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Dave said, and forgive me for not copying the exact wording, that the scenes he liked most were the ones that dealt with the striking, out of the ordinary. He may be interested to know that his short list that he used as examples are some of the very ones I liked best in the book. They gave clear mental pictures and more of an ominous sense to the suspense element than any of the meant to be suspenseful scenes of the stalker.

The old woman (mother-in-law of the cop) staring out the window, her eyes as blank as the dolls.

The shaved eyebrows (and this was pre-Mel Gibson usage in his portrayal of evil in The Passion of the Christ).

I thought the scene with the dry bones clacking that Mark highlights was the most brilliant of the writing. At that point, I probably felt as relieved as Ian did that he finally figured it out (not all of it, but the big picture). I liked the sensory element of it. His hearing remembered in the same way the bones remember. But--the reference to the lightning strike--would have liked to have more detail on that, on how it affected Ian (like, did it contribute to his horror writing).

As far as the skipped scenes. Ai-yi-yi, did I notice that, and sorry, Dave, but, boy, was it irritating. Why does he keep flinching?, I asked myself. He's set 'em all up, everythings ready to go: now knock 'em down!. From my p.o.v., it was true. Dave, you do a heck of a job setting the scenes up, but you didn't knock 'em down.

As far as the wife thing goes, I addressed that already, so I won't go into it again. As far as the parallel plot with Katherine Jacoby, liked that very much as well, although it seems as though the nazi father was sort of left dangling with no real conclusion.

If I'm a little vague on the details, forgive me. I read this over a month ago. At least most of it 'stuck'.

In Christ,
Rebecca