Cheerleading is supposed to be fun, not deadly. With one dead body already, a hostile detective that does not like Abby and some very scary coaches, Abby is concerned the sport her daughter loves is going to be forever tainted by murder. When cheer mom Abby Winters and her daughter, Ashley, head out of town for a cheer competition the very worst happens shortly after check-in at their hotel. Can she catch the killer, without getting arrested herself, and save the competition? The Cheer Moms is the perfect cozy mystery series for fans who love fun and humorous whodunits.

Contains a sneak peek of the next It takes two series "Two steps back."

Because he is missing spending time with his kids, single father, sports agent Andy Shaw seeks help at his agency. Hard-working and gorgeous Danicka Douglas applies, and Andy finds it more and more difficult to ignore his crush. But when she is threatened by a stalker, Andy must cross the line between professional and very personal in order to keep her safe.

Kate Carpenter, the front-of-house manager of Calgary's largest theatre company, has just returned from a well-earned vacation after the murder of a patron in her theatre's lobby and the mayhem of the ensuing investigation left her more than a little stressed. She had been looking forward to a return to normality - working at the theatre, adjusting to her new life with her boyfriend, Cam, and planning a surprise birthday party for her chief usher, Graham. Nothing more exciting than that. Instead, what she gets is a flooded concert hall that results in a huge piano competition being moved to her theatre. From there, the appearance of her old college boyfriend - along with his wife and daughter - followed by a surprise visit from her mother and a dead body hanging from the second balcony of her theatre can only mean more problems for Kate. Trying to juggle friends and family, past and present, Kate unwittingly embarks on another murder investigation, which leaves her with a clearer picture of her future - and of who is most important to her now.

From the author of the Hometown Players series comes a"sexy, sassy" (Library Journal) second chance romance between a playboy hockey star and the one woman who got away. Jude Braddock. Hockey god. That's how everyone sees him now. But when they were teenagers, Zoey knew him as the kid who didn't have enough nerve to make a move on their one and only disastrous date. Seems he doesn't have that problem anymore, though. According to the rumors, he's with a different woman every night. After a rough divorce, the last thing Zoey needs is more heartbreak. But Jude's cocky, playful attitude is mighty hard to resist. Jude knows he isn't built for long-term relationships. But he's getting sick of women pounding on his door in the middle of the night looking for a rematch. When Zoey comes back into his life, it's like fate has given him a second chance. He'll do anything to make her happy again. Is this what love looks like? He has no idea. All he knows for sure is that this time, he's playing for keeps.

Originally published by Viking Penguin, 2014.

On December 4, 1957, Miles Davis revolutionized film soundtrack production, improvising the score for Louis Malle’s Ascenseur pour l’échafaud. A cinematic harbinger of the French New Wave, Ascenseur challenged mainstream filmmaking conventions, emphasizing experimentation and creative collaboration. It was in this environment during the late 1950s to 1960s, a brief “golden age” for jazz in film, that many independent filmmakers valued improvisational techniques, featuring soundtracks from such seminal figures as John Lewis, Thelonious Monk, and Duke Ellington. But what of jazz in film today? Improvising the Score: Rethinking Modern Film Music through Jazz provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers. The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production. In-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sánchez and Alejandro González Iñárritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). The first book of its kind, this study examines jazz artists’ work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers. It investigates how jazz artists negotiate their own “creative labor,” examining the tensions between improvisation and the conventionally highly regulated structures, hierarchies, and expectations of filmmaking. Grounded in personal interviews and detailed film production analysis, Improvising the Score illustrates the dynamic possibilities of integrative artistic collaborations between jazz, film, and other contemporary media, exemplifying its ripeness for shaping and invigorating twenty-first-century arts, media, and culture.