Pages

PREVIEW of Chapter 3 (Continued)

TERROR BLOODLINE Series Book 1


CROSSFIRE   Book #1




CROSSFIRE  Book #1 


Terror Bloodline Series

Featuring Ex-CIA Agent, Jon Bradley



By Paul Rodricks


International fast-paced Action #Thriller 

# Suspense #Adventure 

#Crime  #Mystery


Reviews: 


"The fact that it is the first of three books makes Crossfire all that more compelling plus it's a fun to read. Paul POV shifts from telling a story to the illusion of real time which creates a healthy tension throughout. One of the finer elements in the book that helps make it authentic is the authors knowledge of the geo areas where the story takes place."


"The novel is multidimensional. There are several plot elements working simultaneously that the author handles with skill. The murder of his friend and the personal relationship between Jon and his lady friend, a rape victim, add depth to the novel. The story shifts between the current investigation and his previous, very dangerous, actions in Lebanon as a CIA operative."


Read here the Preview of the CHAPTER THREE (Continued) from this Thriller,                                                          
                                               CROSSFIRE


CHAPTER THREE (Continued)

New Jersey 1962 – New York 2002 
Jonathan Bradley

On completion of his training period, he received his posting letter. He was one of the six Reserve Foreign Service Officers, appointed at the American Embassy in Beirut, Lebanon, in 1993.

This happened a month before Sept. 13, 1993, when the Peace Accord was signed between the Israeli Prime Minister Yitzhak Rabin and the PLO Chairman, Yasser Arafat, in Washington before Bill Clinton, the USA President.

The peace negotiations, however, failed to achieve the objective since the rival groups, namely the Hamas, Islamic Jihad and the Popular Front for the Liberation of Palestine refused to recognize Israel. Once again, the region returned to violent infighting, assassinations, car bombings, suicide-bombers blowing up themselves in public places and attacking the State of Israel, which retaliated by air- bombardment and its military occupying parts of Lebanon.

Bradley arrived at the Beirut International Airport and moved out quickly using the Diplomatic channel where he was received by the American Embassy’s Public Relations Officer, Robert Armstrong, himself a CIA operative. 

Driving them to the Embassy was the Lebanese driver, actually a security-guard. He headed towards the village Aukar, in the predominant Christian East Beirut, the new, safer location of the Embassy building.   

In the April 18, 1983 suicide-bombing of the previous Embassy located at Ain el-Mreisseh Corniche, Beirut, a total of 63 people lost their lives. 

It was an unthinkable disaster for the CIA alone.  On the death list were the names of no less than eight CIA operatives, including  the  Station Chief Kenneth Haas, the Near East director, Robert C. Ames, the CIA’s top Middle East analyst, and William R. McIntyre, deputy director of the USAID.

As Bradley was driven along the potholes scared highway, everywhere stood out the ruins – the charred and hollow structures, bullets and shells ridden,  windows blown-out,  burnt out  frames and twisted chassis of cars, trucks and other vehicles.

He would soon learn that such wreckage strewn along roadsides was a familiar sight in many parts of Lebanon. There was never a smooth car ride due to the pitiable condition of the roads.

Lebanon was a prosperous and peaceful nation until the early 70s.  All that drastically changed following the Civil War era of 1975-1991.

During 1993, the year of his arrival in Beirut for the first time, nothing had changed for better. 

The car-bombings, the political and personal vendettas, the wanton shootings, assassinations, bombing public places, kidnappings and the appearance of roadblocks without warning became a part of life for the Lebanese people and outsiders especially the Americans and Europeans living there or visiting Lebanon.

Robert Armstrong noticed that his new counterpart was keenly observing the passing scene as they drove past the surroundings.

They had not spoken much, except for exchanging pleasantries due to the presence of the Lebanese driver.  Safety protocol demanded discretion when speaking about official matters. No one outside their American staff could be trusted.

However, every Case Officer was thoroughly tutored until the agent was familiar with mapping out the places and locations, also staying cognizant of the region’s economy, the social life and the changing political situation, including the portrayal of the important, influential leaders and players in the country of his posting.

“Nothing ever improves here.  It had been the same when I was posted here three years ago, and the same during the time of my predecessors.  Phew… it sure is a good feeling to be returning home soon. Beirut is becoming a veritable hell hole and that’s not just for us, but for common Lebanese people too.”

“I can already sense that,” Jon said, “You live in Washington D.C.?” 

“Yeah, have a wife and two kids – the girl’s ten years old and the boy’s eight.  What about you? Still single?”

“Mr. Armstrong, Sir… I will have to slow down.  There’s a checkpoint ahead,” the driver interrupted their conversation. 

They could see the brisk activity some distance ahead of them; two stationery military vehicles on either side of the highway, besides the two armed guards and four officers, dressed in olive green fatigues, checking out the car passengers and their documents.

