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, by A. J. Banner
Ebook , by A. J. Banner
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Product details
File Size: 2159 KB
Print Length: 206 pages
Publisher: Lake Union Publishing (September 1, 2015)
Publication Date: September 1, 2015
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00T8RIK7G
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Amazon Best Sellers Rank:
#7,631 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
I truly hate to diss on any author's hard work, but this book read like fan fiction. The story was contrived, and although billed as a thriller, it was too formulaic to "thrill". The main character was too whiny and over eager to see her husband as capable of infidelity. I was hoping he'd leave her just to keep her quiet! The characters were superficial, and unfortunately the dialogue read like something a first year creative writing student would write. I raced through it (skimming most of it to avoid the superfluous story lines interwoven throughout) to see if my guess was right. It was. It was very obvious, and not a surprise. I wish the author the best, but I would not recommend this book.
Let me preface this review by saying that there is a lot to like about this book: there are some wonderful descriptions ("He was a birdlike man with large spectacles and a receding hairline.") and some really nice subtle ways of introducing elements of unease, especially in the relationships between characters. The subplots were decent, tied into the main plot, and the story was quite focused.I wanted to like this book so much, and while there's a lot to like, I found myself wishing...what? That it was tighter? That the characters were a bit...more? The sneaking little annoyances were not there? I can't yet place my finger on it.It wasn't a bad read: I looked forward to getting back to it, I just found that during reading, it would kick on my inner snark...a sure sign that there are minor and unnecessary annoyances that keep yanking me out of the story experience because they sit under my skin like impossible-to-ignore splinters.I am a hugely particular reader, especially once I have an expectation, and I know that. That's why I'm giving the book 3.75 (read 4) stars:- it's a debut novel in a very tough genre with lots of expectations, and I think in general, it does quite well,- it doesn't read as amateurish, and all the bits that prompted me to remove stars will likely fall by the wayside in future works,- there is a decent plot and decent subplots,- there are some really wonderful phrases, descriptions, passages that also won my admiration (and off-set the bits that I had trouble with)- and last, but not least, producing a decent psychological suspense is VERY hard. I think the author deserves that recognition.That being said, I'm detailing the parts that annoyed me to the point of pulling me out of the story so that other readers with similar bugbears can gird their loins before reading. I think that I would find these items a lot more inconsequential if I had been prepared for them. That said, these are my bugbears. Maybe other readers don't care, so they can use this list to remove any doubts they have and jump into a good read..The things I wish had been different:1. The Prologue telegraphed the ending.Actually, the prologue was taken directly from one of the final scenes, word-for-word...although the prologue added an additional sentence or two. And it telegraphed too much: I found myself already knowing what the outcome of certain "pivotal" events would be and how they would probably affect the story just because of the prologue. And I'm not particularly gifted at figuring out the endings. Now, I am a stickler for Structure, and almost nothing galls me as much as the prologue ripped from the back yelling "Oh, wait! Keep reading...see? I get very exciting at the end!"No.Writer's job in thriller / psychological suspense is to make the trip so exciting that you want to be on it from the beginning. And that's HARD. That's why we only have one "Gone Girl" and one "The Girl on the Train"...the mob is fickle, demanding, smart and short-tempered. To get to that level is like lightning in a bottle, and this is the wrong way to catch it.And I can never bring myself to overlook that this form of prologue just feels lazy. And it ruins the story more than through the telegraphing: when the exciting scene finally arrived in it's proper location...I couldn't care less. You see...there was no surprise in it...no tension...I'd already experienced that scene on page 1. I ran my eyes across the words, hoping that there would be something new to discover from it....No. So the most action-driven and suspenseful scene is dead-in-the-water on page 3.I would STRONGLY suggest that unless you're one of the people who reads the last page first, just skip the prologue. Don't read it (you won't miss anything) and the story will probably be much more interesting and suspenseful.2. The Smoking Guns that were never fired or "Living in a Vanity Fair world":Unnecessary details. Obviously there will always be some, but the ones that are repetitively there need to be a part of the story in some way...and many were fluff.Clothing: Detailed descriptions of what the characters wore with no reason for the specifics: unless a particular shirt is later identified by the police, or you're hiding a clue...after the first key description for each character, you can just generalize with 'casual' or 'dressy'. Same for all characters...it's psychological suspense: we read for the actions, not the wardrobe and no amount of wardrobe will save a flat character anyway.Food: Or more particularly, the protagonist's food: the vegan-soy dietary specifics came up so often and in so much detail that I thought it would somehow be integral to the plot....no. Just window dressing. (My respects to the real vegan-soy afficionados out there...but this is a smoking gun that was never fired for me).Actually, when I look over them, the fluff was very particular...this was really about the author's need to have the reader imagine a very specific set of characters through clothing and food habits. But the story didn't need these specifics to work, so the details got in the way of the plot. And as a responsible reader, I don't mind the odd snippet to ground the individual, but trust my imagination a little.For example, the eco-responsible veganism has nothing whatsoever to do with the plot. Nor the husband's apparent obsession with architects and the houses they designed....it's fine to create the initial impression, but to continually return to it with fresh details re-asserting what we already knew was irritating, and by extension, the characters became more stereotypical.3.POV shifts or "I have ESP":Few and far between, but on occasion, the first person character make omnicient pov statements of other characters, aka "knowing" what is going through the heads of other characters, or their unspoken motives. Now, while this can be fine