Epic Romances - now half-price or less!

If you love romances and historical fiction set in the distant, exotic past, then please take a look at these titles. They are now half-price or less and a real bargain.

"Blue Gold" is my epic historical adventure and romance set in ancient Egypt. It's well over 100,000 words and is now just $2.99 at Bookstrand.

 General Fiction, Mainstream Romance, Historical, Historical
Word Count: 124,400
Heat Level: SENSUAL
Published By: Siren-BookStrand, Inc.

This title is offered at a 50% discount. Offer ends midnight CST, February 14th.

[BookStrand Historical Romance]

Ancient Egypt, 1560 B.C.

Ruling Upper Egypt from Thebes, Pharaoh Sekenenre has many enemies. Aweserre, whose grandfather seized the crown of Lower Egypt. Kamose and Ahhotpe, his son and daughter, who plot to rule in his place. And, most dangerous, the storm-god Set.

It is a time of famine. To prosper a man must be civilized and ruthless. Ramose, priest and Vizier, is all of these. Kasa, a farmer, must learn to be like him to survive. Neith, wife of Ramose, is driven, first to drink, then to courage. Hathor, who killed her son, finds love, desertion, then a second chance at love. Tiyi, the gentle masseuse, is desired by many, but desires only one.

Watched by the gods of Egypt, the conflict reaches its climax in war. The pyramids, a thousand years old when the story begins, play a crucial part.

Behind all is the God Set, with his question: 'What am I?'

"The God Set or Seth in ancient Egyptian mythology is a mystery, represented by a strange animal. In 'Blue Gold' I set out to explore this mystery in the most direct and exciting way I could. And I've always loved the pyramids!"

You can see reviews and read excerpts of "Blue Gold" here

Do you love the lush, sensual world of ancient Rome? Then please consider my sexy erotic romance, "Escape to Love," a story I wrote to explore that world. From today it's only $0.99 from

Bookstrand. 

Severus is a slave, dragged from the fields to an uncertain future. Warned to expect no mercy from a mysterious young woman who comes to him in the night, he learns that his natural father is his owner, Calvus, and that he has a half-brother, Thallus.

Thallus has no sexual interest in women but he is desperate for an heir. Severus and Thallus' sexy young wife Lydia, whom Severus recognizes as the mystery woman who warned him, are sent to the family palace at Baiae and expected to breed.

Lydia, used to an unconsummated, loveless marriage, is intrigued by the handsome Severus and appalled by her husband's and father-in-law's treatment of him. She finds herself anticipating their lovemaking. She also wants to help Severus to escape because she knows that once he has served his purpose, Thallus and Calvus will never let him live.

They have just a month to escape.

 This title is offered at a 60% discount. Offer ends midnight CST, December 12th.
Reviews and excerpts here

If the world of ancient Rome and ancient Britain draws you, please try my novel, "Flavia's Secret," set in ancient Roman Bath.
 
"Flavia's Secret." $0.99 from Bookstrand.  A full length novel of 83,000 words for just 99 Cents!

How Far Dare You Trust Your Lover? Especially When He is Also Your Master? 

"Flavia's Secret" is a historical romance novel of 83,000 words. It's a sensual historical romance set in Roman Britain.

Spirited young scribe Flavia hopes for freedom. She and her fellow slaves in Aquae Sulis (modern Bath) have served the Lady Valeria for many years, but their mistress' death brings a threat to Flavia's dream: her new master Marcus Brucetus, a charismatic, widowed officer toughened in the forests of Germania. Flavia finds him overwhelmingly attractive but she is aware of the danger. To save her life and those of her 'family' she has forged a note from her mistress. If her deception is discovered, all the slaves may die.

For his part torn between attraction and respect, Marcus will not force himself on Flavia. Flavia by now knows of his grief over the deaths of his wife Drusilla and child. But how can she match up to the serene, flame-haired Drusilla?

As the wild mid-winter festival of Saturnalia approaches, many lives will be changed forever.

You can see reviews for "Flavia's Secret" and read excerpts here

Lindsay Townsend

DABWAHA 2010

Having been away for a while, I only discovered this morning that Blue Gold was chosen to participate in DABWAHA 2010, run by Dear Author and Smart Bitches, Trashy Books.

Whatever happens, I'm delighted to be nominated in some very strong company. If you want to take part in the voting, here's the link.

