal joy he would one day experience.  
"After he had bowed his head to the officials, he took a few steps backward, turned and headed out of the hall. He entered the school’s main passageway, and after the doors closed behind him, he quickly changed into his exile clothes. As he changed into his new clothes, despair entered him, and he suddenly felt the urge to break loose and run with all his might. Once done, he took off running down the school, breaking out into the courtyard and sprinting down that length of the bridge known to all Davinians as One’s Path.
Sweat poured down all the lengths of his cheeks as he ran faster than he had ever run before, but he soon found himself stopping, for he felt the need to walk and contemplate the things around him. Luca had traveled half the length of the bridge when he came upon this sense of peace.

The sun reflected off the gorge’s expansive cliffs, and he could feel a breeze leap up from the bottom of the river to the top of the bridge, gently lifting his clothes up and invading the dead air space caught between his skin and the surface of his cold mask. He experienced relief and felt the need to keep himself free of emotion, at least for the time spent crossing the latter half of the bridge.

The boy looked out of place. He was a dirty old thing, sporting many levels of stains on his garments. The wooden blades he wore were dull in comparison to the marbled floor of the great bridge, and it seemed from far away as if Luca was a spec of dirt cleaving onto something beautiful and immaculate. As he crossed One’s Path, not one bird sung nature’s hymn. One could not even hear the running of the river’s hum but only a desperate sound, that of a solitary wooden leg smacking the bridge’s unblemished floors. How could sorrow be surrounded by so much beauty, he thought? Yet, unexpectedly, he smiled."

What's your favorite part of writing? Plotting? Characterizations? Back stories? Descriptions? Dialogue? Something else entirely? 

Editing. And I don’t mean copyediting or developmental editing, but editing as in revising and rewriting. That’s the true nature of the craft. That’s where I find the pearl inside the oyster. My first drafts always come out something akin to a high school essay project; it’s filled with cliches, throw-away dialogue, continuity issues, repetitive word usage, and so on. That’s when you start revising, making it tighter and tighter until you can read a chapter without having any highlights except for every five to ten pages or so. I liken the process to molding clay or sculpting a work of art. You start out with a big mess and you chip away at it, finally making it something recognizable, and lastly adding in all the sharp details. That’s the fun part. That’s when you can turn something really banal into something unique and crisp. There’s great satisfaction in digging your hand inside that oyster and finding that rare pearl.

Are there any themes or messages in "Sword from the Sky"? 

I didn't set out to create a story full of themes, but I have no control over my subconscious, and certain themes always tend to seep their way into my narratives via my influences, beliefs, and philosophical convictions. So, I would say that SFTS does contain a number of messages. Some are readily identifiable and some aren’t. Some are put in there with me being aware of them and some themes only readers tend to find. First and foremost, I tried my best to make my narrative as universal as possible, that is, make it relatable enough where people can not only pick out certain themes for themselves but also insert their own themes into the narrative as well. But off the top of my head, I can only think of a few. One is the age-old concept of good versus evil, which I tend to shy away from the literal interpretation of good versus evil since to me that suggests a sort of dualism that I don’t particular subscribe to. I see it more as a universal goodness that is corrupted by the immorality of mankind, thus evil then is a deprivation of goodness, so what is good in Esterra is suddenly becoming deprived of its goodness and therefore turning evil. That’s why darkness begins to slowly overtake the sun. The setting of the sun represents to me the extinction of mankind’s inherent goodness. Another theme, a more philosophically abstract one, would be the imagery of the fog endarkening the bright and sunny Esterran lands. That to me represents the destructive modern philosophies that tend to fog people’s hearts and numb their spiritual awareness (and I’ve been known to refer to the Enlightenment of the 17th century as the Endarkenment). A third theme deals with the realities of spiritual beings that are pure intellect and will, for instance, angels. Those higher angelic beings are alluded to in the novel through the use of the cosmic guardain star-beings that sort of act as a symbol of a spirit’s superiority over mankind. There’s also the theme (or concept) of eucatasrophe, which is a term coined by Tolkien referring to the sudden turn of events at the end of a story which ensures that the good guys of the story eventually triumph over evil, and not just because of chance, bravery, or hard work alone, but also supported by providential means, as if Luca’s journey is ultimately a part of some divine cosmic plan.

The book world is changing day by day. Amazon is on the rise, Barnes & Noble might be in trouble, and the Big Six is now the Big Five. As a writer, how are you navigating this ever-changing landscape? What's your experience with self-publishing been like? 

