A Spooky Read: Rearview Mirror by Stephanie Black

Happy Halloween!

I don’t normally do book reviews on Mondays, but this is a special occasion. Stephanie Black’s new book, Rearview Mirror, is definitely a book to put on your spooky list. I highly recommend you turn off all the lights in your house and read it by flashlight so you can get a full-on adrenaline rush. It is that chilling. (And I would never do that myself because it would give me nightmares. But some people are adrenaline junkies and this book has what it takes to get that going!)

The main characters seem innocent enough at first. Our heroine, Fiona, (I couldn't help imagining Princess Fiona from Shrek every time she was mentioned. Ha!) has been through some traumatic events in her life that she’s tried to work through and put behind her. She’s living her dream being an English professor at a small university and she has her colleague and friend James to talk to and confide in. But then these strange things start happening to her and when they escalate, it becomes a race against time to figure out what’s really going on before something truly horrible happens to Fiona. And just when I thought I had it all figured out, the author threw me a curveball and I was practically speed-reading through to see what would happen.

I think the thing that is the most creepy about this book is the way the author can manipulate me into suspecting even the people I really like and trust. She had me wondering who was really behind it all almost down to the last page. The twists and turns of the book all lead up to one really amazing scene that makes you gasp at the end. It’s no wonder that Stephanie Black is a three-time Whitney Award winner. Her mysteries are truly fantastic and will keep you on your toes the entire time. My only complaint was the same one I’ve had for all her books---it comes to the point where I have to read it during the day (yeah, I’m a scaredy-cat) and sometimes it’s hard to squeeze in some reading time!

So, if you want to extend your Halloween rush with murders, mayhem and mysterious men (and women), this is the book for you. Here is the back copy:

On a rainy night eight years ago, Fiona Claridge lost control of her car and crashed, injuring herself and killing her roommate, Mia Hardy. Now, she strives to keep the painful past at bay by staying burrowed beneath the demands of her job as a college professor in a small New England town. But when someone starts leaving her gift-wrapped boxes containing malicious reminders of Mia’s death, Fiona’s guilt and grief come flooding back.

She assumes her stalker is Kimberly Bailey, a disgruntled student, and enlists the help of fellow professor James Hampton. But when Fiona encounters the angry wife of an old flame, it becomes clear her student isn’t the only one with an eye for revenge. Cruel messages escalate to danger, then murder. As past and present become horribly entangled, Fiona struggles to unravel the truth about a determined killer—before she becomes the next victim.

And you can click here for the Amazon link.


I hope you all have a wonderfully ghoulish Halloween and eat a TON of candy. (And if you are a Castle fan, tonight's episode looks epic! And so does Hawaii Five-O. Can't wait!)

First Page Friday

As you may recall, Angela Eschler will be critiquing for us on the last Friday of every month. Isn't it hard to believe we're at the end of October already?

Here is this week's First Page Friday entry.

The Entry
Pilot Error
by Anonymous

“His engines are cutting out!” Jerrod tossed the small wrench to the hanger’s concrete floor and grabbed the handheld radio sitting on the wing of the old plane. Felix Fernandez ran out onto the tarmac along side his mechanic with his hand shielding his eyes from the rising sun. “There he is!” He pointed, his heart pounding up into his throat. “He’s not gaining enough altitude.”

Jerrod pressed the radio's mic, lifting it to his mouth. “Cessna, November, one-three-niner-niner-Bravo, you’re way too low. Are you able to climb at all?” A static squelch bleeped over the Unicom, and then nothing.

“God, please, help him!” Felix pleaded, watching his friend’s aircraft struggle. “Tell Tony to return—clear traffic for him. Do it now!”

“Tony, return to runway two-one. I’ll clear it for you. Sedona traffic—niner-niner-Bravo's experiencing loss of power, executing an immediate return to runway two-one.”

In a moment of hope Felix took a deep breath as the small plane’s wing dipped steadily. “He’s banking.”

“He’s going to make it!” Jerrod lifted the radio again and pushed in the mic, but before he could say a word—the plane dropped out of sight. A sharp explosion cracked like thunder across the high desert landscape.

“He hit the mesa,” Felix whispered, grasping the small silver cross hanging around his throat. “Dios esté con usted, mi amigo.”