New review of 'Blue Gold'

I've recieved an excellent new review of Blue Gold from Steve Donoghue at the Historical Novel Society:

'Early on in Blue Gold, Lindsay Townsend’s fast-paced novel of ancient Egypt in 1560 B.C., the charismatic (and acrobatic) Pharaoh Aweserre shouts in battle: “I’m the best there is! You’re looking at a man who can drive between your wind and your ass — watch!” You can’t really resist that kind of invitation, but you know one thing for sure: Cecil B. DeMille this isn’t.

Townsend’s story centers on the Pharaoh Sekenenre, his scheming wives, his scheming children Kamose and Ahhotpe, and—in the book’s most innovative stroke—the multifaceted Egyptian deities themselves, especially the god of storms and upheavals, Set, whose immortal perceptions add spice to an already plenty spicy narrative:

He [Set] saw the lines of the future mapping out from this tiny room, yet he could not see exactly where they ended. No one, not even Ra, could do that. Endless beginnings: that was one of the gods’ functions.

The sands of Townsend’s Egypt are blood-soaked, and the halls of her palaces echo with lust and intrigue — and yet, the most interesting part of her novel is how real, how human all of her characters feel (even the supernatural ones). Even while you’re booing and hissing her villains, you’re fully informed as to their motives and might even sympathize a little. Part of this effect can be attributed to Townsend’s keen ear for dialogue and phrasing (when two characters kiss we’re told “their lips met with the greedy accuracy of lovers”) — and the effect is so strong that when all the book’s grandstanding and conniving and personal drama has concluded, readers will be mildly shocked to be reminded that the whole delightfully complicated business happened three thousand years ago. That’s praise indeed. -- Steve Donoghue'

The original is here, under the reviews for February 2010.

Lindsay Townsend
http://www.lindsaytownsend.net

The paranormal in my fiction

Paranormal elements creep into almost all of my fiction. Why? Because eerie, hair standing up on the back of the neck moments do happen in life, Also because I place my characters into strange situations and unusual settings, where their senses are heightened to an almost supernatural state.
In real life, people can experience extraordinary things. A woman I know of was passing a man on a staircase and a thought entered her mind: this is the man you are going to marry. She dismissed the idea as absurd - but it happened and they are still married. In life, people under stress can do extraordinary, almost superhuman things. The woman after a car crash lifting an engine block to free her trapped child beneath. We can all experience feelings of disquiet, of something being 'off'. We can all have dreams which can stalk us.
This is very much the stuff of fiction. Romance especially lends itself to the paranormal and supernatural. When we are in love we feel to be in a transfigured state: all senses and emotions are heightened. In addition, I write romantic suspense, where my characters are in danger and those warning senses we have are on high alert. I also write romance set in the past, at times in the far distant past, where beliefs in spirits, strange creatures, omens and gods were part of everyday life.
In modern life we tend to separate religion and state. In the past belief in supernatural forces, particularly malign supernatural forces, was far stronger. How else could people in the ancient world make sense of what happened to them and around them? When the causes of illness were not understood it would seem logical that an outside influence - an angry god or an evil spirit - had targeted that person or that animal.
Belief is a powerful force. If a character believes he or she can do something out of the ordinary, then sometimes they can. In my historical fiction I use the beliefs of my characters to allow them to tap into something larger than themselves. This 'something' can be a thing of delight or of terror. It is the wonder of the story-teller, used in tales before humans devised writing. And when we did begin to write, ghost stories, paranormal stories 'spooky' stories, were among the earliest tales we committed to clay, papyrus or parchment.
Here are a few paranormal moments from my novels. The first is based on an ancient Roman ghost story of a haunted house, which I adapted to use in 'Flavia's Secret'. In this excerpt, the paranormal is used to show wonder and delight in a special, secret place; a place where Flavia finds the strength to tell Marcus her own deadly secret.

