My book is taking off. It's going so well. I'm so excited.

In "The Night Driver," readers are transported to 1979 New York City, experiencing the raw, pre-gentrification feel of the Lower East Side, Chinatown, Brooklyn Piers, and Harlem. This is a world of urban rot, characterized by widespread crime, frequently corrupt or apathetic officials, and a reliance on street wisdom and individual morality for survival. The environment is characterized by rain-slicked streets, dimly lit alleys, peeling-paint tenement buildings, and the constant, oppressive hum of the city. Sanctuaries like a traditional Okinawan dojo and a tight-knit community clubhouse stand in stark contrast to the dangerous, unpredictable streets. In the rain-slicked streets of 1970s New York, a cab driver’s act of protection plunges him into a war with the ruthless Cortez organization. Hunted, framed, and with his world collapsing, Diego De LaCruz must use his martial arts discipline to dismantle a city-wide conspiracy. He must become the predator to survive, even if it costs him his soul, proving that in a city with no rules, the most dangerous man is the one with nothing left to lose.

Happy Friday fellow book club members, May I ask what is the best way to land a literary agent so I can pitch my book for a movie or series? I hope I am not offending anyone, and I am certainly not being egotistical here, but I really do feel that my book’s story will adapt well into a movie or series. Thank you, Ricardo Coto

Love the personal handwritten one so everyone check out this members page and book!

Hello, Book Lovers! As I put the finishing touches on my debut thriller, The Night Driver: A Diego De LaCruz NYC Thriller/Noir, I’ve been thinking a lot about "Place." For me, a setting isn't just a backdrop, it’s a living, breathing antagonist. In the 70s, New York City had a specific pulse. It was a time of industrial grit, flickering fluorescent lights, and a "brutal math" of the streets where balance was the only law that mattered. As a photographer, I find myself "shooting" my scenes before I write them. I look for the way the shadows fall on 340 Cherry Street and the copper tang of a fight waiting to happen in the cold March air. In these chapters, my protagonist, Diego De LaCruz, and his partner, Sakura, aren't just characters, they are a reflection of the disciplines I live by. Bringing my Martial Arts Training to the page allows me to write fight scenes that aren't just "action," but a study of movement and consequence. When Sakura reaches for her kusari-fundo, it isn't just a weapon, it’s a promise of order in a chaotic city. I wanted to share a glimpse of the atmosphere I’m building (see the photo below of 340 Cherry Street). This is where the line in the sand is drawn. This is where "No Deals, No Mercy" becomes a way of life. I’d love to know: When you’re reading a thriller, do you prefer a setting that feels like a postcard, or one that feels like it could jump off the page and grab you?