First, let’s clear up a common misconception. In fiction, people tend to target use of “was,” “has been,” and “it is,” calling them out as passive. While they are indications of passive writing, “was” and its compatriots can be useful in a narrative…provided you don’t overdo it. Moderation is key; even Strunk & White agree that the passive voice is necessary at times.

For example, “He wasn’t sure how he got home” indicates some time has passed, and might be used after a scene break. There’s a time and a place for “was,” and its use does not automatically mean you’re stuck in passive voice and need to revise everything you ever wrote. With that said, active writing is far more accessible and generally more exciting to read, and for those of us who write fiction, active voice is a necessity.

Consider this passive example:

“He was cold and alone. He was upset about the game he’d lost that day. His sister would never forgive him.”

Yes, it’s passively written, but it’s also telling instead of showing, which is also a big no-no as far as good storytelling goes. Telling and passive voice tend to travel together, as a writer using passive voice is passively telling his reader what’s going on as opposed to actively showing him. Try this actively written piece instead:

“His teeth chattered as he recalled the lost game. Sally would never forgive him.”

Editors and writers tend to favor active voice because it’s a clear, concise way to tell a story. The easiest way to describe active voice is the subject of the sentence doing something. In the words of your English teacher, this is “Subject-Verb-Object.” For example, “Ronald fired the gun.”

In passive voice, the subject winds up at the end of the sentence. The reliable English teacher might translate it as, “Object-Verb-Subject.” For example, “The gun was fired by Ronald.”

These are particularly clunky examples, but you can see how the active sentence is shorter and more to the point; the passive sentence is long, doesn’t flow well, and comes off as overly complicated. It also commits the cardinal sin of leading to distance between reader and story, because the way it’s written often makes readers pause to reread it and make sure they understand what it says. Stopping them in the middle of reading makes it that much harder for them to connect with the characters.

I’ll leave out the fact that it also sounds unnervingly like a crime report (one place where passive voice tends to flourish).

Active voice helps almost any story out, whether it’s written in past or present tense. Yes, active voice extends to present tense. Think about it: “The gun is fired by Ronald over and over again” as opposed to “Ronald fires the gun over and over again.” It’s a subtle change, but the active version flows much better. Readers have a finite amount of patience; extra verbiage can throw them right out of a storyline.

Passive voice can sneak up on all of us from time to time. I tend to identify and fix my passive slips with a three-step process, which I’ll share with you now. Look over your own work; do you see any instances of passive voice? What can you do to make them active? Does your story read better after the changes?

(As a brief aside, a lot of fantasy and historical writers tend to fall into the passive trap, because they’re often dealing with huge, exotic worlds that need a lot of explanation. Take a look at your backstory; it’s prime territory for passive intrusion.

One quick way to trim passive voice out of the backstory is to determine just how much background is actually necessary. If the details you’re providing are not absolutely crucial to the story, can you cut them entirely? Can you have it delivered via some other means—a character describing an event, for example, or describing a character performing one ritual or another? Instead of delivering your backstory in one big chunk, reveal it by showing a character either learning about his past or perhaps instructing a pupil.)

If your backstory is sound or you don’t have any, look over the rest of your writing. If you do see a lot of “was” or “has been,” try reading those out loud. If it sounds like you’re telling the reader facts than describing a scene, then you likely need to switch into a more active voice.

But how to do this?

This process gets easier as you go, but try to address passive voice one sentence at a time. For example, take the sentence “He was afraid.”

OK, he’s afraid. He isn’t doing anything. He isn’t even really feeling, as far as the reader can tell; all we know is “he was afraid.” Look at this sentence and write down a few alternate versions. Remember that active writing is someone doing something. Instead of just passively telling us he is afraid, bring him to life by showing us what he’s feeling, if he’s bleeding, or just standing there in terror. Explore how he feels when he’s afraid. What are his physical reactions to the fear? What thoughts are racing through his head? Besides livening up your writing, you’re also broadening his character.

Here’s a couple of revised versions of the sentence:

“His stomach clenched up into a knot, and his heart was probably pounding loudly enough for his pursuers to hear.”

Or

“Stay calm, Harry. Stay calm. Fear won’t get you anywhere. He dug his hands into the wood doorframe, his breathing ragged.”

What do your versions look like? What aspects of his fear do you touch on?