EXCERPT:

Walking quickly, to show that she did not regret her decision to share this place with him, Flavia returned along the twisting beaten-earth path between the rampant rosemary and lavender bushes. One more twist of the path and they reached the heart of the garden and its startling secret—a private outdoor pool, its shimmering waters steaming in the sun.
‘By Mithras, what a place.’ Looking around, Marcus halted beside her, dropping onto his knees to test the waters of the deep, lead-lined pool. ‘It’s hot!’ he exclaimed, shaking moisture from his hand.
Flavia pointed to a large lead pipe leading away from the pool in the direction of the deserted house before it was lost in the luxuriant undergrowth.
‘We think the owner fixed a conduit somewhere off the spring waters of the Aesculapius spring and directed some of the thermal water here,’ she explained. ‘The pool drains somewhere, too, but we do not know where.’
Marcus sat back on his heels. ‘We?’
‘Those of us who come here, when we can.’
‘Your own private bathing place.’ Marcus jumped to his feet again and walked around the marbled perimeter of the pool. ‘I am surprised nobody has tried to make money with it.’
‘We are careful who we tell,’ Flavia said, squashing disappointment at Marcus’ mercenary approach, but he was staring across the sun-gilded water at the leaf-strewn timber portico leading to the deserted house.
‘I am not surprised at that,’ he said quietly. ‘It is beautiful.’
He watched a small breeze tumble a bronze oak leaf along a small marble walkway leading from the semi-derelict portico to the edge of the pool. ‘Mysterious, quite eerie, but also...comforting. As if you are in an entirely different world.’ He turned about, pointing to the sparkling spiders’ webs on the lavender bushes, rimed with heavy dew. ‘Somewhere forgotten by the rest of the city. A place where magical things become possible.’
‘You understand,’ Flavia whispered, breathing out in relief.
He smiled. ‘It is more than likely that the old owner saw an easy chance to grab some free hot water, but what he has made here, what time has made...I am not surprised he was thought to be a sorcerer.’
Marcus held out both hands to her. ‘Thank you for sharing this, and be assured—your secret with be safe in my keeping.’
Flavia walked to the edge of the secret pool and joined him in studying the waters.

In 'Bronze Lighting,' set in Bronze Age Europe, many characters believe in and practice magic. Here Fearn and Sarmatia, hero and heroine, are taking part in a sky ritual, a dangerous rite that they believe may unmask a murderer.

EXCERPT:

By this time it was early evening. A pall of dark clouds had gathered over the Sacred Hill. The sun hung over the eastern hills like a bloodstained shield. Fearn looked up at the sky.
'The God will come here when I summon him and we must be ready. Each of you strip off your gold, your silver and bronze. The Sky God does not like the gleam of metal on others.'
He lifted the bronze diadem from his head and laid it on the grass. 'Pile your ornaments here together. Give it to the earth for safekeeping. Quickly!'
At his command, Atterians broke their circle and came to heap their metal broaches, swords, arrows, arm-rings and finger-rings upon the King's diadem. Sarmatia watched Laerimmer take off his golden throat disc and glanced down at her own bronze ring, reluctant to remove it. Looking up, she saw Fearn walking towards her.
'Must I take off my ring?' she asked in Kretan as he reached her. Fearn answered in the same tongue.
'I fear so, Sarmatia.' He looked at her. Men were still gathered about the growing heap of metal. He and Sarmatia had a moment together.
'What is this ritual?'
'Nothing you need fear, Sarmatia. The Sky God knows our hearts. He does not touch those who are innocent. Twice now as King I've been asked to do this rite. The God may take some of our metal as sacrifice and payment, but that's a small thing for the truth.'
Sarmatia took off her bronze ring and gave it to Fearn. 'You must put this with the rest, Fearn. I can't.’ Then, although she already sensed the answer, she asked, 'Is the Sky God the same whose shrine is the Great Stone Circle?'
'It's the same God. And this is the rite the southern kingdoms have forgotten.' He turned and left her.

There are gods in my novels, too. In 'Blue Gold' the gods of ancient Egypt watch mankind from the sun-boat that crosses the sky each day and they sometimes interfere more directly.

EXCERPT:

