ACKNOWLEDGMENTS
It was a great pleasure to work with Kat Sherbo, who took this manuscript through several drafts, editing them all with great care and attention. Kat’s questions weren’t always easy to answer, but they were always perceptive, intelligent, and aimed at making Bloodstone a better story. Thanks, Kat, for all your hard work. You’re awesome!
The kick-ass cover art comes from Don Sipley, who does an amazing job of bringing Vicky to life. Thanks also to Edwin Tse.
I’m also grateful to the other professionals who worked on this book: text designer Tiffany Estreicher, production editor Michelle Kasper, assistant production editor Andromeda Macri, copy editor Jessica McDonnell, and proofreader Pam Barricklow.
My agent, Gina Panettieri, works hard on my behalf so I can focus on writing. She even sent me chocolate!
My friends and fellow writers Emily Johnson, Pat Carlson, Jeanne Mackin, Nicola Morris, and Janis Kelly offered helpful feedback on parts of the first draft—not to mention fun conversation and good company. Thanks, all!
My daughter, Tamsen Conner, thinks it’s cool that her mom writes this stuff, and listens patiently when I moan about the writing process. She’s the best.
Many friends just made life more fun while I was writing, including Kathy Giacoletto, Maria Giacoletto (you’re still an inspiration!), Michelle Brandwein, Deborah Blake, Kate Laity, Margaret Strother, Sydney Chase, Chris Schjoth, Carlos Thomas (who appears here in a cameo and who created a video game avatar based on Vicky), Keith Pyeatt, Christina Henry, and my fellow bloggers at Dark Central Station: Sean Cummings, Wayne Simmons, Erin Kellison, Gary McMahon, Thomas Emson, and Darren J. Guest.
Thanks to Cam Dufty for making my Deadtown series possible in the first place. And thanks to everyone who reads my books—it’s such a thrill to know that people are following Vicky’s adventures.
Most of all, thanks to my husband, Steven Holzner, who may well be the most patient man on the planet. I know for sure he’s the most loving.
Bloodstone
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