Ms. Eschler's Comments

Strengths—Things that Will Capture the Reader’s Attention:

-Great hook in terms of instant tension.

There is something clear at stake, and there are potentially interesting characters to empathize with for whom that thing is at stake. Though there isn’t tons of character psychology revealed in the first couple paragraphs, the details of the scene supply enough reader stimuli that we’re hooked until we do know the characters better.

-Going into specifics on the details that carried the scene:

1) I like that you used actual dialogue with what is said into the radio and not just summarized the interchange; though I have no idea what any of that means, the confusion added to the tension for me. (Just make sure that’s the real deal—and you know what it all means—or some readers will be annoyed.)

2) I also really liked the Spanish at the end of the scene—adds nice flavor to the moment and reveals something about Felix’s upbringing/psychology.

3) Correct terms for scene-specific items, like Unicom, are great, as they really make us feel like we’re in a real place. Again, I am not familiar with these terms, but that’s why I read books—to be introduced to new worlds and learn things.

4) I liked the details of the old plane wing, and the high desert mesa, and the sun coming up, etc., as it gives an idea of what type of town/place we’re in, and that maybe we’re talking about guys who dream big, or who indulge in hobbies, as opposed to guys who just work for the airport/plane company. There’s an intimacy in the scene.

5) And I appreciated that you incorporated all of these little details in snippets as part of the action, not as breaks from or interruptions to it. The reader is sucking in the setting without even knowing it—and without having to be reminded that they are having a story described to them and aren’t really there. (Watch out on the first line or two—sometimes you want to keep the first couple of lines a little less wordy so you can start with a punch. So keep the detail, but drop unnecessary modifiers or split up some lines. Our very first intro to the scene is where you want to be subtle so we can forget we’re reading.)


Questions/Things to Finesse

-Things that were a little confusing—point of view clarifications (POV): Having a really clear point of view through which the reader starts the story eliminates any confusing re-reads that will pull the reader out of the action. Here were some POV issues that made it difficult for me to be fully engaged in the at-stakes issue:

1) Jerrod is introduced without a last name, but Felix is introduced with one. Seems odd and is noticeable. If Jerrod gets first screen time, we assume he’s the POV character. So why is he of less significance than Felix (doesn’t get a surname)?

2) Felix runs out of the hangar with his mechanic, but we’re not sure who the mechanic is—Jerrod? Makes sense after I read it a few times, but since we don’t know that Jerrod is the mechanic (as anyone on set could be wielding tools), we’re momentarily wondering where Jerrod is in the scene, and, since we switched to following Felix as the lead POV (who possesses a mechanic) we naturally wonder who the mechanic is. Switching the POV lead makes it feel as if Jarrod is literally and figuratively being left behind (as a character POV and a person in the story).

3) Starting with Jerrod makes us think it’s going to be his POV in which we first see the scene, but then you switch to making Felix the lead with “his mechanic” now playing second fiddle. This switch seems unclear in purpose. Perhaps start with clarity that we’re going to have an omniscient POV of some kind—that we’ll be watching “the two men” rather than making us switch our alignment from one to the other. For instance, you could do something like this:

“Jerrod stared at Felix as he yelled into the handheld radio. “Oh, come on, man, talk to me . . .” The silence on the other end paralyzed both men. “His engines are cutting out!” Jarrod dropped the small wrench onto the concrete, running behind Felix as they sprinted out of the hangar onto…”

This clarification right up front about the POV and the shared experience that we’ll be focusing on saves reader energy—we’re not jumping from one POV to another, thus trying to figure out relationships, who is most important in the scene, where everyone is physically, etc. If you don’t intend to open the scene with an omniscient narrator, but meant it to be mostly Felix’s POV, then start with Felix observing Jarrod, not just with Jarrod’s lines:

“Felix Fernandez stared at his mechanic as Jarrod gripped the handheld radio, desperately trying to get a response from …”

Putting Jarrod’s name after the title of “mechanic” also makes the connection a little easier to put together. It’s still possible that three men are on the scene here, but we’re more likely to put two and two together and assume Jarrod is the mechanic since his title is in the same line as his name. It also makes sense why Felix would have a last name now, as we start with his POV and use a possessive description with “his mechanic” immediately—thus we know relationships and hierarchies right away; opening with Felix, using only his last name, the possessive with “mechanic,” etc., all demonstrate what we need to know about the scene setup in one line.