It’s tough, really tough. I’ve never done anything as tough. Only a few self-published writers have been able to really break through and become successful in a relatively short period of time, but for the rest, it’s a slow and painful process, but still quite rewarding in its own way. You just have to write, write, write, and keep building up your list of true fans, that is, fans that will buy anything you write. You definitely need to have a mailing list. There has to be someway you can keep in contact with your true fans. That’s one of the most important things. As a self published author, you really have to take it day by day. Everything changes daily. Your Amazon ranks change, your reviews, your fan base. You could have four and a half star consensus one day and the next it’s down to less than four, which might lessen your appeal to some readers. You can be in the best sellers list one day and then three days later, you’re out, and no one knows your book exists. You constantly have to manage your book as if it were a product regardless of what other authors or experts say. First, you write, then you manage, making sure you get as much exposure as possible. It’s exposure that sells your book (considering that you already have a great cover, a great description, a well-formatted and edited novel, and of course, an entertaining read). If you go in with the mindset that it’ll be a long journey to fulfilling your dreams, you’ll do well in the business. If you go in looking for instant success, you’re going to face a harsh reality.

Are you working on anything new? 

Right now I’m working on finishing up Book II of Sword from the Sky which should be out in a couple of months. It’ll introduce quite a number of colorful characters and it’ll be more epic in scale. I’m also working on series number five of the Deaf Swordsman novellas which a lot of my fans are patiently waiting for. Additionally in the works are two books that are not in the epic fantasy genre. One is a cyberpunk fantasy that deals with the topic of cloning and demonic possession and I have a bit over forty thousand words written on that one. The other is a Victorian mystery crime thriller set in Boston in 1885, featuring a young protagonist with a mysterious past who investigates a series of murders that deal with a serial killer who takes pleasure in assaulting pregnant teenage girls and murdering their unborn babies. I have just over forty thousand words written on that one as well.

Sword from the Sky is available at: Amazon (Kindle), Amazon (paperback)

Sunday, July 28, 2013

REVIEW: Days of Love and Blood / R.S. Carter

TITLE: Days of Love and Blood
AUTHOR: R.S. Carter

PUBLISHER: Self-Published
AVAILABILITY: Amazon US (Kindle e-book), Amazon US (paperback)

Science Fiction - Horror/Post-Apocalyptic

Days of Love and Blood is hard to put into just one category. While it takes place in a post-apocalyptic future and has elements of a classic zombie horror story, much of it centers on the human element. Parts of it also read like a romance novel.

This book isn't fast-paced plot-wise, but the narration and dialogue keep it rolling along. It's a pretty quick read, being relatively short and straightforward.

First person past.

In the not-too-distant future, the mysterious Demon Virus wipes out the majority of the human population. Those it doesn't kill, it turns into mindless zombie-like killers, known as "homicidals." Carson, a young mother, is among the tiny population lucky enough to be immune to its effects. After her husband is killed by homicidals, she drives across the country with her son, a toddler named Ronan, in hopes of finding her parents. What she finds instead is a small community of fellow unaffected survivors.

Days of Love and Blood is a hard book to categorize. The majority of the novel details the day-to-day struggles of Carson and the community. They must gather what they need to survive while warding off attacks by homicidal packs. In that sense, it's a post-apocalyptic sci-fi novel. However, it also reads a lot like a romance novel. Each chapter opens with a flashback, in which Carson recalls her life with her husband. One of the first people she meets once she reaches the community is the attractive tough-guy Cooper, who initially infuriates her, but whom she soon learns is more than meets the eye. There's even a love triangle sets up when the mild-mannered Ben arrives, although he doesn't show up until pretty late in the Carson-Cooper story.

This book takes an interesting approach to zombies. Homicidals aren't reanimated corpses; they're diseased humans. But from what we see, they've lost any hint of humanity. They kill simply for the sake of killing. The moral implications of killing them are discussed in a few scenes. After her husband's death, Carson gets a sick kind of satisfaction from cutting them down. An independent woman with deadly sword skills, she's a classic tough-girl heroine who's fiercely protective of her son.

Her relationship with Cooper is an interesting one. While I personally didn't approve of her acceptance of his bad attitude, I can see his appeal as a romantic lead. Like many brooding tough guys, his jerk-like behavior is explained by a tormented past. His manly man demeanor initially clashes with Carson's self-sufficiency, but he develops a certain respect for her, and their often heated interactions are entertaining to read. 

Much of this book consists of dialogue, which R.S. Carter certainly has a knack for. The characters' voices ring true, especially Carson's narration. The writing is blunt and straightforward, which both convey's Carson's attitude and keeps the pace moving along. The character development and interactions Also, there are a number of exciting action scenes in which Carson and the others face of with homicidals.

All in all, Days of Love and Blood was a pleasant surprise. It examines the human side of a zombie apocalypse, focusing on the emotional and psychological toll such a catastrophe could have. The hope, the despair, the tragedy, the need for human connection... The story has a natural flow to it, which makes it hard to put down. At the heart of this book is the question of what people must do to survive, and how that can change them.