Go through your work sentence by sentence, scene by scene, exploring whether you’re actively presenting your characters or passively telling your readers about them. It’s a long process, but you can eventually train yourself to write in mostly active voice. Don’t forget to look over your work later, preferably after putting it away for a little while. Distance helps you spot the errors, the strange turns of phrase, and yes, the passive writing. It takes some time to retrain your brain to write like this, but keep at it and you’ll be writing in a more active voice in no time at all.

http://www.horror.org/blog/?p=2344

About the Bram Stoker Awards

Each year, the Horror Writer’s Association presents the Bram Stoker Awards for Superior Achievement, named in honor of Bram Stoker, author of the seminal horror work, Dracula. The Bram Stoker Awards were instituted immediately after the organization’s incorporation in 1987.

To ameliorate the competitive nature of any award system, the Bram Stoker Awards are given “for superior achievement,” not for “best of the year,” and the rules are deliberately designed to make ties possible. The first awards were presented in 1988 (for works published in 1987) and they have been presented every year since. The award itself is an eight-inch replica of a fanciful haunted house, designed specifically for HWA by sculptor Steven Kirk. The door of the house opens to reveal a brass plaque engraved with the name of the winning work and its author.

Any work of Horror first published in the English language may be considered for an award during the year of its publication. The categories for which a Bram Stoker Award may be presented have varied over the years, reflecting the state of the publishing industry and the horror genre.

From 2011 the eleven Bram Stoker Award categories are: Novel, First Novel, Short Fiction, Long Fiction, Young Adult, Fiction Collection, Poetry Collection, Anthology, Screenplay, Graphic Novel and Non-Fiction.

There are two paths to a work becoming a Nominee for the Bram Stoker Award. In one, the HWA membership at large recommends worthy works for consideration. A preliminary ballot for each category is compiled using a formula based on these recommendations. In the second, a Jury for each category also compiles a preliminary ballot. Two rounds of voting by our Active members then determine first the Final Ballot (all those appearing on the Final Ballot are “Bram Stoker Nominees”), and then the Bram Stoker Award Winners. The Winners are announced and the Bram Stoker Awards presented at a gala banquet, normally during the period between March and June.

In addition, Lifetime Achievement Awards are occasionally presented to individuals whose entire body of work has substantially influenced Horror.

Some believe in one. Others swear by one. Even the streets are ruled by one. And many die by one. Everyone has a Code—it’s whether they choo

The Code.

A gritty episodic series focusing on law enforcement, mafia, and  the structure and confines we all live in or outside of.

It’s a common misconception that the short story is easy to craft. The reality is quite different. The short story writer needs to worry about every single thing a regular novelist handles—plot, character, dialogue, subplot, subtext, villain/antagonist, story arc, and everything else—along with a word count cap. This cap may range from two thousand to ten thousand words, and cramming all of the above into that limited number of words has daunted many a writer.

Here’s five tips to keep in mind while you’re working on your short story:

Don’t bog yourself down in backstory. It’s one thing if your short story is one small piece of a much larger universe—some authors write one-offs to complement their longer works—but overplotting is the kiss of death for what might be an otherwise good story. You’re not working with that many words, so don’t worry so much about the great-grandfather of your character’s fifth cousin.

Do focus on characters. They’re carrying this thing; many a reader will forgive a strange plot or confusing writing if they really like the characters. Make your leads people that characters can identify with and want to read about, and you’ve already won half the battle.

Do keep things concise. Overwriting will kill a good story just as quickly as poorly drawn characters and too much story. In a short story, less is more; cut back on the purple prose and flowery language (if you must use it at all), and just say what you mean. This is often the most effective way to cut to the heart of a tale.

Do write out a plotline, even if it’s just a guideline. There’s nothing worse than sitting down in front of the computer, fingers itching to type, an exciting beginning lodged in your brain…and then realizing it’s not going anywhere. Short stories have beginnings, middles, and ends, and not everyone realizes how tough it can be to come up with a story that flows. Scratch out your ideas and come up a beginning, middle, and end, if only so you know you have something to light your way.

Do think about how you want people to feel when they’re reading, because that’s going to influence the way you write your characters and what they do. If you want folks to laugh, you’re probably not going to go into graphic detail about a character’s private suffering. If your goal is to make people squirm in disgust and suffer nightmares, you might go into extensive descriptions of just how your villain plans to torture his foes. If you know how you want people to walk away after reading your story, you’ve got a head start on the tone you’ll probably take.