Word choice—using precision: Along those same lines, even if the POV lead is only Felix, make sure to use the most clarifying and precise words in your descriptions, especially if they have to do with relationships. For instance, both men seem concerned about Tony in his plane, but in this line—“God, please, help him!” Felix pleaded, watching his friend’s aircraft struggle”—we aren’t sure if Tony is only Felix’s friend. If so, why is Jerrod super concerned? They might have different levels of friendship, but if so, specify that. For example: “watching their friend’s aircraft” or “watching his best friend’s aircraft.” The reason these little word choices matter is because a reader, newly introduced into a world, is sort of like a newborn—overwhelmed and struggling to place themselves. That reader has to find his/her sea-legs, so to speak. They are stumbling upon a scene and have to make sense of it, organizing it so they know what’s going on and who is important to whom and what’s at stake, etc., before they’re comfortable diving into the story. If the opening scene creates any confusion for them, so they have to stumble longer than is ideal (meaning re-reading in order for things to make sense), then you’ve lost the impact that opening hook might have had. They still might continue reading on after all the work they’ve invested in understanding the first page, but maybe not if the confusion continues to plague them. And even if they do read a little more, if the overall experience isn’t totally satisfying, they may not recommend the read to others.

Emotional impact—less is sometimes more: The very last image is of Felix saying that his friend hit the mesa, grabbing his necklace, and saying something in Spanish (which I don’t speak, but which I did study about 2000 years ago in junior high. I vaguely recall the words Felix uses, and think they mean something like “God go/be with you, my friend.”). If I’m right with the Spanish, then the scene loses some emotional impact for me. Granted, everyone is entitled to respond to shock, tragedy, grief, etc., in their own way, but I think most of us, upon witnessing our friend’s unexpected, potential death, would be in stunned shock. Possibly grabbing the necklace as we saw the plane crash down, but staring in silence before running that direction. The feeling I got from the scene, since Felix sort of commits his friend to God, is that he’s accepted Tony’s death in that moment. Now, I don’t know how the story moves on from this point, but it seemed sort of odd to me that he’d just accept it like that. (That type of response does fit, say, a deathbed scene where a best friend is dying of cancer, and everyone on the set knew it was coming.)

If your scene ends there and chapter 2 starts, I think it might be a little problem for the reader. How good of friends were they if he just writes him off to death at that point? If the scene continues with him running toward his friend with the intention of saving him and the delusion that God will somehow make Tony live, then maybe have him note the mesa, grab his cross, and ask for God’s grace while he is running toward the explosion. And maybe a Spanish prayer to God to help him reach Tony in time, as opposed to the other line. When I said “less is sometimes more” I mean that ending the scene with just the crash and maybe Felix grabbing his necklace, but no words from Felix, would supply more of the vicarious shock we’re hoping to attack the reader with. (There are other possible motivations for Felix’s Spanish phrase, of course, that I may not be seeing as a reader, given that the page ends the scene possibly prematurely; an out-there example might be that maybe Tony was suicidal and thus Felix knows this was what he wanted, hence committing him to God, etc., but then other hints would need to come into play. So obviously there are lots of ways the last image of Felix could work.) Anyway, just a thought on this one—throwing it out there.

Characterization: I think your story would be even more unique in its opening if you could use the same strategy you employed for setting details (snippets of the right details mixed in at the right moments without overdoing it) in creating your main characters. While there is good tension, and the bit of Spanish we get gives Felix a little flavor, the main characters are currently a little bit faceless. Even the Spanish and the cross necklace could be considered just a stereotype if you don’t have something else as a foundation. If you combine that bit of Felix with a little bit more individualism in the POV of the main character (word choice or a specific and unique fear/thought that crosses his mind as he watches his friend in danger), and maybe a drop of physical description for Jarrod that gives a hint as to his psychology or individuality, I think you’d have a really strong opening. The more clearly drawn the characters are, the more empathetic the reader can be, and thus the more emotional impact the tension will have on the reader: AKA—the reader will be eager to keep turning pages because they are as vested as the characters in what will happen.


Conclusion

Next to tension, fresh voice is the main thing that readers and agents are hungry for. So addressing the issues I noted above will up the ante on that just a tad, and you should be able to set yourself apart from the mass of stories seeking publication or a fan base. But for now, way to capture the tension element and way to use your description to engage the reader—upward and onward!