“What happens now?” asked Astarte-with-the-moon-in-her-hair.
The eastern goddess of love was paying another visit to the sun boat of Ra. She thought the climate good for her complexion.
The blue god Amun, casting an admiring glance at the silver-haired goddess’s shapely long legs, mumbled something about a race. He ran his hands through a thick fleece of cloud, parting it with his fingers. “Look below us. There is my Pharaoh, a true Egyptian.”
“Ah yes. Sekenenre. The king who toils like an ant. He certainly looks to be making haste.”
Astarte leaned forward, the corners of her eyes crinkling at the sight of Sekenenre and his retinue of priests running their chariots again and again at the same high dune instead of doing the sensible thing of going round it. At her high vantage point, the fifteen chariots moving with such fanatical haste from the small water course where they had hidden their ship looked bizarre, like weevils.
No one on the sun boat reproved or remarked on the goddess’s comments. Those long, shapely legs were even better when she bent over the gunwale. From the middle of the boat came a muffled exclamation as the soul of the long dead Pharaoh Unas dropped the sun god’s fan.
“Fool of a mortal,” said old Ra sharply, squirming on his throne, crossing hands over thighs.
Astarte looked round over one shoulder and smiled, but she reserved her warmest look for Amun. “He is a long way from Thebes, your Sek-en-enre. Did you send a dream to instruct him? Does this true Egyptian know where he is going?”
“Pay no attention to anything Amun says. Sekenenre’s dash into the desert is due entirely to me.” Set materialized at her elbow. He directed Astarte to look over the other side of the boat. “Here’s my man.”
Aweserre’s chariot scuttled jauntily along below them.

In ‘Blue Gold’ when these two pharaohs meet, it is a clash of arms, force and beliefs and it leads to the unleashing of more paranormal forces.

Happy Halloween!

Lindsay
http://www.lindsaytownsend.net

Four and a half books for 'Blue Gold' at Long and Short Reviews

Honeysuckle at Long and Short Reviews has given a wonderful review to my ancient Egypt title, Blue Gold.

"What I love most about Ms. Townsend’s prose", she says, "is the ability to give the reader an almost holographic entry into life and times long past. You smell the fear, feel the passion, the frustration and anger, and burn under a hot, unforgiving sun, among other delightful stirrings of the senses."

And there's more! The full review is here.

'Blue Gold' out today

My historical adventure Blue Gold is released today!

http://www.bookstrand.com/product-bluegold-13932-330.html

Here's a summary, followed by a scene to give you a taste of it:

Ancient Egypt, 1560 B.C.

Ruling Upper Egypt from Thebes, Pharaoh Sekenenre has many enemies. Aweserre, whose grandfather seized the crown of Lower Egypt. Kamose and Ahhotpe, his son and daughter, who plot to rule in his place. And, most dangerous, the storm-god Set.

It is a time of famine. To prosper a man must be civilized and ruthless. Ramose, priest and Vizier, is all of these. Kasa, a farmer, must learn to be like him to survive. Neith, wife of Ramose, is driven, first to drink, then to courage. Hathor, who killed her son, finds love, desertion, then a second chance at love. Tiyi, the gentle masseuse, is desired by many, but desires only one.

Watched by the gods of Egypt, the conflict reaches its climax in war. The pyramids, a thousand years old when the story begins, play a crucial part.

Behind all is the God Set, with his question: 'What am I?'

The God Set or Seth in ancient Egyptian mythology is a mystery, represented by a strange animal. In 'Blue Gold' I set out to explore this mystery in the most direct and exciting way I could. And I've always loved the pyramids! ~ Lindsay

--------------------------------------------------------------------------------

Excerpt


"What a man, my father! He has the speed of a leopard."

"My boy, son of my great wife! What a son for a warrior-Pharaoh!"

Sekenenre and Kamose toasted each other again, and the nobles lifted their own tall goblets and drank, pledging allegiance to both. Torches blazed throughout the banqueting hall as men and women dropped off their wigs and entertainers practiced final flourishes in the odd dark corners. Ahhotpe kissed the cheek of the slave-girl who had brought her another perfume-cone and, with a sigh of pleasure and relief, shook off her own wig.

"Allow me." The Pyramid loomed at her elbow. He placed the cooling cone of perfumed grease on her hair. Ahhotpe shivered as the perfume-cone melted and ran in a delicious fine rain down her face.

"Thank you, my lord." She glanced from Zoser to Sekenenre. Her father and younger brother were very drunk. She was very drunk. She looked again at the Pyramid.

He took her practiced smile as an invitation to join her on the couch. Kamose saw but did nothing. And how could she resist a man so much bigger and stronger than herself? Alive with the wine, Ahhotpe was in a mood to enjoy.

"My arms are full of flowers, and my hair is weighed down with perfumes."

She waited for him to complete the verse, as her father would have done, or to lay his broad head in her lap and have her say the rest of the poem, as Kamose did. The Pyramid merely grunted and tugged on her anklet bangle.