From the black and red color berets they wore, Bradley guessed they were from the 'MOKAFAHA' – the Lebanese anti-terrorism unit and the Military Police.  

A little behind them was parked the radio jeep, the police officer seated inside listening to the dispatcher’s alerts. 

“The checkpoint wasn’t set up when we came through here earlier. But then, one never knows in this city,” observed Robert.

                                                  
To be continued...







PREVIEW of Chapter Three

The Chronicles of Moses
The Man who would be Pharaoh

Epic Novel




The Man who would be Pharaoh



By Paul Rodricks



– The Man who would be Pharaoh


Now Available on Amazon.com

Historical-Ancient-Egyptian-Biblical Fiction Thriller.  

$0.99 only LIMITED TIME OFFER ... 

Unique Novel with many DISCLOSURES.






Glossary of Ancient Egyptian Names  

Senmut, Senenmut        “Mother’s brother” 
Kemet                          Egypt, ‘black’ land 
Waset                          Thebes 
Mennefer                      Memphis 
On                               Heliopolis
Ta-Seti                         Cush, Kush
Ta netjer                       Punt

Read the preview of the CHAPTER TWO (Continued) here:


PART ONE 

 CHAPTER 3


Vizier Senenmut refused entry into Waset City.   


Senenmut’s mind returned to the present when he saw two army scouts coming and his commanders ride their horses ahead of his chariot. They soon accosted the scouts. Then Djedefre reeled around his horse to reach Senenmut. "My Lord, Pharaoh’s army is mobilizing at the main city-gate. They are stationing many troops outside the wall."

"Order the army to slow down its march”, the Vizier reacted to his Commander’s report. “Position the cavalry on both flanks of the infantry. I will lead. The chariots will follow me.  

After you give the orders, you’ll return to ride beside me."

 Senenmut wore the royal Vizier’s kilt with a white, blue-lined head cloth. A fine leather piece covered his chest thrown across his broad shoulders. He wore at his waist an ornate, ivory-inlaid dagger, a gift from Queen Hatshepsut. A long broadsword lay in its fixed scabbard inside the chariot, and beside it, stood the long composite bow and a quiver full of arrows. His feet were clad in thick leather sandals custom-made for a steady grip on the chariot’s floorboard. 

The Vizier rode his light chariot ahead followed by the chief charioteer in a bigger, sturdy 8-spoke chariot. On seeing action, Senenmut would leave his smaller chariot and join the chief charioteer. The latter would drive the chariot and protect Senenmut with the long shield. He would also deliver weapons to him during the battle.

His Army Commander was soon beside him. Senenmut glanced back to check if the army was following him in the ordered formation. 

The next hour and half saw them getting closer and within the clear sight of the city wall. Senenmut could see the three-layer deep lines of foot soldiers dressed in full body-armor, helmets, carrying shields, battle-axes, and officers riding horses and chariots. Archers and lancers stood by the portholes of the fortresses inside the city-wall. 

They were half a mile away from the city-wall, when Senenmut ordered the army to stop marching. From the position that they now stood, the city-wall was in full view, with the main gate remaining shut.

Soon two Kemite cavalry officers left their formation and rode towards Senenmut's chariot. One came riding ahead. When he had come closer, Senenmut recognized him.

The horseman wore a similar white cloth headgear and a leather jacket covered his bare chest, meaning dressed for combat. He carried a sword, a longbow, and a quiver of arrows, across the horse-saddle. That man was Thanuny, a royal scribe and Army Commander under Tuthmosis. 

Senenmut wondered about the fate of Hapuseneb. He was Hatshepsut’s southern Vizier and her staunch supporter. Vizier Thanuny stopped his horse a few feet away from Senenmut.

"Greetings, my Lord. I am Thanuny, Pharaoh Tuthmosis' Scribe, and Army Commander."

"I know who you’re, Officer,” retorted Senenmut, and continued in a cynical tone. "I see you no longer owe allegiance to the Queen. Are you now come to lead Tuthmosis’ army against me?" 

Thanuny replied in a neutral voice, "I have come in peace, my Lord. Co-regent Tuthmosis is now my Pharaoh and Master. He has sent me to convey his respects and a message of importance."

"I see... has he become so important or rather impotent that he cannot even tell me face-to-face what he has to say? He dishonors me by sending a sycophant of a scribe. I am still the Chief Steward of Kemet and a Co-regent, and I am only responsible to our great Queen Pharaoh.”

"I beg your pardon, my Lord. I do not mean to disrespect you. I am now duty-bound to Pharaoh Tuthmosis and must do whatever he commands of me."

"Well, Officer, what is the message you bring to me? Tell me now. I have no time to waste. As you can see, I am on my way to the Palace, returning from an expedition abroad."