I'd like to thank Angela and our submitter. It gave me a lot to think about today. See you next week!

Three Things Writers Need for Balanced Writing

There are three things a writer should always look at to make sure their writing is balanced--setting, dialogue, and action. Like a three-legged stool, each one is needed and important.

The first leg of the stool---setting. A well-integrated setting is priceless. When the reader can imagine themselves right there in the scene with your character, without being beaten over the head with every little detail, then the writer has done their job. I’ve often used the example of being so incredibly bored by a particular book that described every single detail down to the cracks in the table and the dust motes in the air. If you’re giving too many details, your reader will know you don’t trust their imagination or your writing ability. Just use enough detail to make a setting that is powerful and memorable, yet still in the background. Because in the end, if your reader wanted to read a travel brochure they would. Your setting needs to be balanced with the action and dialogue of characters that we care about within that setting.

The second leg of the stool--dialogue. Dialogue is important to any scene because this is how we come to know the characters in the book and the people around them. Dialogue also says a lot about you as a writer, as well as the characters you've created. Is it sharp and witty? Is it full and descriptive or short and staccato? Does it fit your character? Dialogue done well can really move your story forward, but in order for it to be effective, you have to make sure each piece of it moves the story forward, and has identifiers with it as to who is speaking, and anchors for hints at what they’re doing while they’re speaking. Anchors are especially needed so that readers can imagine the scene. Pages and pages of only dialogue can be overwhelming for a reader. Make sure you have that balance with both setting and action in your dialogue.

And the last leg of the stool is action. Each action, whether it’s large, like the event your characters are dealing with or small like something a character is doing should advance the story. Make it deliberate. Action is the lifeblood of your story whether it’s an action of romance, an action of suspense, whatever it is, your book, your characters are made up of actions. Make it count. And be sure it is in balance with the dialogue and setting. Straight descriptions of actions will bore your reader to tears unless they know where the action is taking place, who it affects and how they're going to deal with it.

When you have a balanced writing stool in your novel, with all three legs carrying the weight, you have laid a foundation for your readers that will set the tone for a wonderful reading experience.

And in the end, your novel should be like a beautiful tapestry full of intricate threads of story including setting, dialogue and action, that all make one beautiful balanced picture.

Word Count Wednesday

Have you ever been in your bed, with the covers just right, your pillow position perfect, and you know you need to get up, but you just don't want to because you are so incredibly comfortable?

Yeah, that's where I was this morning. *sigh*

But I am really excited to tell you I got 3676 words this week. And I'm at a crucial part of my manuscript, a milestone if you will, so that is double-exciting for me.

It was something to get out of bed for, anyway. :)

How did you do this week?

Castle, Hawaii Five-O, and Stephanie Black Freaks Me Out

Today is going to be a bit hodge-podgy. You were warned.

Just for fun, I was spotlighted on the Kelworth files. There were some fun questions on there and one possibly true Greek experience I had on the island of Crete. Go here if you want to read it and decide for yourself if there's any truth to it.

Last night’s Castle felt like old times again. Finally. Spooky and fun, and with no awkward Gates to ruin the group mojo, I was feeling it. Best line of the night, “Don’t say the word ghost.” “Apparition-American, then.”

I also watched Hawaii Five-O and loved all the action scenes. Terry O’Quinn still has some moves! And so does Alex O’Loughlin. That cage match was a little bit of awesome. But I think I mostly loved the little moment with Steve and Lori. I know some fans aren’t liking her, but I do. I think she brings a needed element to the team. Kono has always been the little sister of the group and the boys are still figuring out Lori and how she fits. I like that.

As for Stephanie Black, I’ve been reading her new book, Rearview Mirror. In case you aren’t aware, I’ve had some really freaky experiences in reading Stephanie’s books in the past. For example, this is the book review I wrote in September of 2010 for her book, Cold as Ice.

“Beware the Reach of Stephanie Black"
by Julie Coulter Bellon

A couple of weeks ago I mentioned that I couldn’t read Stephanie Black’s book, Cold as Ice, at night anymore because I was afraid that the creepiness factor would give me nightmares. Well, I have been having some insomnia issues, and I couldn’t stand lying there in the dark anymore wishing for sleep, so I turned the lamp on and thought I’d just finish the book. I only had a few chapters to go, and I was anxious to know the end anyway, and how bad could it be? Surely that was worth a nightmare or two.

