Of course. In 1981, three fourteen-year-old boys witness a horrific murder in the Oregon woods near their homes. Sucked into becoming accomplices to the subsequent cover-up, they swear never to talk about what happened. Thirty years later, Tommy Devereaux has become a bestselling author, using writing as his therapy. Finally, he is ready to tell the world what happened, even if he disguises the killing as fiction. But his life is set to unravel when he is approached by a woman who asks for his autograph, leaving behind a note which reads: 'You didn't even change my name.' Tommy's worst nightmare has come true. A figure from his past has returned, threatening to divulge his darkest secret unless he agrees to do everything she asks of him. Thus begins a deadly cat-and-mouse game that can only end with one or both of their destructions.

I was approached by Matt Brandeburg from Coventry House Publishing. They were interested in writing a book about me. We talked for several days about how we would write the book. I was very eager to write the book because I wanted the public to know my story.

I've had a hard time, and much of that was shown on Deadliest Catch. I needed people to understand I am not a person to feel sympathy for, but a person trying to change and be better than I am. I want my life to be defined by hope, courage, and strength. I want to show people that no matter who you are or where you come from you can always change and be great, or whatever you want to be or do. That to me is the greatest thing about being American.

I assume from the terminology that this relates to the Comedia of Dante Alighieri.

The sinners in the Vestibule (Described in Canto III) are the Futile those "whose lives knew neither praise nor infamy" (ibid l. 36) and including "that caitiff angel-crew/Who against God rebelled not, nor to Him/Were faithful, but to self alone were true" (ibid ll. 37-9).

These figures represent those without conviction either to good or bad. They are represented following a banner that wildly flaps around in the same way that their opinions and values shifted in life.

The only identified figure is "The coward spirit of the man/Who made the great refusal;" (ibid ll. 60-1) it is uncertain who this represents although it has been suggested that it is Pope Celestine V who abdicated the papacy in favour of Boniface VIII who Dante hated; it has also been suggested as an identifier for Pilate who condemned Christ despite believing His innocence.

Being a very curious seven year-old is what first inspired me to explore the world after happily ever after. I never could accept an ending; I always wanted to know more - so I would create my own continuations.

As you probably know, Regulated Hatred and Other Essays on Jane Austen is a collection of 10 pieces on Jane Austen written by the late D. W. Harding over 50 years, published in 1998. Harding died in 1993.

According to a JASA book reviewer Jon Spence, "Harding was not a literary critic; he was an academic psychologist who held the Chair of Psychology at Bedford College, University of London, and it is very much as a psychologist that he wrote about Jane Austen. "

However, Frank Leavis, in a review titled 'Scrutiny: a Retrospective' states that Professor Harding, then an editorial board member of the journal 'Scrutiny' while holding the Chair of Social Psychology in London, had originally read English before going over to Psychology.

I don't think it has one central message, but it does have a particular focus. My new book is a 2nd edition, revised and expanded, of "Invisible Stars: A Social History of Women in American Broadcasting." It tells the stories of many pioneering women on both radio and TV, against a backdrop of how broadcasting was changing American society. Attitudes about men's and women's "proper" roles are certainly different in 2014 from how they were in 1920 (the year women got the vote, as well as the year commercial radio made its debut); and yet, some issues that were debated in the 1920s are still being debated today. One message of the book is that women were involved in broadcasting from its inception, yet for the most part, media history text-books don't preserve their many achievements. In fact, the names of women like Eunice Randall (one of the first female announcers), Marie Zimmerman (the first woman to own a radio station), Bertha Brainard (the first woman radio network executive), and even Lou Henry Hoover (the first First Lady to give a radio talk) are generally forgotten today. All too often, histories of any new medium or technology focus on the corporations that funded the research and the men (and back then, it was usually just men) who came up with the inventions. We read about the founder of RCA and NBC, David Sarnoff; we read about inventors like Guglielmo Marconi or Edwin Howard Armstrong. But the myth persists that women in broadcasting only made peripheral contributions to the growth of the industry, since supposedly they were either performers or secretaries. However, in my research, I have found women engineers, women station managers, women publicists, women news reporters, women media critics, and women announcers as far back as the early 1920s. Thus, one of my goals was to give a fuller picture of the history of broadcasting, one that includes women's many roles. I've also tried to recover the history of African-American women in broadcasting: long before Oprah Winfrey, there were black women on the air. Did you know that the great blues singer Bessie Smith was heard on radio in the segregated south in 1923? My other goal was to examine how much the culture's expectations about gender have changed, and whether radio and TV helped to change them. For example, all of the major networks now have women reporters who covering war zones; this was considered quite unheard of as recently as the 1960s, but it is much more accepted today. But on the other hand, there are still questions about whether women political candidates (from both parties) are still subjected to different coverage from what men receive-- have we come a long way, or not? Another issue is the public's expectations about the First Lady-- since the 1920s, people have debated how often, if at all, she should she be in the public eye; there have also been debates over whether she should make political statements or simply focus on traditional issues like her favorite charity or raising the kids. Some First Ladies have seemed content to be more traditional and did not speak on radio or TV; but others have embraced it and used it often (Eleanor Roosevelt even had her own radio show, and some modern First Ladies have been guests on talk shows). So, throughout this book, you will read about a number of unsung heroines (and even some of the men who encouraged them), and also find out how some of today's high-profile women became so famous, and the struggles some encountered on their way to that fame. To sum up, "Invisible Stars" tells the story of what has changed for women since 1920, how radio and TV have covered issues that affect women, and how broadcasting as an industry had dealt with women's changing roles.

When I was a kid, I wanted to be a scientist or an artist. Science was the practical choice that led to a career of secure, well-paying jobs. But I always had an itch to do something creative. Writing novels scratches the itch.