Above all, don’t let a few thousand words stand between you and the story you’ve got in your head. Sit down and write it out…just remember your wordcount.

What does it take to make a character believable? Read on.

Strengths and Weaknesses

When creating your characters strengths, its OK to make the character stronger, faster, smarter, or heartier than a real person in real life. That’s one of the reasons people like to read, right? They want a break from the mundane, the ordinary, the reality of real life. So go ahead and make your hero be able to lift a truck to save a helpless child, or to have him wrestle bare-handed against a tiger…just don’t over do it.

Keep it “realistic” without being real: Have your wizard be the strongest in his town – but not in the land. Let your alien species be immune to every bio-weapon known to man, but not in the universe. It’s fine to let the fight go on a little longer as simple punches don’t hurt your “superman,” but one person can not take on a room of eight ultra-tough fighters and walk away unscathed.

There needs to be checks and balances in everything, including your characters strengths and weaknesses. All of the great heros of the past had them: Achilles and his damn heel, Heracles and poison, Oedipus and hubris, Superman and kryptonite, Thor without his hammer, Othello’s overactive trust issues. The point is, each of these characters had something (a weakness) that would bring them to the ground; thus, they are NOT unstoppable, unsinkable, or immortal.

Well-known fantasy author Terry Brooks once made an excellent point when discussing the laws of magic: basically, that there must be consequences for the magic user, or the world in which the magic is used. For example, a wizard cannot be all-powerful, otherwise no one would be able to stop him and then what’s the point of any kind of plot? There wouldn’t be, as there’s nothing at stake for him. So, to keep the plot interesting, there needs to be a side-effect of each use of magic; such as having the magic-wielder age each time he casts a spell–so that in the end when he needs to cast a massive spell to save the town, it’s a much more difficult choice (and possible sacrifice) that the character is up against. Make sense so far?

Minor Flaws

Besides the obvious strength/weakness issue, there are other little details that can be added to your character that makes him/her draw the reader in, so that readers can understand and relate to them, bringing your hero “down to earth” and keeping them from becoming an iconic ass.

Perfect people are incredibly boring. A perfect angel of a hero will always do the right thing without second thought, doesn’t waste water, would never dream of hurting animals, and will always turn the other cheek. In other words, the perfect hero is someone who readers cannot measure up to – and thus are readers are not able to connect and relate with them.

Readers do not want to read about boring people. Readers of fiction want to be transported to another world and relate to a character that is just a touch above reality so that they can step outside of their own lives and experience new adventures though the lives of the characters. In order to do that you need to make them interesting – but at the same time realistic enough for people to relate.

Yet is your hero really a hero with some of the above-mentioned flaws?

Of course. If anything, it REALLY makes them a hero because of the obstacles you’ve created that they must go up against. What would be so heroic about your character if there was nothing to stop him from walking in to a building and carrying out a crying infant? Nothing. On the other hand, wouldn’t it be more dramatic and climatic if the building was on fire, the infant trapped upstairs, and the man had asthma? See what I’m talking about now?

You need to build your character up (or down, whichever way you see it) in order to make the situation tense and intriguing. On the flip side, you need to write your character in a way that readers sympathize with them so that they actually give a damn whether or not he/she lives or dies, or saves the world, etc. Make readers care. Make them understand. Make your character “real.”

I took a sip, paused, and glanced down at her. Big brown eyes below droopy ears stared back at me. I sighed and set my mug down on a coaster, fixed my stack of papers into a neat, even-edged pile, then reached down to pick her up. I sighed and lay back, absently rubbing the lines of her breed’s standard haircut, realizing she needed another trim. I sat there for nearly five minutes, marveling at the texture of her over-grown coat, her happy panting the only sound that broke the living room’s silence.

It was then my head rocked back as I was smacked in the face with the realization…that I didn’t remember what she felt like.

I couldn’t remember how long it had been since I’d actually touched the dog. Really touched. When I’m reading, or writing, my natural reaction tends to be “Missy, down!” Now, I don’t mean that I never pet her. I do, all the time. But I mean really touch her. Feeling the density of her coat, the hard scar tissue on the end of her tail stump, how long and soft her ears had grown. It actually brought a smile to my face, and I ended up sitting there for the rest of the night before I headed off to bed with dog in tow to drop her off with my son.