So I picked up the book, and just as I did, the wind rustled through the window and shook the blinds a little, as if warning me not to do it. I ignored that and opened to the page. The crickets that had been happily chirping a minute ago, suddenly were silent and I felt a little shiver of eeriness go up my back. But I doggedly started to read.

Before I knew it I was on the last chapter, and the end was as good as I knew it would be. Stephanie is an incredibly talented writer and her mysteries keep me guessing every time. I closed the book, with a smile on my face, knowing that I had done it. I had made it through a Stephanie Black book in the dead of night, and I didn’t seem any the worse for wear. I clicked off the lamp and snuggled into my bed. Surely I would be able to sleep now.

Not more than thirty seconds after I thought that thought, the rocking chair in my bedroom began to creak. Not a little creak from the wind, mind you, but a creak like someone was rocking in it. Thinking maybe one of the children had come into my room, I looked over, but there wasn’t anyone in it. Deciding it had just been the wind, I closed my eyes again, but no sooner had I done that, then the creaking started again. Feeling a little more than creeped out, I quickly sat up and turned on the lamp. There was no one there. The rocking chair was empty, but even as I looked at it, it started to slowly rock back and forth, the creaking even louder in the light somehow. Just as I was about to wake my husband, however, our cat came waltzing out from behind the chair, and it seemed to me she had a little smile on her face, like she knew she’d freaked me out. She calmly walked away and I turned off the lamp and laid back down. The mystery of the creaking chair was solved, but the adrenaline was running now, and I knew I wouldn’t be able to sleep at all.

So the moral of my story is, never read Stephanie Black books in the dead of night. And if your pet can be bribed, I have a sneaking suspicion that Stephanie Black would be the kind of author that would definitely bribe them to do something to make her book even more memorable for her readers.

Beware the reach of Stephanie Black.


I’ve had similar sorts of experiences with Stephanie’s other books, so you think I would know by now to expect to be freaked out while I read her books. I’m only a third of the way through Rearview Mirror and I just have to say, I think this is her creepiest book yet. It’s like Stephanie reaches through the pages of the book and just when I can’t take the tension anymore, she taps me on the shoulder just to see me jump.

For example, in the first chapter of Rearview Mirror, there is an English teacher who has an angry student that takes things a bit far. If that weren’t scary enough, just as I finished reading that chapter, the phone rang and, I kid you not, the department head of the university where I teach Journalism (an English class), was calling to inform me that I had an angry student that was demanding a meeting.

I know. Spectacularly spooky.

Then, there’s a funeral scene where the main character has an experience while she’s standing on the periphery of a crowd that almost exactly mirrored something I’d experienced at an extended family funeral a few weeks back.

Yeah, I’m a little worried about reading more.

But it’s also the kind of story that you can’t put down and so I think that, while it’s daylight, I might go read a few more chapters.

I plan on posting the full review next week. Maybe on Halloween, just to go along with the feel of this spooktacular mystery.

What's Amazing About You?

Last night I went to my sister-in-law’s house and she was talking about a seminar she’d gone to and how they were put into pairs and asked to sit across from their partner, look into their eyes, and tell that person for ninety seconds something amazing about themselves. She sort of laughed when she was telling us about it, and said how hard it was.

I’ve been thinking a lot about that. Why is it hard for us to see how amazing we are?

When I ask my little girl to tell me all the wonderful things about herself, she can list them off without hesitating. She’s a wonderful artist, she loves everyone, she’s a good mommy to her dolly, she loves to dance, she’s a beautiful princess, and on and on.

I think we were all able to do that when we were little, but as we grow, somehow we lose that feeling that we are amazing and unique. It becomes all about fitting in instead of standing out.

I personally find that sad and wish it wasn’t so. I look at the men and women around me and find it easy to tell them amazing things about themselves. But when I look in the mirror, I stumble over telling myself how amazing I am.

So, this week, I’m going to work on that. I’m going to work on re-discovering amazing things about myself. I’m not going to be vain about it, but I am going to concentrate on things in my life and about me as a person that make me unique. You should try it, too! Let’s list three things, right now. Today. Come on, you know you can do it! We’re amazing!

