Yes, it is the same deal. And I should be fine -- I'm judging him, too. But I'm a hooker-upper too, which is why dates make me all bleargh.

(and no cheap hooker jokes, either!) I'm ready, though. My loins are girded, and I am having a smoke. It doesn't help that this date is at a non-smoking coffe bar. No cocktail, no smokes = stressed dater Erin

And...I'm off.

Go get 'em!

gulp. Oui.

Deb, just thought you'd like to know I read "Restless" on the flight home today. Really, really liked it. I can see why he reacted the way he did in London Calling, now. I had a feeling it had to be something like that, but it was nice to see it actually written. A real gut punch.

Sail, from your lips to the Publishing Gods' ears.

The damned story just about killed me, with bloody Louise turning out sympathetic instead of being the bitch I wanted her to be. But yeah, it does its job - synchs up to the Kinkaids, shows where Patrick gets his loyalty issues from and why he admires it when used what he defines as properly. This is why he let Bree off the hook in Rock and Roll Never Forgets, when he had her cold on premeditated collusion.

It also shows why he can't sit still for too long. Always running from the memory of Louise, always caught in the loss of his partner Pete, and always running toward anything that might get him one more shot at taking down Terry Goff.

And I'm getting to that point in the long synopsis for London Calling. I seriously would rather have a root canal while listening to George Bush talks about Iraq than deal with this damned thing. But it's about 2/3 written. Soon, soon, soon...

Knowing nothing about the publishing world, I always assumed that someone at the publishing house wrote the synopsis. Especially since that often seem to have so little to do with what the book is really like.

The synopsis used for selling the book, or for in-house stuff, isn't the same as the cover copy on the back or the jacket of the book, sj. It's just an outline an editor can use to give the art department, for instance. And I meant to add that cover copy is often written by freelancers (I do a lot of it), who get either the book or part of it with a synopsis. It can be fun, when it's not your book. (Also when you don't have to cover every plot point.)

And I'm getting to that point in the long synopsis for London Calling. I seriously would rather have a root canal while listening to George Bush talks about Iraq than deal with this damned thing.

I'll look at the whole thing tomorrow, if you want. I bet I could write it for you, if you wanted me to...although I suppose I should have offered to do that sooner. It's often easier for someone else to do it.

The synopsis used for selling the book, or for in-house stuff, isn't the same as the cover copy on the back or the jacket of the book, sj. It's just an outline an editor can use to give the art department, for instance.

This makes more sense, than what I was thinking. I remember reading that in one of my writing books now that you mentioned it, but I thought it was only for first time authors. I figured someone like you or Deb wouldn't have to do that anymore.

So, I've got this drabble stuck in my head. Only I can't type it up on this computer; I'm on my old desktop and it freezes up if I try to open Word. My laptop is in delayed luggage hell (again--second time in less than a week!) I rely on Word to give me a word count, it's just too damn time consuming to keep revising when you have to actually count and recount the words yourself. So, there it is, in my brain, churning around with nowhere to go. Very frustrating.