This book is very well-edited; I didn't find any errors.

This book contains some violence and a few sex scenes, none of which are particularly graphic but some of which may be disturbing.

[From the author's Amazon page]
Heretic, scifi lover, believer in aliens, slightly twisted and somewhat sleep-deprived, R.S. Carter is a new author who despises cats yet is forced to live with one and holds a random advanced degree in molecular biology which collects dust.

Friday, July 26, 2013

SPOTLIGHT: Season of the Dead

Today, I'm spotlighting Season of the Dead, a zombie apocalypse novel by authors Lucia Adams, Paul Freeman, Gerald Johnson, and Sharon Van Orman.

Season of the Dead

"It is said that unto everything there is a season...these are the stories of a group of survivors during the season of the dead."

Four individuals fight to survive as the zombie apocalypse crashes over the world in a wave of terror and destruction. Color, creed, and social standing mean nothing as the virus infects millions across the planet.

Sharon: a zoologist from Nebraska, USA, has worked with the virus, and has seen the effects on the human mind. She knows more about the virus than nearly anybody alive, and far more than she wants to. Gerry: from Ontario, Canada, he gets his first taste of the virus from inside a prison cell. Locked up after an anti-government riot, his prison guard transforms before his eyes into a flesh craving zombie. Lucia: a chemist from Pittsburgh, USA, flees from a furry convention dressed as a giant squirrel, and escapes from the city in a Fed-Ex van. She's a girl who knows when to run and when to fight. Paul: thinks he can sit out the apocalypse in his apartment block in Dublin, Ireland, until the virus comes to visit, bursting his bubble and leaving him with no choice but to face reality or perish.

All four begin perilous journeys in mind and body as they face daily trials to survive: Four threads, four different parts of the world, one apocalypse!


Amazon US link: http://www.amazon.com/Season-of-the-Dead-ebook/dp/B00DYIUB4U/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1374135237&sr=1-1&keywords=season+of+the+dead

Amazon UK link: http://www.amazon.co.uk/Season-of-the-Dead-ebook/dp/B00DYIUB4U/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1374135810&sr=1-1&keywords=season+of+the+dead

Goodreads: http://www.goodreads.com/book/show/18210441-season-of-the-dead

Facebook: https://www.facebook.com/SeasonOfTheDead


Author Paul Freeman talks about his background, inspirations, and his latest book, Season of the Dead.

Season of the Dead

Hi, Paul! Welcome to Zigzag Timeline. Can you tell us a bit about your background as a writer? What got you into writing? 

Thanks for having me! I’ve always had a good imagination, whether it was making up stories or games as a kid. A little later as I grew into my teens I started writing short stories, usually dark Celtic tales or twisted versions of old stories. It was quite a while before I moved onto writing books, my first was a 140k word urban fantasy that was utter rubbish, and will never ever see the light of day.

I've noticed that you write books in a number of genres. What is it about these genres that appeals to you? Is there an underlying style or aesthetic to your writing? 

I think the common theme with most of my stuff is strong characters and a believable story. I have received some praise (without wishing to blow my own trumpet) in the past for my characterisation. Getting firmly into the mind of your characters and believing in them will always lead to a stronger story. Whether it’s fantasy, horror, steampunk or general fiction, all of which I’ve written in, the same rules apply.

Your latest book, "Season of the Dead", is a horror novel about the zombie apocalypse. What inspired this story? 

It was actually inspired, on a writer’s site, by a conversation about how you would survive the zombie apocalypse and developed from there.

Zombies are a hot topic right now. What sets "Season of the Dead" apart from the other zombie tales out there?

I think one of the real strengths of this book is that none of the writers, including myself have ever written in the genre  before, what we’ve brought is something fresh to a very overcrowded genre. The format of four writers writing their own parts in their own style and then all linking up into a novel is something very different. The danger of course is that people will mistake it for a collection of stories before they read it, which it very much is not. It’s a novel written by four people, from four points of view, four threads woven together.

"Season of the Dead" is told through four different story lines. Which was your favorite to write, and why?

I only wrote one of them so I’ll have to pick that one. The uniqueness and magic of this book is the four voices, very distinct yet all part of the one apocalyptic event. Even to the point we decided to leave the different regional spelling for our own chapters, it meant the continuity of the novel suffered a little, but it felt more authentic. We wanted our own voices to clearly come through.

Can you share one of your favorite passages from your novel with us? 

This is from one of my chapters. Paul has been barricaded into his apartment block with some other survivors hoping a rescue will come. Unfortunately it was too late for rescues, and he’s just realised he was just deluding himself.