As an editor, I spend so much time at my desk in front of my computer that I sometimes don’t take the time to take pleasure in the simpler things in life. I know, it sounds so cliche that it makes my teeth hurt. Regardless, I realized last night that it is true.

As a writer, one is supposed to be able to detail a universe, a world, a country, a field, a tree. Detailing it so that readers can “see” whatever it is you’re describing as if they were there. Writers do this to draw their reader in, to make the world “come alive,” and to really “set the scene.”

As an editor, I’ve found there is a problem in this. Not that the writers are trying to describe things – no, not that at all – it’s just that writers don’t describe enough! Of course not all writers will fall into this category, but for the sake of my post, lets focus on the inexperienced or fledgling writer. Most new writers do a wonderful job describing the multicolored robes of the king’s magician, the sun glinting off the trooper’s polished helmet, or the length of the monster’s “razor sharp teeth.” But then they stop, and move on. Let me be honest – it’s not enough.

To truly immerse a reader into your story, you need to describe not only sight, but all of the five senses. Sight, touch, smell, hearing, and taste. While most writers have both the sight and hearing senses down, few regularly use touch, and even fewer writers ever use the sense of smell and taste.

Why? I’m not quite sure. The world around you (or your characters for that matter) is alive, constantly moving and changing from second to second. To fully create and successfully describe a new world in which a reader has never been, you need to describe everything about it. Below are a few questions I’ve received from authors after my commenting on their lack of “sense”:

Q. How am I supposed to incorporate smell into my novel if all the characters are doing is traveling? (Fantasy genre)
A. Well, when they stop to rest in the shade, simply let them breathe. Things to smell: pine trees, sap, a dead animal carcass, one of the guys fart.

Q. Is it possible to describe too much?
A. Yes, and no. Mark Twain took up an entire page describing his favorite characters – but most writers aren’t Mark Twain, and that style of writing may not fly with today’s readers. A few details here and there; a specific sight or smell that stands out when your character walks into the room, or a certain item at the dinner table that they love… You don’t need to describe every aspect of the world every time the scene is introduced, but draw out a certain detail that will make the space memorable (like how the smell of fresh cookies reminds you of Grandma’s kitchen) and your scene stand out. It could also tell a lot about your character depending on what it is they notice first.

Go outside. Take off your shoes. Step in a mud puddle and splash around. Run your fingers against the rough bark of the ancient oak tree out back. Kiss your dog on his wet nose. Stick a piece of grass in your mouth and lay on your back to stare at the passing clouds.

Go on. Get out and touch things…

Below is a Q&A article on the basics of a synopsis, how to write one, and what editors look for. Any questions, please post!

Why do you need to write a synopsis?

It provides prospective editors/agents with an overall and detailed summary of your novel, introduces the characters, plot and setting, and gives a brief glimpse at your writing style and ability.

When should you write the synopsis?

Either before you write the book, during, or after. Though chances are, if you start writing it at the beginning, you will have to do some major revisions as your plot changes, characters come and go, or you scrap some of the scenes entirely.

If you start writing the synopsis before the book, it will serve more as a guideline for your writing; just be sure to remember that it’s not set in stone, and that you can make changes to both the plot and synopsis. Though it does help to have a basic one-page “draft” of the “stuff” in your novel to refer back to as you work.

So, what exactly is a synopsis?

A short one to two page (depending on publisher guidelines) summary of your novel that provides prospective editors/agents with an overall and detailed summary, introduces the characters, plot and setting, and gives a brief glimpse at your writing style and ability. It’s extremely important because editors want to know exactly what happens in the book; it is not the same thing as the back blurb on a printed book. It gives out much more information and details–no cliffhangers.

What do you need to accomplish in the synopsis?

Several things, actually. And since you only have a page or two (depending on the house) you need to do it quickly and cleanly:

1. Introduce your main characters.
2. Introduce main conflicts.
3. Explain the overall plot.
4. Describe setting: time, place, world, etc.
5. Give a clear idea of what the novel is actually about.
6. Include the conclusion. Tell who wins, who dies, what happens to everyone and why. Cliffhangers are hated—and will cause a manuscript to be rejected nine times out of ten.

Should I put characters names in ALL CAPS?

This really depends on each house. Some publishers like it to call out the names of characters, and to bring attention each time a new character is mentioned.

