101 tips for advertising people. Written in a simplistic manner, will most likely appeal to those who are either interested in, or beginning a career in advertising.
New York City’s hottest bachelors are stirring up trouble in this fun, flirty Oxford Novel, as a love triangle forces a feisty beauty to choose between winning back Mr. Right or giving in to Mr. Wrong.
Taylor Carr has it all—a sleek job in advertising, a stunning Manhattan apartment, and the perfect man to share it with: Bradley Calloway. Even after Bradley dumps her for a co-worker on move-in day, Taylor isn’t worried. She’ll get her man eventually. In the meantime, she needs a new roommate. Enter Nick Ballantine, career bartender, freelance writer—and longtime pain in Taylor’s ass. Sexy in a permanent five-o’clock-shadow kind of way, Nick knows how to push Taylor’s buttons, as if he could see right through to the real her.
Nick’s always trying to fix people, and nobody could use a good fixing more than Taylor. Sure, she’s gorgeous, with mesmerizing silver eyes, but it’s her vulnerability that kills him. Now that they’re shacking up together, the chemistry is out of control. Soon they’re putting every part of their two-bedroom apartment to good use. Then Taylor’s ex comes crawling back to her, and Nick figures she’ll jump at the chance to go back to her old life—unless he fights for the best thing that ever happened to him.
Bradley froze when he saw her, and she was pretty sure she saw the urge to turn and run flicker across his face.
Again she felt a stab of disappointment. In him. And in herself for apparently having misread him. She’d thought he was better than this.
Bradley’s eyes moved between her and Nick, and though he didn’t look all that surprised at seeing them bickering, his gaze grew hard as he saw Nick’s hand on Taylor’s face.
Nick, naturally, took his sweet time removing it, and she resisted the urge to kick his shin.
“Morning, Bradley,” Taylor said, pleased that her voice sounded calm and friendly. As well it should. She’d had plenty of practice over the better part of a year pretending that she and Bradley were nothing more than colleagues.
Other than a few close friends who knew they were dating, they’d done a mostly decent job of hiding their romantic relationship from coworkers. Better than she and Nick had done hiding their antagonistic one.
“Hey, Taylor. Nick,” Bradley said.
He entered the room and reached for a coffee mug, turning his attention toward the other man. “Didn’t realize you’d taken on another assignment. What for?”
“Not sure,” Nick said, checking his watch. “Have a meeting with Cassidy in a few to find out.”
“Here’s hoping it’s an offsite gig that takes you far, far away. Maybe he needs someone to cover Siberian winters,” Taylor said to Nick, even as she watched Bradley out of the corner of her eye.
“Don’t need to travel to find severe winter. It doesn’t get any chillier than right here,” Nick retorted, waving his hand over her head in a storm cloud gesture.
She shoved his hand aside, her attention still on Bradley, who was determinedly avoiding her gaze.
It was going to be darn hard to get him to see reason when he wouldn’t even make eye contact.
Nick, ever too perceptive for his own good, noticed the tension and gave a quick look between her and Bradley, his gaze turning speculative.
She shot him a warning look that clearly said, Don’t.
He shot an answering smile that clearly said, Watch me.
“Bradley, don’t suppose you’re in the market for a roommate?” Nick asked, his voice deceptively casual.
Bradley’s head snapped up, and finally, finally his blue gaze collided with Taylor’s. Dammit. Why did he have to be so beautiful? He was like a mischievous angel, all twinkling blue eyes, dimples, a sexy cleft in his chin, dark blond wavy hair . . .
“What?” he asked Nick distractedly, still looking at Taylor.
“Taylor here wants to share her original crown molding with someone.”
Bradley winced, and Taylor felt a little surge of gratitude toward Nick. He couldn’t have known it, but it was the perfect jab. She and Bradley were both into prewar architecture—had eaten up the broker’s description of all the building’s original elements.
Taylor should be sharing that crown molding with Bradley. And he damn well knew it.
His eyes met hers in silent misery—an apology that she wasn’t quite ready to accept. Heck, she wasn’t even ready to acknowledge it, because she had no intention of being dumped. Not by him, not by any man.