I’m amazing because:

1. I have a wonderful imagination and can think of great stories.

2. I am a very loyal friend.

3. I love teaching and seeing how something I said sparked imagination or understanding in someone else.

What’s amazing about you?

First Page Friday

There is only two more days to enter to win a copy of my new novel Ribbon of Darkness. Click here if you haven't done it yet!

I also got another review and interview! Click here to see what Sheila thought of Ribbon of Darkness and the answer to her question of whether there will be more adventures for Ethan and Kennedy.

Now on to First Page Friday. For my new followers, every week we have a national editor critique a first page submitted to me by email. If you would like yours critiqued, please submit your double-spaced, 12 pt font entry to juliecoulterbellon@gmail.com


The Entry
Shadow Keeper
by M. K. Yarbrough

After the flash of lightning, I waited for the peal of thunder, but instead, a long pitiful shriek echoed from outside the house. A shiver rippled through me, making my flesh prickle. I threw back the covers and crawled from the bed.

Thunder crashed overhead as I searched for the pullcord in the heavy folds of the curtains. I yanked them open, but only a black void stared back at me. Dark storm clouds blocked all illumination from the stars and moon.

I cracked open the window and pressed my ear against the mesh screen. No shrieking howl, no gusting wind, not even a drop of rain on the patio outside disrupted the silence.

A bolt of lightning streaked across the sky and the night turned bright as day. I squinted to shield my vision from the burst of light, but not before glimpsing a shadowy figure lingering at the edge of our yard near the alfalfa field. A mournful howl ripped through the air and mingled with the clap of thunder. The creature twisted lower to the ground and disappeared into a clump of oak trees.

A cold chill snaked up my back. I blinked my eyes. Was that an animal, or a man scurrying into the cover of the trees? Not certain what I’d witnessed, I scratched at the stubble on my neck while backing away from the window.

“Ow,” I yelped when my foot scrapped against a sharp object. I hopped around on one foot while rubbing at the heel of my other.

“Brendon?” my little brother mumbled from the upper bunk.

“Yeah, Stevie. It’s me. I think I just stepped on your dinosaur.”

“Give it back,” he said in a sleepy voice.

Ms. Shreditor's Comments

This story employs the classic thunderstorm opener to establish instant suspense, but it manages to dodge the dreaded “it was a dark and stormy night” cliché. I actually learned a new word when I was contemplating the usage of the word “peal” to describe thunder. My first instinct was that this wasn’t quite right; I think of a peal as a ringing sound. But the dictionary led me to “thunderpeal,” or a clap of thunder. So thank you to this week’s author for leading me to a new word!

The writing is generally quite strong. I like that the author varies sentence length; it leaves me with the sense that he/she reads passages out loud to gauge how well the text flows. As we all know, I endorse this practice wholeheartedly.

I worry a bit about the pacing here. The thunderstorm imagery feels somewhat heavy-handed in the first four paragraphs, but the shadowy figure in the yard makes for a heart-pounding moment. Then, however, the tension breaks suddenly when Brendon steps on the dinosaur toy, which isn't a particularly suspenseful interruption. Also, did you mean that his foot “scraped” against a sharp object?

So the page achieves a certain level of suspense, but Brendon is still a blank slate to me. Our only real clue is his stubble; I'm guessing that he's in high school. We witness the thunderstorm and the shadowy figure through his eyes, but we never experience what’s behind those eyes, so to speak. Because we don’t learn anything intriguing about Brendon himself, it’s difficult to connect with the story at this point. Also, consider voice when writing from your narrator’s perspective. Would a teenage boy say something like “...making my flesh prickle”? You want to be sure that your syntax always reflects your narrator’s age, personality, gender identity, and intelligence level. It means that, while you're writing, you're going to have to live inside your character's head so that you don't commit the literary equivalent of slipping out of an accent in a theatrical performance.

One last thought: Having a character staring out the window presents a real opportunity for some stage-setting introspection. Try incorporating some of Brendon’s thoughts into his observations of the thunderstorm outside—in a way that hints to the reader what matters to him, what internal issues this story might address for him. Bring him onto the scene in a manner that creates a stronger, more memorable first impression. Readers need to feel intrigued by a character to follow him across 200+ pages of story.


Thank you so much to everyone who participates by submitting, critiquing, or commenting on First Page Friday. I've learned so much from all of you. See you next week!