ALL CAPS belong in a script, not a novel, and it’s distracting and unprofessional. You shouldn’t have to call out your characters name to bring attention to him/her—if you wrote the synopsis clearly and coherently, the writing should point them out on its own. You don’t need blinking signs and screaming kids to make an editor pay attention to your synopsis. That all falls on your writing.

How should I structure the synopsis?

1. Put your name, the manuscript title, and a phone number or email address in the top header. Be sure to keep it short—as you’re taking away space on the page from your summary.
2. Start at the beginning. Open your synopsis with the beginning of the book, telling what starts the plot moving forward, introduce the characters as they come, and the subplots as they arise.
3. Make sure your paragraphs flow logically and smoothly, so that the editor isn’t distracted by choppy sentences, or has to go back and reread a paragraph if they get lost.
4. Use transition sentences. (If you don’t know what those are, stop now and break your writing hand so as to stop the madness.)
5. End with the ending of the novel. There is no need to explain the ending, why you chose that to happen, go into detail about the last scene, etc. Just say what happens.

A Checklist for your synopsis:

• Does your first paragraph contain a hook to grab the editor’s attention?
• Do you mention all of your main characters?
• Are the conflicts clearly defined?
• Have you described where the story happens? When?
• Are all of the main subplots mentioned?
• Have you touched on every major advancement in the plot?
• Have you said what happens at the end?
• Check for spelling, grammar, and punctuation.
• Check your tense—make sure it’s in present.
• Is your name and the title of your novel on it?
• Reread it. Sit back and think about it. Does it sound like a book you’d like to read? Does it stand up to some of the other books that you’ve read and loved?

While I’m putting together the article about writing character descriptions, here’s an outline/worksheet that lists many (but not all) of the characteristics you should have developed for your characters in order to make them believable, well-rounded, and memorable. Again, this is a starter list, and should be no means be the end to the depths in which you can describe your character.

You don’t need to actually fill this sheet out; this list is to help you sit and mentally build your character so that you know them inside and out.

P.S.
To expedite things, I’m writing as if all the characters are males. Sorry girls – it’s just a pain in the ass to have to jump back and forth from him/her, he/she, etc. Get over it.

PHYSICAL/BASIC TRAITS

Full name (including middle if he has one)
Date of birth
Age
Address/or at least location where he lives (ie, California, Nebraska, Mars…)
Race/ethnicity/nationality
Height
If short, does he have a height complex?
Weight/build
Skin color (also natural, or tanned)
Hair (color, texture, cut)
Eyes (size, color, placement)
Nose
Ears
Size/shape of hands and feet
Wear nails long or short (cut or chewed)
Glasses/contacts?
Teeth (shape, color, size)
Distinguishing marks (birthmarks, scars, tatoos)
Health
Smell (yes yes, ALL of us have our own smell)
Voice (pitch, tone)
Posture
Walking style
Mannerisms
Nervous ticks/twitches
Favorite type of clothes/shoes/accessories
What he actually wears (ie, what he can afford compared to what he likes)
Favorite foods
Favorite drink
Eating habits
Smoke
Drug use

PERSONALITY/SOCIAL

Occupation
Does he like his occupation?
Social class
Is he happy where he stands?
Views on money
Actual spending habits
Education/intelligence
Political views
Religious y/n, how does religion play in life
Outlook on life/disposition
Favorite possession
Car/bike
Hobbies
Talents
Describe in three (3) sentences his average daily routine.
Fears/phobias
Major goals
What kind of self-image does he have?
Eating disorders
Physical disorders
Length of time on an average day it takes him to wake up and clean up
Showers daily?

RELATIONSHIPS

Married/single
Sexual orientation
Sexual preferences
In a relationship? Serious?
List people/characters he spends most his time with
Relationships with:

• Father
• Mother
• Siblings
• Grandparents
• extended family

If no father/mother, does he strive to fill that hole?
Have kids?
Their ages.
Best friend
How does he view his friends?
How do his friends view him?
How does he view family?
How does family view him?
Name his hero

OTHER ODD PERSONALITY TRAITS

(These apply only to fantasy/horror/sci fi novels)

