A couple of new reviews have rolled in over the past week or so. The first is for Deadstock and it comes from the fine folks over at Sonar4 Landing Dock Reviews:

A highly recommended read for fans of ghouls, zombies and old west supernatural tales and not as graphic as one would expect. Kudos for the writer. 

Read the full review.

The other review is for “Black-Eyed Kids” and it comes from Gef Fox at Skull Salad Reviews:

Whoa Nelly, this one was a dark treat to read. The first two books certainly had their fair share of sinister vibes, but there was more–how do I put it?–rollickingness. No that’s not right. Maybe sardonic tone is what I mean. Felix is the kind of guy who will let his world-weary side shine through. This time around there isn’t a lot of room for that, because his life is in imminent danger even more than the last two times. The story is the most intense of the three with a threat that Felix comes to believe he can’t defeat. Everything plays out really well with an episodic quality I’ve come to expect and appreciate from Ian’s work.

I think this would have to be Ian’s strongest effort yet of the three novellas published so far, which bodes well for future iterations, including a Felix Renn novel that’s apparently in the works. If you enjoy gritty urban fantasy, this should be right up your alley.

Read the full review.

Thanks to both reviewers for the kind words, and for taking the time to read (and review) my work!

Random Writing Quote

"You need to learn to pick your shots. You need to learn to make those shots count. If there's one thing being a writer isn't about, it's instant gratification. I've seen too many new writers dragged down by that particular ball and chain. If you give away your best story to your buddy's webzine before trying to sell it to a well-paying market with a high circulation because you're too impatient to wait a few months for a professional editor's reply, what good has that story really done you? If you "sell" a story to a POD anthology that pays in shared royalties (and that maybe twenty people will read), how has that advanced your career? If you spend a year writing a novel, and you cut a deal with the first small publisher who buys you a beer at a writer's convention instead of working to find an agent who can represent your book or a publisher who will treat it as more than a cool hobby he can tinker with on weekends (unless it's football season, that is)… well, don't say I didn't warn you."
Norman Partridge

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