"We're betrothed, little bird. I don't want you to keep staring at Kamose."

"I'll gaze only at you, my lord." His face in the torches seemed sleeker, his dark eyes, lined with malachite, lustrous as the beads of his arm-bracelets. Ahhotpe saw new possibilities for Zoser. Being engaged to the man had its advantages.

Two nobles, shouting and throwing bones at each other in an argument over a Senet game, gave Ahhotpe and the Pyramid their opportunity.

"It's getting to be a real riot."

"Father's drunk. Everyone takes their cue from him." Ahhotpe pushed aside a tipsy slave, who fell giggling against her couch. "Why not come and study the paintings in my room? They're by a Keftian artist, and very fine."

The Pyramid cupped her breasts and licked his lips. "Let's go to my room instead, and trade parts."

"Such a coarse expression for love." Ahhotpe, with a drunken little smile, held up her arms to Zoser. He scooped her from the couch like a barbarian, throwing her over one shoulder.

Raising her jiggling head and squinting back into the hall, Ahhotpe noticed Kamose sprawled on purple cushions, ponderously explaining how he had saved Pharaoh's life. Her father, fondling the Pyramid's mother, smiling at everything Kamose said, talked earnestly to a drunken acrobat. None of them saw her undignified exit.

Ahhotpe lowered her head, feeling the broad flanks rub against her face, and ran her thumbs between the Pyramid's legs.

http://lindsaysbookchat.blogspot.com

Doing the research...

For me, research for writing is not so much a labor of love as a break in the flow of my story-telling. For Flavia's Secret I was researching ancient Rome, ancient Romano-British food, society, class, fashion, the city of Roman Bath and the baths themselves - I did the same kind of research on ancient Egypt for my forthcoming Blue Gold, too, beginning first with a visit to the children's library for lots of clear explanations and lovely picture-books).

Pictures and personal observation are what I find most useful in all my research. When I'm researching for a book, days are taken up with observation - noting people's gestures, the sounds and rhythms of their speech, the pervading scent of a place, the number of steps to a particular church. My husband is a keen photographer and takes pictures not only for himself but also for me: strange shots of dustbins and public telephones and kiosks and then, teasingly, candid pictures of myself, sunhat jammed over my eyes, head down as I take copious notes.

We repeated this in Rhodes as I researched the Dodecanese islands for A Secret Treasure. The heroine of A Secret Treasure is an intelligent, sensitive young woman and keen cook in a high-pressure situation so I approached my research through Eve's eyes, noting how stark the contrast between shade and sun at midday, between the bustle and crowds of Rhodes Old Town and the pine-fretted quiet of Ancient Kamiros, where fragile orchids grow along the edges of the paths, learning how delicious grilled meat can taste, liberally sprinkled with fresh lemon juice and rigani, or how thorny and close-packed Greek heathland is.

Back home, the temptation is to use every scrap of my notes and then my writer's day is one of choice, because to put everything in would be fatal. My fiction is suspenseful, romantic, active: to stem the flow with a stodge of travelogue material would be a huge mistake - which isn't to say I don't commit such blunders! Usually then I spend a significant proportion of the next day taking out what I put in - a task which often inspires me to try even harder as I aim to get the most out of what I really love doing: writing.

(The Roman bikini picture is from the Villa del Casale, Piazza Armerina, Sicily (source: Wikimedia Commons (public domain).)

Lindsay Townsend

Eight Reasons Why I Love Historical Romance

When I was first published, I began as a writer of modern romantic suspense. I still love that genre but writing for Kensington and Bookstrand has given me the chance to return to my first love, historical romance.

"Why do you like it so much?" a friend asked me over coffee recently. "History is the past. Everyone's dead!" That made me think - WHY do I like historicals and history so much? I suppose in a wider sense we all live always in the past - we are a collection of past memories and experiences that forms us and makes us what we are.

Here are 8 more reasons why I love the genre:

1. The chance for high stakes and adventure. (This is where history and romantic suspense tend to come close together and perhaps why so writers of romantic suspense such as Mary Stewart tend to write both historicals and moderns.) In a historical romance, I can choose when and where to set the story, so I choose to set my stories in situations of great personal conflict and outer tension. With my ancient historical novel, FLAVIA'S SECRET, set in ancient Roman Britain in AD206, the stakes for Flavia and the hero Marcus are life and death. To save her life and the lives of her fellow slaves, Flavia has forged a vital document, and she does not know if she can trust her new master Marcus, to whom she is also passionately attracted. For his part, Marcus wishes to expose a corrupt and brutal Roman official, the Decurion Lucius Maximus, a man who, if crossed, is quite happy to commit murder.