Race (as in alien or humanoid…)
Magical abilities
Fighting skills
Survival skills
Types of training received
Work preferences
Is he comfortable around humans
Comfortable around large groups of people
Dead or undead
Weaknesses
Is he similar to others like him, or does he stand out?
Can he use a gun/weapon
Any familiars? (if so, describe)
Views towards his people/fellow creatures/race
Has he traveled much from his town/city before current plot journey?
Is he aware of “the bigger picture” or what “doom” is befalling his tiny village?
Is he comfortable dealing with alien species?
Has he killed before?
Has he killed another human (or another of his race) before?
Was it in cold blood or self defense
Will he break down, or will he do it again (and will he enjoy it)
List immunities

On the last day of school, she notices a glow coming from her body that only she can see. She spends most of that summer at the beach trying to figure out what it means.
One afternoon she meets a mysterious old man who gives her a watch. More than just a simple timepiece, the watch ushers her through a doorway into another
realm where Mila discovers she is not just an ordinary 11-year old girl from Maryland.

Through her adventures, Mila learns that she is gifted, courageous and more powerful than she ever imagined. Under the guidance of the wise and kindly
Thornhill and a band of elite warriors, Mila joins the quest to fight the Dark One and return King Jonas to the throne of the Land of Verde.

Eleven: Shadow and Light

by J.J. Bende and Carisa Holmes

Published by Pensiero Press

Jake peered at his twin over the rim of the shot glass, and then downed the whiskey in one gulp. He grimaced, set the glass down on the bar top and turned on the stool.

Tanner frowned at him. The stench of the alcohol burned his nose and made his stomach churn. “You’re not even listening, are you?”

The bartender moved to refill Jakes glass, but Tanner waved him away.

“This is a dangerous game you’re playing.” A rumble built in Tanner’s throat. “Alcohol, seriously? You know what drinking does to—“

“Can it already.” Jake held up is glass for the bartender—who hesitated, looking at Tanner.

Tanner shook his head at the bartender and then studied his brother, eyes roaming over the wrinkled clothes, the smear of lipstick on the crooked collar, and the ball of frizz at the back of Jake’s shoulder length brown hair.

The frizz-ball twitched. Something beneath the hair twisted and growled, trying to push its way out.

Read more online at Danse Macabre here.

The Squad Leader is always one step ahead. Sean is always one step behind. When one of his colleagues ends up dead, Sean realizes how desperate the situation is getting, and goes out on a limb to try and snare the elusive ring leader. Things are not what they seem, and Sean is pulled into a whirlwind of deception and danger as he struggles to find out the true identity of the Squad Leader.

The Three Lines or Less Contest’s main objective is this:
To open a line of communication between undiscovered screenwriters and producers, agents and managers.

http://www.threelinesorless.com/#!june-top-5-finalists

Log Line: When we think of the guns of the old west, most people have the Hollywood vision of Marshal Dillon standing across a dusty street ready to draw his Peacemaker with lightning fast precision and take down the desperado or John Wayne, reigns clenched in his teeth, firing his six shooter. And even though our knowledge of the west and its firearms has grown, the average person still only knows the guns that they see on Saturday afternoon westerns. Guns of the West takes you on a historic journey of discovery, cataloging the amazing firearms of the real old west.

Description: From 1803 to 1899, Guns of the West will bring you the history of firearms that made the West famous, guns you may never have heard of, and the downright strange weapons of our past. Host Tino Luciano will present several firearms a week, give their history, and provide commentary during a re-enactment showcasing historic moments of the firearms presented, while also taking us to the range to show what these firearms can really do!

Total Running Time: 30 Minutes Episodes / Season: 24

Host: Tino Luciano – A former member of the law enforcement community, stuntman and training video personality, Mr. Luciano is an expert in firearms. Also a stuntman on the History Channel’s successful series, Wild West Tech, he brings a rough and tumble attitude as well as a vast array of “old west” knowledge to the series.

For more information:
Contact Gharial Productions or visit their website at http://www.gharialproductions.com

Visit the official movie site at http://thekultmovie.com.

Sean is at his wits end. As a criminal psychologist, his job is to profile killers and the criminally insane. With the recent murders surrounding the Ted Fisher case and the revelations of the human trafficking background of the online game the organization runs from, he decides to step deeper into the darkness and heads to France to check out a lead under the guise of a boutique.

Things get sticky as Sean’s curiosity brings him closer to the truth, and when he realizes how alone he is being so far from home as the killers close in, he begins to doubt his choice of going vigilante.