Some people say that there's never been a book published without typo's or grammatical errors. That may be, but proofing is one of the most important functions in the publishing process. We take pride in the finished product, all the while recognizing that spelling may differ from place to place and some rules of grammar create stilted prose.
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We really like print books. They are precious and are cared for. But today, publishing paperbacks and hardbacks has become a luxury, especially in a tough economic climate. Indeed, some parts of the world have embraced e_books more than others. So digital publishing is becoming pervasive we believe that there is a place for both.
Let's get something straight. You are the author. It is your book, play or whatever. We can make some suggestions on how to improve it, but we can't and don't want to write it for you. Just imagine how much time that would take and when it was done, who would be the real author. If and when you are satisfied with it, then show it to us.
There is no doubt today that distribution and marketing are extremely important. The reality is that marketing is primarily the responsibility of the author. We provide advice and encouragement based on considerable experience and research into marketing options, from web-based to personal book-signings and readings.
Sisterly Love is about the unique bonds of sisterhood. ... "Am I telling a story in this book? It is certainly not a story with its conventional beginning, middle and end, although all that does happen in it. But I have wanted to depict eras and places through the lives of two sisters and these come and go at will, following the need that each of the sisters has to relate her memories or to comment on her present. So I suppose I could say that there is a story-line, but it is not conventionally told."
The story of their lives begins in the early years of the twentieth century with the usual sibling rivalries and disputes exaggerated by the presence of an obnoxious aunt and we revisit them after they make a parallel start with their secretarial careers - both the proper emancipated females of the nineteen thirties - it is there that the parallel ends. For Elsie typifies the solid, conservative, hard-working office girl. Lillian shifts with ease from one boyfriend to another, from one husband to another, from one boss to another, from one country to another, yet she always returns to take refuge by either Elsie's or Horace's (their young brother's) home fires. By dint of Lillian's wanderings, the novel moves from London to an English country village, to South Africa, to Australia, to Spain, back to London, all vividly evoked through reminiscence.
It is loneliness in their advancing years which forces them into each other's company, despite themselves. It is the sadness of having nothing else in life which inevitably flings them against one another painfully peeling away the layers of their past existences and forcing them to surrender themselves to the irritating state of undesired dependence.
It is the inescapable pathos of two lives reduced by the passing years to grumpy proximity in a small bed-sitter that breathes life into Sisterly Love. My aim was to write about the sadness of old age with a certain humour, but I have also tried to touch the chords of the reader's sensitivity. D.H. Madrid, 2019