Will iconic images recorded in the grooves of an ancient vase unite the Holy Land or rip it further apart?

THE VASE

A novel by Mark M. DeRobertis

Muhsin Muhabi is a Palestinian potter, descended from a long line of potters. His business is run from the same shop owned by his ancestors since the day his forebears moved to Nazareth. The region's conflict saw the death of his oldest son, and rogue terrorists are in the process of recruiting his youngest in their plot to assassinate the Pope and Israeli prime minister.

Professor Hiram Weiss is an art historian at Nazareth’s Bethel University. He is also a Shin Bet operative on special assignment. With the help of fellow agent, Captain Benny Mathias, he plans to destroy the gang responsible for the death of his wife and only child. He puts a bomb in the ancient vase he takes on loan from Muhsin’s Pottery Shop.

Mary Levin, the charming assistant to the director of Shin Bet, has lost a husband and most of her extended family to recurring wars and never-ending terrorism. She dedicates her life to the preservation of Israel, but to whom will she dedicate her heart? The brilliant professor from Bethel University? Or the gallant captain who now leads Kidon?

Harvey Holmes, the Sherlock of Haunted Houses, is a Hollywood TV host whose reality show just flopped. When a Lebanese restaurant owner requests his ghost-hunting services, he believes the opportunity will resurrect his career. All he has to do is exorcise the ghosts that are haunting the restaurant. It happens to be located right across the street from Muhsin’s Pottery Shop.




Thursday, June 6, 2013

What About Scenes With No POV Character?

What I mean by that is what if a writer wants to write a scene where there might not even be a character in there, or a short scene where the author does not want the character's identity known.

In Killer of Killers, Chapter One, the main Character kills a man in an airport restaurant restroom, and then leaves. And after he leaves, I wrote a scene where all I wanted the reader to know was that someone, (identity not revealed) reaches in and takes the dead man's leather bag. Without actually entering the restroom, that is. So all I wanted to convey was a hand reaching through the ajar door, grabbing the bag, and taking it.

And in the conclusion of Chapter 18, after Trent leaves the scene in a taxi, I keep the reader in that scene where rats are watching the bodies of the men Trent just killed. They are waiting until they think it's safe to have a meal.

The publisher had no problem with either scene. But I wonder what my other publisher would say about them? I suppose the way I wrote it is acceptable, but again, that was with Melange. I'm not sure how Penumbra would take it. Maybe I'll ask. In any case, I rewrote the first scene, and even though I did, the hand is still reaching in without the character's face being revealed. (It's hidden behind the door which is not opened all the way.) It would work in a movie. But I've been told you don't write books the way you would watch a movie.

Still, there are exceptions to every rule. I'm supposing that the described scenes above would be acceptable examples.

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