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Suspending Disbelief in the Age of Digital Wonders

On the TV in my landlady’s lounge, I saw a handsome cop in a car. He radioed his partner back at HQ to let his wife know he’d be late for dinner. ‘That’s rude,’ I mumbled, ‘… text her yourself.’ The shot widened and, from the shape of the car, I saw it was the 1970s. My landlady snorted. “OK then,” said I, placing the rent money on an expectant table. She grabbed the remote and the volume went up as I edged out the door. Narrative depends on the suspension of disbelief. Authors want readers immersed in their story, caring about the characters as if they were real. Plot details that jar or provoke disbelieving wisecracks are simply no good.

A Review of Dup Departs: A Time To Go, by Gavin Mills

Embellishing the Jozi Underworld: A cracker of a novel. Dup Departs: A Time To Go sees a soft, likeable but resourceful middle-aged suburbanite thrown into a drug war, police-corruption and murder spree. With the bank barking at his heels and depressed about the modesty of his achievements as a filmmaker, Dup is ready for a big score. It will be his family’s ticket out of South Africa. And its thanks to his enigmatic stripper friend, Louanne, who introduces him to a shady nightclub boss offering good money to make lame porn, Dup jumps at the chance. But he did not bargain on shady becoming sociopathic.  Dup is swept into a plot populated by seriously menacing hardmen; Ivan Bazkaowzki, a sadistic Polish Don, goons on Harleys, loathsome detectives up to their elbows in dirty money and a Nigerian crime kingpin gone straight (or maybe not). Along the way fists fly, evidence is planted, women are kidnapped …