Taylor ignored the guilt written all over Bradley’s face as she held his gaze. “Yes, it seems I unexpectedly have a free bedroom and more rent than I can afford. If either of you knows anyone looking for a roommate . . .”
Bradley’s handsome face twisted regretfully, and he set his coffee aside, taking a step toward her, apparently forgetting—or not caring—that Nick was still in the room.
“Taylor. Damn it. I told you—”
“Actually, I do,” Nick said, interrupting.
Taylor forced her gaze away from Bradley’s pleading face toward Nick’s smug one. “You know someone who needs a roommate?”
“Yup.” He crossed his arms and watched her.
She made an impatient gesture with her hand. “Who? It can’t be one of your ex-girlfriends—I don’t want to inadvertently hear any gross details about you. And not one of your frat-boy guy friends—my living room isn’t cut out for Call of Duty.”
“Yeah, because that’s all I do all day.”
She rolled her eyes. “Okay, for real, who is it?”
His grin was slow, sly, and the very definition of trouble. “Me.”
This book is #4, in the incredible Oxford series. This book can be read as a standalone novel. For reader understanding and enjoyment, I recommend reading this series in order.
From the time Taylor & Nick met, they were like oil and water. They occasional had to work together. They had mutual friends. It was all they could do not to kill one another, some days.
Nick has been attracted to Taylor from the very moment they met. Taylor would claim the same, if forced to do so. Their timing never seemed to click. Until one day....
This series is just phenomenal! Gets better and better with each story. I loved these characters. I loved that they did not want to be attracted to - or even like one another. It felt very real. Easy to read with a great HEA. I give this book a 4/5 Kitty's Paws UP!
***This early copy was given in exchange for an honest review by Netgalley and its publishers.
Quick review for a somewhat lengthy read. I'm actually asking myself in the hours after finishing the book: What on Earth did I just read?
I haven't read many of Lisa Scottoline's books, but admittedly it's been a while and this is the most recent example I can go on. It's...definitely not the first book I would recommend anyone read from this author. I feel like it was an entertaining read but also a complete waste of time. (That sounds like a contradiction in itself, but I'll explain shortly.) So much of this book annoyed me to heck and back - mostly for how over the top and non-cohesive it was. The dialogue in some stretches is completely unrealistic and cringe-worthy. I guess the entertaining aspect of it lies in that it plays out like a soap opera - with the main character running to and fro searching for answers that absolutely no one asked, and one calamity building upon another to ramp up the action and conflict to march forcefully through its conclusion. There are times when I like this kind of story if it can poke fun at itself or just proves entertaining to watch with the characters who make the story more than the bones it stands upon. But "Come Home" was the true definition of a false advertisement of a book if I ever started one.
The story centers around Jill, a pediatrician who's adjusting to life with a new fiance and her daughter. Yet, Abby, Jill's estranged ex-stepdaughter comes bounding to her doorstep one rainy night to proclaim that her father's dead and that someone killed him. This sets off a chain of events that lead to Abby's disappearance, and Jill's desperate search to find her. Only...the search for Abby takes up a good portion of this story, but it's just one thread among several microconflicts that don't really reach satisfying conclusions. "Come Home" dangles false carrots of conflict in front of you, leading you in one direction, but just when you reach a climatic point that promises some answers, the answers lead in another direction that doesn't really have much to do with the original thread of conflict and seems to get weaker and less intriguing as it goes on. I felt like part of it was Jill's utter recklessness and stupidity in approaching every mystery around her, and what she finds just happens to hit the mark in some way without really having any kind of payoff.
In retrospect, I really didn't like most of the characters in this novel, including Jill. I did like Sam and Jill's friend (mostly because they were the ones who had the most sense), but everyone else was annoying as heck in speaking voice as well as contributing to the microconflicts and unreliable narrators here. I wish I could've believed in them or had a good laugh at them, but in the end, the dramatics were lain on far too thick - and the characters far too grating - for me to enjoy this more. I will say it kept me reading and wanting to see what would happen, but I took far too much time on the audiobook and overarching story than the story paid off in the experience. I probably wouldn't pick up this book again, once was enough.