if the character is making assumptions that lead or mislead the character and thus the reader in the search for the solution, it must be presented as such AND be used for actual clues/red herrings. But here, it's always a brief slip into omniscient pov..... Gah. Example: "He hummed as he worked, his vain attempt at normalcy." Okay. Stuff is hitting the fan, but maybe he just wanted to relax...maybe the humming worked for him and it wasn't a vain attempt. Maybe he just had a tune stuck in his head...I don't mind if the the protagonist *thinks* that's why someone is doing something, but don't let them present their opinion as fact. Especially when there is nothing presented to support that. Readers in this genre are always on the lookout for the unreliable narrator, the reliable-yet-lying narrator, etc. We are waiting for the humming to be important...is he concealing something? Nope. Nothing there to conceal. So I spend 2 minutes wondering how she knows this...then thinking about all the people I know who do this and what I think they're really doing...and..I'm out of the story.4. Things that just don't work that way or The great un-suspension of belief:- Fixing a window latch with a wrench....that took me out of the story for a few minutes to try and figure out what sort of latch could even be fixed with a wrench and then a few more minutes to get grumpy at the ridiculousness I had been contemplating. And wishing the he wrench had been used to smash something or create a credibility issue of the handyman or accomplish an element of the plot....anything to thus create some reason for the wrench to have a walk-on role.- A photo showing a house built of ecologically-sustainable materials...which would be impossible to tell from a photo, which is why architects have to do a very complicated tracking of materials if that's what is required in a project. The building industry would be revolutionized overnight if you only needed a photo. (Oh, and there was really no reason for the house to have been built with ecologically-sustainable materials anyway, since the house was only a one-line presence....and it's ecological sustainabiilty had no story purpose).- Right at the end, the protagonist realizes the answer to something that's been nagging her since the beginning of the story, but she never mentions the nagging before...Not huge SPOILERS BELOW (in the same categories as above):1. Prologue:Okay, the prologue not only (in my mind) cast severe doubt on the guilt of the major suspect for most of the book, but it foretold the death of two characters, the "adjusted" relationship with the third.If you're going to reveal so much in the beginning, there had better be a mother of a twist later on...or take the lazy prologue from the middle, so we'll be turned on our heads... Sorry. It just really annoyed me.2. no spoiler points3. no spoiler points4. Things that just don't work that way:- A birth certificate with no father listed..."not even a line for the father's name" ...is a distraction: birth certificates in modern America are standardized forms with lines for all the data usually collected. There was a place for the father's name, even if the name wasn't listed.- A journal entry that reads as a letter and is signed by the writer of the journal. What? No one signs what they write in their journals with a letter-style closing greeting and their name! It's their journal. They usually aren't expecting people to read it except themselves...especially if they keep it in a drawer under their underwear!- A bartender who vouches for a character returning to their hotel room from the bar...because the bartender was serving in the bar at the time... And the character was no so blind drunk that the bartender had to accompany said character there. Now even the concierge would not have known if the character truly went to their room, but the on-duty bartender is not a credible witness here. This was also revealed at the end, so it wasn't even used to create the tension it could have by creating questions.I hope this helps potential readers with their decision of this book. I did finish it, don't regret finishing it, enjoyed a lot about it on the way...but there were some blips for me. And yes, I shall definitely look up the author's next work. We expect so much in this genre (and there are some truly masterful bestsellers that come out of it) but we must remember that all writers have a debut novel, and many of them only get better. Starting from this very respectable point, I have high hopes for the future works from this author.
Shadow Cove, Washington, is the kind of town everyone dreams about—quaint streets, lush forests, good neighbors. That’s what Sarah thinks as she settles into life with her new husband, Dr. Johnny McDonald. But all too soon she discovers an undercurrent of deception. And one October evening when Johnny is away, sudden tragedy destroys Sarah’s happiness. Dazed and stricken with grief, she and Johnny begin to rebuild their shattered lives. As she picks up the pieces of her broken home, Sarah discovers a shocking secret that forces her to doubt everything she thought was true—about her neighbors, her friends, and even her marriage. With each stunning revelation, Sarah must ask herself, Can we ever really know the ones we love?My Thoughts: From the first moments of sheer terror in the prologue to the slowly unfolding secrets and tragedies of the following pages, The Good Neighbor captured me. The setting in Shadow Cove was the perfect place to start a home and family, and the neighborhood with seemingly friendly people made it just the kind of place Sarah and her husband Johnny had been seeking.But Sarah, a writer of children’s books, starts to feel a niggling doubt almost immediately. It starts with the next door neighbors, Chad and Monique. Monique’s seductive ways hint at more beneath the surface when she whispers to the men in the room.Several strange phone calls suggest a stalker, but Sarah also fears that her husband has been unfaithful to her.Why does the realtor, Eris Coghlan, come across as a little bit too accommodating? What about the flirtatious way that Theresa Minkowski, another neighbor, seems to behave around Johnny? Is Sarah just insecure, or is there more going on?I was surprised, but not totally stunned when events unfolded as they did, and I had little trouble figuring things out. On the last page, however, another whopper was unleashed, reminding us that secrets just keep coming once the genie is released from the bottle. 4 stars.
This book is like eating Jelly Bellys. You can't eat just one. You just keep going. You know they're empty calories. You know you're just eating sugar. After the first bunch they stop tasting so good. Yet your hand keeps moving to your mouth and popping another one in. Until, your stomach starts feeling sick. Yes, this book is just like that. Junk food for the brain. Feels good at first but you soon realize how empty it is and how the enjoyment has stopped.
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