The Best Two Books on Kindle

Probably not but made you look.

The problem with Kindle books is that there are so many that an unknown author is so far down the rankings the books do not come up in searches.  If people were finding them, having a look and were not interested that is one thing but not even knowingabout them is another.

So you are here. Below are comments from an evaluation of my two books from a third party who didn’t know me from Adam. They might be OTT but why not try the link if they tweak your interest. (By the way ‘Tommy Trouble’ was a working title and is now ‘Trouble Cross'”.

“I have now had the opportunity of reading Rewind and Tommy Trouble  both of which are highly impressive. They are as good examples of their type as I have read for some considerable time.I have to confess, that I was so impressed with Rewind that I actually read it twice; once from an analytical, professional point of view, and once purely for my own personal pleasure. Quite simply, it is an excellent novel on every level and one which should appeal to adult readers from a variety of backgrounds and cultures, being particularly resonant with the late 30 and early 40 somethings, who will be able to identify with your narrator and protagonist, Jason, to a high degree. Here we have all the finest ingredients of a captivating novel skillfully blended together with a careful and expert hand, flavoursome throughout, and I was delighted that there was an additional kick of spice right at the very end, when I, as a reader, really thought there could be no more surprises. In fact, the novel is positively packed with twists, turns and surprises and is totally unpredictable. For example, both the poem, ‘Why?’ and the Prologue, narrated in the third person, paint an incredibly sorrowful, melancholic scene and we think we are in store for a real tale of woe (albeit one which, as we can already see, will be well told) yet this is far from being the case at all. After the appearance of the Wizard God in Chapter 1, when Jason suddenly finds himself lying in his childhood bunk bed, there is, in fact, a substantial amount of wit, dry humour and real laugh out loud moments in the book. You do retain the serious nature essential to the plot, yet succeed in doing so without ever making the pace slow, the tone dull or the mood overly sombre. As a writer, you are a natural talent, without doubt, and no diamond in the rough at that; your skills have been honed and polished and, partly because of this and partly because of the utterly mesmerising plot you have crafted, the book is an absolute joy to read. You subtly change the nature of your style so that it meshes perfectly with the content. For example, in the opening, you utilise short, staccato sentences and paragraphs to add suspense so that the whole section reads like an ominously ticking clock, whereas later in the story, when the young Jason, with his adult mind, begins to have a little fun with the life that had formerly disappointed him so much, your method of writing is much more musing and relaxed and, again, often humorous. In essence, this is every adult’s fantasy, and this is why I foresee it having wide appeal. Though few of us have reached a point at which we become so disillusioned we decide to end our life forty years to the day after it began, we all wish we had done things differently and, as Jason is given this gift of retaining the knowledge with which his adult life has furnished him, whilst, essentially, beginning it again, the reader is vicariously able to travel with him on this fantastical journey where anything can, and indeed does, happen.   Personally, I found your use of dialogue to be amongst the strongest literary tools you have employed and one which has certainly been wielded to good effect. There is a large proportion of dialogue in the work and though, when acting as a consultant providing advice to aspiring audiences, this is something I would not advise, you have made it work and, I have to say, I am not quite sure how! Maybe it is because of the realism and credibility it lends to the characters and their predicament, or maybe it is because much of it rings so true; but, whatever the reason, the conversations between characters are a great asset to the work as a whole and introduce an additional element of drama.  It is mainly for the reasons outlined above, as well as others – such as the edge-of-seat suspense with which the novel is imbued, the vivid characterisation and the sheer innovation and originality of the narrative, that I feel this work is one which would lend itself beautifully to a visual medium, with a film or TV script being, in a way, already half crafted. As the British film industry grows in terms of quality and demand, it is certainly not something which I would rule out. What is, perhaps, most impressive about the book is that you succeed in drawing all the different strands of the plot together in what is a conclusion which the reader will find both hard to predict yet easy to believe. This is no mean feat when there are so many different narrative elements to the book and you leave no important questions unanswered nor any issues which may have been difficult to resolve hanging. You do, however, leave the reader with a positive feast in the way of food for thought and this is something which few writers have the ability to do, thus ensuring that the book is not only an entertaining one, but also, vitally, very memorable.