Overall score: 1.5/5 stars.
Initial reaction: I think my end thoughts after going through this whole novel are much more complex than I can summarize in a quick bit review, but I'll leave you with this food for thought:
No matter what culture you come from: no individual or group wants to be labeled an "a", an "an" or a "the." That is just one of the many problems this book has when approaching the issue of identification and tolerance when it comes to relations with groups of many different backgrounds, and it reveals a much deeper issue when the narrative itself is so out of sync with the matter at hand that it can't even recognize why it's flawed down to its very execution and presentation.
I think this could've easily been a 250-300 page book and have gotten a better story across than 608 pages of beating a point home...which ended up being contradicted constantly by harmful reiterations.
It's not a good fantasy novel either. :(
In all honesty, I think "The Black Witch" could've been a much better novel than it was. Don't get me wrong, long before the ending of the novel, I knew what it what its intention was, and I'm not going to say that there weren't bit pieces of this novel that I ended up liking. But the bad parts of this novel far outweighed the good. I'm not even going to touch the diversity issues yet, because while that's the chief issue of controversy in this novel, the other elements of bad in this novel make it that much worse.
First, this book felt like a smorgasbord of overwrought (harmful) YA cliches, especially from the very beginning of the novel. Instalove, rampant girl-girl hate, sexual shaming and jealousy, overwrought drama that kept repeating itself over and over again (to the point it was redundant), poor portrayals of rape attribution and presentation, abusive love interests, and one dimensional characters. I don't even think Diana's humored oblivious, IDGAF attitude could've saved this novel from being a poor portrayal of so many different aspects. The worldbuilding might've been the most mediocre among many YA fantasy novels that I've read because it really doesn't make a lot of effort here, as the portrayal of different otherworldly beings not only relies on the prejudices of the main character to differentiate them (Male Lupines are RAPISTS! Female Lupines walk around naked and are automatically SLUTS! Fae creatures are FORBIDDEN! Mixed Breeds are EVIL!), but also on established folklore that's only scantly thrown in where its convenient to justify the character encounters with the main character, Elloren.
This book is like if the plotline of "Redeeming Eden: Save the Pearls" or "Out" were (scantly) mixed with Harry Potter (but with very little battles or magic - bummer) and Gossip Girl (nearly every character in this book hates each other on account of their racial backgrounds and histories, and they do some pretty horrible things to each other in the measure of power struggles and jealousy over relationships - namely boy lust). It's just horribly out of touch with the issue it portrays and wants the reader to take it seriously when it's really difficult to do so.
The second major issue in this book is that the pacing and editing in this novel is terrible. It took forever to get to some of the major plot turns and coming to terms that Elloren does in this novel. That's unacceptable, especially since some of the drama and expansions felt like they were repeated in several scenes - it didn't need all of that padding when really it didn't add much to the story. When I wasn't being overtly offended by some of the toxic insults that Elloren spewed in her internal and external thoughts towards the other characters in this novel (even in consideration of what some of the other characters do to bully and harass her, it was overkill), I spent the novel continuing to wait to the point where I'd get to the significance of The Black Witch, feeling like some descriptions were beautiful while others were overkill on the purple prose. Even then, the world is still really only scant in establishment, and it's hard to be immersed or repelled in this world when everything is just so...one-note.
"The Black Witch" feels like it's one big ad-hoc fallacy because every conflict is either all or nothing, "my way" and nothing else, or so over the top that it doesn't feel real or genuine. And that's the biggest disservice and means to educate anyone on systemic prejudices that I've ever encountered in a work, in fiction or otherwise. The narrative seems to be looking for reasons for Elloren's prejudices rather than rationales on why she shouldn't be predisposed to hate or label the other characters she's around, and that's absurd! The fact that the other characters are just as single-minded and predisposed to isolate themselves and think themselves superior and actively condescend others around them is also absurd. Keep in mind that the bulk of this story takes place at a university, and that even some of the professors are predisposed to ignore, hate, and be prejudiced against some of their mixed breed and otherworldly students. And that runs counter to the inclusive environments that colleges universities actually have and strive to create for their students (I should know - I live/work around a few.)
