*ARC provided in exchange for an honest review
How is a girl supposed to fall in love with her doctor (and vice versa) when they have never interacted since she's in a coma? That's the question that I asked myself after reading the synopsis for this book and I, of course, had to read it and see how the author was going to make that happen.
Viola is in a coma after a car accident. Most her time is spent in these frightening nightmares that she can't seem to escape and start getting mixed with reality. Sam stops by his favorite patient's room as much as he can to talk about what's going in his life and is one of the few people that believe that she will wake up. I liked Sam. He was sweet, protective and a little dorky (which I loved). Viola feels like her and Sam are a perfect match even though she has only heard his voice and doesn't even know anything about him other than what he tells her on his visits. She was feisty and had a take-charge attitude throughout the story.
I liked the whole doctor/patient in a coma plot. It kind of played in my head like a Grey's Anatomy episode as I was reading it. I also really liked that the book is written in dual pov so I was able to not only be in Viola's head, but I also got to see what was going on with Sam. There's a little mystery thrown in. Someone is plotting against her and she has no idea who could it be. I did find it boring at times and I felt like a couple of questions I had were left unanswered.
Overall, I liked this book. It had romance, a different kind of plot, and a little mystery and suspense. The characters were likeable and relatable. I recommended it to anyone who's looking for something a little different.
As you might have already guessed, Isobel Irons is a pen name.
In real life, I am (among many things) an indie film director and TV producer with a deep–some might even say obsessive–appreciation for onscreen storytelling and a lifelong book habit that I just can’t seem to kick.
In film, there’s nothing I like better than a JJ Abrams “show, not tell” character reveal, or a Joss Whedon banter session. Or an Erik Kripke-level “bromance.” And of course, I’m a die-hard fan of the will they / won’t they trope, where the fans start shipping two characters agonizingly long before they share their first kiss. Or in Hart Hanson’s case, like three frigging years before. (That’s right, Hart. I’m talking to you, you incorrigible tease.)
In my novels, I use my visual storytelling skills to show the reader an entire menagerie of hidden worlds. When it comes to imagination, there is no production value and no budget. But if there was, I would spend it all and then some. To me, my characters are real people, who just happen to live in my mind. Before I write, I scout locations to set the scene, I hold exhaustive casting sessions to find the perfect quirks that will ignite the maximum amount of conflict. Then, I throw in some tricky, but believable situations that allow my characters to expose themselves–sometimes in a figurative, emotional sense, other times quite literally. Rawr.
Finally, I sit back and let the story unfold. If it sucks, I cut it. I tell my characters–sternly, but calmly–to reset and do it again, but this time give me MORE. Show me MORE. Make me laugh or cry or want to hit something MORE. And then, when I realize I’ve read through the entire thing in one sitting and–Holy shit, is it really that late, and Oh my God I am SO hungry! Have I even eaten today? That’s when I know it’s ready to be unleashed into the world.
Vivid characters. Vibrant settings. Relatable problems. Together, these elements combine to form the Ultimate Literary Crack. Or, as I like to call it, “Promoting Literacy through Shameless Addiction.”
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