“What a mess. Despair crept over me like a hooded cowl, threatening to trap me in the depths of its dark hood. I wondered if there was any hope at all. Was there anywhere in the world left untouched by this evil curse? I was looking out of the window of my own apartment at the street below. Maybe Mrs. Watson had the right idea. I wondered if she had finally found peace. Was she reunited with little Brian in some better place? I doubted it.

I opened my bag and took out the bottle of Jack Daniels. Was there ever a better time to get roaring drunk? I brought the bottle to my lips, savouring the peaty aroma as I took a mouthful of the whiskey, grimacing as it slid down my throat, burning all the way to my stomach, searching for the cold empty spot inside me that once housed my soul. Then I heard the screams.

“Jesus! Can you hear that? They’re all over the building.” Gary burst through the door. I looked up at him and then back at the bottle in my hand. With regret, I screwed the cap back on.

“Well fuck this for a game of soldiers,” I said, picking up the axe.

I stepped out into the corridor, with Gary right behind me. The screams were louder out there. It was hard to tell where they were coming from, or even who was making them.

“What are we going to do?” Gary asked. I felt like telling him to go fuck himself, to ask him how the fuck should I know? Right at that moment I just wanted to find a dark corner of the world where I could be alone, to drink my bottle of whiskey and forget any of this was happening.

Instead, I started to walk. I headed for the stairs. In a way, I think I’d finally snapped. Having to kill the kid had pushed me over the edge. Our sanctuary was no longer safe; it had been compromised by a gobshite.

“Where are you going?” Gobshite followed me down the stairs.

I just ignored the cunt. I closed my ears to the pleas for help from my neighbours, their screams and cries. I headed down the three flights of stairs, the axe in one hand, the whiskey in the other. Some part of me was hoping I’d run straight into a pack of zombies at each turn, to put an end to it once and for all. I wished I’d had the guts of Mrs. Watson. I wished I’d had the balls to throw myself off the building.

I stepped outside into the street and paused at Mrs. Watson’s body. I lifted the bottle of Jack Daniels to my lips and took a slug as I gazed upon the broken shell of a woman I knew briefly. Another scream pierced the air.

I turned my face to the sky and closed my eyes. I could feel the rain landing little kisses on my skin. It felt good, refreshing, clean. It saddened me to think I would most likely not feel the heat of the sun on my face again. I drank once more. The bottle glugged as I felt the amber liquid warm me all the way down. It had been a while since I’d last had a drink; I could feel it going to my head already. I was sorely tempted to finish the bottle and find some kind of peace, or at least oblivion.

My brief respite from the real world was shattered as the now familiar smell of rotting flesh drifted in the air, then the terror-inducing low growl. I turned towards the building and saw a zombie framed by the doorway. I contemplated standing there with arms spread and letting him take me.

I took another drink, one last swig before flinging the bottle down the road. It shattered with a loud smash echoing in the deserted street.

Bollocks to this. 

Can you share any behind-the-scenes anecdotes about the writing of "Season of the Dead"? People the characters are named after? Places you camped while typing out the manuscript? Inside jokes you threw into the story for kicks?

Oh there have been tons, writing with a group of authors can be fun and challenging all at the same time, but if I tell you I’ll have to kill you. All the characters have the writers names, that was the plan from the start, you were supposed to be writing about yourself.  

Are there any themes or messages in "Season of the Dead"? 

Oh yeah, if you see a zombie, run! 

At some point, every writer encounters the so-called rules of contemporary writing: no adverbs, no dialogue tags, show don't tell, etc. In your opinion, how important are they? 

A lot more important than some people realise, but not nearly as important as others would have you believe. 

The book world is changing day by day. Amazon is on the rise, Barnes & Noble might be in trouble, and the Big Six is now the Big Five. As a writer, how are you navigating this ever-changing landscape? What's your experience with publishers been like? 

It’s changing fast, I would say I’m clinging to the dingy with my fingernails while trying to keep my head out of the water, rather than navigating, but I suspect most of us are. I’ve worked with a number of small presses now, and I’m learning as I go. I’ve made some mistakes and bad decisions along the way, but nothing too drastic, not yet anyway.


Amazon US link: http://www.amazon.com/Season-of-the-Dead-ebook/dp/B00DYIUB4U/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1374135237&sr=1-1&keywords=season+of+the+dead

Amazon UK link: http://www.amazon.co.uk/Season-of-the-Dead-ebook/dp/B00DYIUB4U/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1374135810&sr=1-1&keywords=season+of+the+dead

Goodreads: http://www.goodreads.com/book/show/18210441-season-of-the-dead

Facebook: https://www.facebook.com/SeasonOfTheDead