This book is in a line of books I've read within the past year that have really problematic roots and execution (see "Carve the Mark" by Veronica Roth and "The Glittering Court" by Richelle Mead), but I think this might be the worst one among those that I've read. The story centers around a young woman named Elloren who is a part of the Gardenian tribe. Fair-skinned, very focused on their women becoming wandfasted (marrying at a young age for life via a magic bond). Elloren is told by her sternly prejudiced aunt that she needs to hurry up and wandfast, while her uncle says that she should wait and go to university, get an education and enhance her trade. Elloren decides to follow through and do her education first, because of promising him.
It's not enough that we have to hear Elloren's aunt go on for paragraphs about how superior the Gardenian race is: *cough*
“This is unheard of!” my aunt exclaims. Her voice turns tight and angry. “You’ve raised these children like they’re Keltic peasants,” she snipes, “and frankly, Edwin, it’s disgraceful. You’ve forgotten who we are. I have never heard of a Gardnerian girl, especially one of Elloren’s standing, from such a distinguished family, laboring in a kitchen. That’s work for Urisk, for Kelts, not for a girl such as Elloren. Her peers at University will be shocked.” (Chapter 1)
“Do not let Sage’s unfortunate situation color your view of wandfasting,” my aunt cautions. “Wandfasting is a beautiful sacrament, meant to keep us pure and chaste. The lure of the Evil Ones is strong, Elloren. Wandfasting helps young people such as yourself to stay on the path of virtue. It’s one of the many things that sets us apart from the heretic races all around us.” (Chapter 5)
And the fact that even one of the former Gardenian runaways, Sage, gave birth to the AntiChrist (or this book's version of it), and was "Banished" from the tribe, but we have to hear Elloren and the other Gardenians talk about how vile or inferior all the other races are. *cough* Sexism included:
I gape at her. “A female? With that much power?” That high level of power is almost exclusively held by males, with the notable exception of my grandmother. (Chapter 5)
Fallon leans in toward me with obvious relish, her voice a scratchy whisper. “Lupines don’t ever marry, did you know that? They simply grab whomever they like and mate with them in the woods.”
“Like animals,” Echo chimes in, with great indignation.
“Really?” It’s all so scandalous. And troubling.
“I’ve heard,” continues Fallon, “that sometimes they grab young women, pull them into the woods and mate with them...as wolves!” (Chapter 7 - and this isn't the only rape/non consensual reference in this book.)
I struggle to keep my expression neutral, greatly put off by her intrusive behavior. “Of course not. I’m unfasted.” And not in the habit of throwing myself at young men, unlike you. (Chapter 7)
Elloren starts off on rocky terms with Fallon, a powerful Gardenian and university mean girl. - That's part of the girl-girl hate that this book promotes. It's really petty stuff, over a potential wandfast (Lukas, whom Elloren's aunt blackmails her by holding her university money and lodging because she won't wandfast with him after knowing him for only a day or two) but other things like *gasp* CLOTHING!
I glance up at her. “Do you think you could use this?”
“Of course, Mage Gardner,” she replies, obviously thrilled by my choice.
Fallon’s hand comes down on the fabric. “You can’t use this,” she says, her tone hard.
I blink up at her in resentful surprise. “Why?”
“Because,” she replies, her voice syrupy with condescension, “this is what my dress is being made of.” (Chapter 8)
TL, DR Translation: Bee-otch don't steal my man, don't steal my clothes! (I'm wondering at this point what I have gotten myself into.)
Elloren's university experience becomes a power struggle that involves her being relentlessly bullied by those of other races, playing into stereotypes that Elloren has overheard and/or internalizes. The unrealistic part of it is that every other race/being is distinctly hostile or does something to warrant/justify her attitude, which lends her to use her power as a Gardenian to make their lives miserable in turn. Some measures include her running to her instalove Lukas (who is also Gardenian) to threaten several different races (AND A CHILD!) and even includes the brutal killing of her roommate's pet chicken. It's the equivalent of using her power and prominence to punch down.