The whole issue of slavery is also explored in FLAVIA'S SECRET - it's many terrors and cruelties. There is also love and tenderness, as there was in the Roman world itself, where we have gravestones showing that masters did free and marry their slave-women companions.

2. Glorious heroes. In the past, the roles of men have been perhaps more defined by martial qualities, by their roles as warriors. This can lead to unpleasant, brutish individuals but I like to explore its other positive aspect in my historicals - the man as a valiant protector. I love the idea of a strong man who can rescue the heroine. So in FLAVIA’S SECRET and my forthcoming title, A SECRET TREASURE, I have the heroes Marcus and Julio care for and protect the heroines Flavia and Eve - who also care for and protect them.

3. Enterprising Heroines. Because women sadly are still oppressed in many parts of the world and were particularly oppressed in the past, writing about my heroines in a past where they were automatically belittled simply because of their sex gives me lots of opportunities for conflict. My heroines must battle for their places in the world and they do so, with their wits and beauty and knowledge. Often in the past women could also be powerful figures - think of Eleanor of Aquitaine and Cleopatra - with control of lands and men. I like to explore that in my stories, too and I think it's very empowering for women.

4. Exotic and Exciting Settings. I can show cathedrals and castles when they were new or being built. Living in the United Kingdom, I can explore many part of the medieval and Roman worlds - as I did when I set FLAVIA’S SECRET in the Roman baths at Bath. (This is a wonderful, sensual, sexy setting!) For my next Bookstrand title, A SECRET TREASURE, due on September 2, I explore the beautiful city of Rhodes on the island of Rhodes, adding a twist by suggesting how the island may have looked in the late 1930s.

I can also show the pyramids when they still had their white limestone coverings and Egyptian temples when they were vibrant places of faith, as I do in my forthcoming Bookstrand historical BLUE GOLD. I can also use the setting in a more intimate way, as I do in another forthcoming Siren historical ESCAPE TO LOVE, where the hero and heroine are at the Roman holiday resort of Baiae, infamous even then for its wild boating parties and debauchery.

5. Lovely costumes. I know this is possibly a frivolous reason for enjoying writing about the past, but throughout history there have been some truly spectacular fashions! Read about what Roman and Egyptian women really wore in my books and you'll see why I like them so much. And I must admit, I'm a sucker for a man in armor...

6. Insight and empathy. A historical novel can really take you back, in imagination, to a different world and time. It can give you a glimpse into what people might have felt. And people in the past did think very differently to us. A novel can take you into that past, provide a bridge between what people believed then and ourselves. I tried to do that in FLAVIA’S SECRET, where I touch on the pagan beliefs of Marcus and of Flavia herself - she is Christian, but her faith is different to modern beliefs, because of her experience.

7. Play and fun. The past is indeed 'over'. New documents or witnesses might appear but I don't have the particular problem of a writer devising stories in our contemporary world, where imaginary events can sometimes be overtaken by real ones. (This happened to me with one of my modern romantic thrillers, where I set a scene in the famous Italian opera house, La Fenice. Soon after the book came out, La Fenice burned down. It's now rebuilt, but I felt very awkward for a long time!) I can use the 'gaps' in the historical record to flex my own imagination. The old 'What If?' scenario. This is great fun for a fiction writer! In my upcoming historical romance, A SECRET TREASURE, I used 'What if' to consider the following: 'What if a priceless classical treasure was just waiting to be discovered in the then ruined palace of the Grand masters on Rhodes, a palace rebuilt by the Fascists in 1940 as a holiday home for Mussolini?' After I'd posed that question, I just filled in the gaps!

8. The drama of the past itself. A world without phones, internet, safe transport, or amazing life-saving surgery can be useful if you want to to add to your characters' conflicts and problems. I do this towards the end of both FLAVIA'S SECRET and A SECRET TREASURE, where vital 'breakdowns' in communication happen between Marcus and Flavia and Julio and Eve. This is something a modern character could solve simply by making a call on a cellphone!

Lindsay Townsend
http://lindsaysbookchat.blogspot.com/