"Chief Steward, the message weighs heavily on me. With all humility, I must deliver the message to you. Pharaoh Tuthmosis and the Ruling Council have judged that your Excellency must not return to Kemet."

"What is the act of treason I am accused of?"

"I am sorry, my Lord, my orders are to stop you from entering the city. You must leave Kemet." He turned and pointed to the large formation of troops stationed outside the city-wall.

Senenmut was burning with uncontrollable anger. "Am I now treated as a fugitive? Where is the Queen Pharaoh Hatshepsut? Is she no longer in power? You rebelled against an able ruler who has prospered Kemet. I will never forgive anyone of you should any harm happen to her.”



To be continued ...



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Paul Rodricks, Author.

Paul's WRITERS DIG 7















SECTION 1 (Continuation...3)

CREATIVE SONG LYRICS

Self-teaching Manual



Releasing Soon 


Self-Teaching Guide to

WRITING SONG LYRICS

By Paul Rodricks

    Have you ever felt the urge to write your own songs?
To compose your own lyrics and melody?
    Are you a lyricist wishing to set music to your lyrics?
Or a music composer desirous of writing the lyrics to
your music? 
Or a music lover and hobbyist wondering how songs are crafted?
    If so, Creative Songwriting is just the right practical
self-teaching manual for you. Because Songwriting has
never been made so easy and simple.



CREATIVE SONGLYRICS

     Is all about Lyrics Composing – Song forms, Title/Hook lines, Storylines and Themes, Rhyme Scheme, Crafting the Verse-Chorus-Bridge-Tag, Song Performing Styles and much more.
  
     The latest in Gospel/Worship Songwriting is also presented in a whole separate chapter devoted to it in this book.
  
     Become a successful Songwriter.  Compose your own Lyrics and Music to styles such as Pop, Rock, Blues, Country, R&B, Jazz and Gospel.



Lyrics: The Composition

Section 1 (Continuation...3)

“The soul never thinks without a mental picture.” 
– Aristotle


Here's a Preview of the SECTION ONE (Continuation...3from the Creative SongLyrics Manual:



Popular Forms of Lyrics (Continued)


Musical Embellishments to Song Form:

Instrumental:
(at times with vocal back-up)
(a) As an Intro before the 1st Verse or Chorus
(b) Lead Ins and Exits of Choruses
(c) Mid-Solo over the Chorus, or after the Bridge, if any.

All popular styles of songs such as rock, pop, R&B, blues, country, bluegrass, jazz, Latin or Reggae have their own distinct form structure. Hence, it is best to study the song form/s, including the lyrics of a few songs of the particular genre/style you are aiming for.

The song structure also regulates the duration of your song. Popular styles of Western recorded songs don‟t normally exceed the 3.50/4.00 minutes accepted norm which is enough time to accommodate the ABABAB format, including a 4-bar intro, a mid-solo and the usual 2-bar ending. Of course, there are songs which have more 
soloing, instrumental riffs back-up and other vocal and instrumental embellishments. Generally, jazz and classical music styles exceed this time-frame.

For an overview of this section remember that, in any kind of a song form - the verse, chorus, bridge and tag, and the instrumental and vocal backups, mid-soloing and endings all serve the purpose of creating an overall contract, including that of tension and resolution - of cause and effect brought about to a successful conclusion through the performance of lyrics, melody and rhythm - by the singer/s and accompanying musicians in a spirit of team-work.

There are a variety of techniques that can be applied to make your lyrics outstanding besides the song structure. Such as, the choice of emotive and graphic words, stressed & unstressed syllables, the rhyme and the rhyming scheme, the rhythmic value of short and long sentences and not in the least the composition of a reasonably good melody. We will be covering these areas in the latter chapters of this book, including the study of simple examples to acquire some level of expertise to transform your efforts into productive songwriting as quickly as possible.
 

General Song Form Questionnaire:

1. Does your song form suit the story and the genre/style of song?
2. Have you made the Title or Hook-line catchy enough and original?
3. Does your song title convey meaningfully and strongly the essence of your theme or story line?
4. Does your title or hook line repeats at least once in the verse and twice or more in the chorus and the bridge, if any?
5. Is the first line of your Verse A or Chorus B appealing enough, i.e. attention grabbing?
6. Is there a flow or continuity in the story narrative from verse to verse?
7. Does the ending (substance) of each verse connect smoothly with the beginning of the Chorus 
– which would probably be the Title or Hook line?
8. Is the summary of your chorus content consistent with the story line as developed in the verse sections.
9. For the bridge, have you added a new look, concept or twist, i.e. rather a different feature of the story narrative?

***

NEXT: Section 2
               “To seize the flying thought before it escapes us is our only      touch with reality.” –  Ellen Glasgow

The Title Line or HOOK
(The make or break element of the Song)

+++


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Paul Rodricks, Author.