I think the first turning point of the novel has Elloren questioning the killing of the chicken, but it doesn't make any of her ruminations and derogatory blanket statements about those of the race her comrades belong to any better. Nor does it justify her inviting violence so that she (at least at first, she doesn't follow through with the plan, thankfully) can get her roommate kicked out of university and banished.
Elloren does eventually "befriend" people at the university, but honestly looking at the supporting characters of other races in this book, they're either used as props to support Elloren's ordeals or as teaching pieces to assimilate with the norms of HER culture. Case in point, someone who might be close to my favorite character of the novel: Diana.
Diana is a Lupine and quite oblivious to social norms of the university. She sleeps and walks around the university naked without a care in the world, and won't hesitate to say that none of the guys she's around are worthy enough to mate with her. Her introduction actually had me laughing because her brother had to call her out in the middle of class to say she was interrupting (and the professor was none too pleased). But even looking back at Diana's role in this book - she's a prop. There's a section of the book (too long if you ask me) where not only does Elloren and her brother convince her to put on clothes but also where Elloren shames her as not being good enough to be in a romantic relationship with a guy of another race because her nakedness makes her a "slut."
And I don't think I'd ever forgive Elloren for what she does to Trystan, who struggles because he finds his roommate Yvan attractive.
Elloren observes this:
Yvan cuts a nice figure, I reluctantly admit. He’s long and lean, and when his piercing green eyes aren’t tense, they’re stunning. My eyes are increasingly drawn to him in the kitchens, his strength and lithe grace tangling my thoughts and setting my heart thudding harder. I can’t help but remember how he looked when he smiled at Fern on my first day in the kitchens—how dazzling that smile was, how devastatingly handsome I found him to be.
I bite the inside of my cheek in annoyance.
Why does he have to be so distractingly good-looking? And why do I have to find him so attractive when he clearly doesn’t like me at all? And besides—he’s a Kelt! (Chapter 25)
He eventually admits to finding Yvan "beautiful" and confessing to Elloren that he's gay.
Elloren's answer was this:
“Oh, Trystan,” I breathe, panic clamoring at the edges of my thoughts, “this is really bad.”
“I know,” he admits tightly.
“The Mage Council...they throw people in prison who...”
“I know, Ren.”
“You can’t be this way. You just can’t. You have to change.”
Trystan continues to stare rigidly at the book. “I don’t think I can,” he says softly.
“Then you can’t tell anyone,” I insist, shaking my head for emphasis. “No one can know.”
.."Trystan, I’m really worried about you now. I can’t...” Tears prick at my eyes as an unbidden image forms of Trystan being taken away, thrown into prison somewhere. A fierce urgency wells up inside me, accompanied by a very justified fear for my brother’s safety. “You’ve got to keep this secret.” (Chapter 25)
Trystan is her brother, guys. I just...doesn't even matter that she says she doesn't think he's "evil" but she definitely doesn't support him. I would never recommend this book to a GLBT teen, in addition to mixed race teens or POCs because it directly condemns their existence on several occasions, even considering this is a fantasy world with supernatural beings. You can't separate the reality parallels to cultural diversity in this book, especially in places where it directly evokes the groups that exist in real life.
A good portion of this book really doesn't start picking up momentum as a fantasy title until around 85% of the book when the actual battles, magic and personal stakes begin, with Elloren making alliances with some of the races and individuals she once railed against, but they have prejudices that still linger throughout the book and Elloren even shuns some of the relationships actively because their races are just "too different", which infuriated me. It's also a hard bargain because Elloren only deals with some aspects of discovering the root of the prejudices she's held, such as asking the history professor for the Kelt version of historical events and not wearing the clothing she owned that was made by child slaves of another race. This also feels like a paint by numbers TCO fantasy, with Elloren attempting to follow in her mother's legacy as the purported Black Witch. This is established early on, but more strongly leaned upon in the latter part of the book.
I feel like this book tested my patience and painted some horribly inaccurate portraits in turn to lend into a fantasy stake filled battle that I don't care enough to follow, and so my journey with the series ends here.
Overall score: 1/5 stars.