St. Martin’s Press/Feb. 28, 2012/$7.99 paperback, $7.99 digital
Logan Callahan has fought hard to forget what happened that fateful day, so long ago. But every night he tries to sleep, he relives the nightmare. Every time he closes his eyes, he sees the woman whose life he could not save…
A newcomer in town, Sky O’Brien is a mystery to Logan. Like him, she is a night owl. Like him, she is fighting her own demons. Like him, she hides a secret in her eyes—a fire that consumes him with every glance. Could she be the one to heal him?
When Logan’s ex-girlfriend is brutally murdered, his past implicates him as suspect—and his new neighbor Sky may be the only person he can turn to. Together, they share an attraction that can’t be denied. But as he searches for the real killer, he discovers that Sky is tracking down a murderer too—and she intends to use him to do it…
As romance readers, you know that it’s one thing to tell a story, but quite another to become completely immersed in the plot, so much so that you feel as though you are living the action alongside the hero and heroine.
What makes us feel that way?
It’s the syntax, baby! Syntax is, in a nutshell, the manner in which an author organizes the sentence patterns to transport you into the minds and souls of the characters.
In Lora Leigh’s Deadly Sins, the second book of the Callahan Series, we continue to focus on the cousins (Logan, Rafer and Crowe) who retain memories of a local killer and fear for their loved ones as another killer resurfaces, threatening the lives that they are attempting to rebuild.
More importantly, we meet Logan Callahan who is the kind of guy your mother warns you about—drop dead gorgeous, grouchy, and trouble, with a capital “T”—basically the anti-protagonist of the story. Skye is a scrappy undercover FBI agent who lives (deliberately) next door to Logan. As you might guess, they have the McHots for one another.
Whatever the situation, whether it was an emotional family entanglement, or a killer that was inches away from his victim, or even if it was something as delicate as a kiss (well, most of the kisses weren’t all that delicate, hubba-hubba!), the manner in which Leigh’s writing helped it to sprout legs, walk over to you, and grab-steal-command your attention was delicious.
“As he sucked at the sweet flesh, tasted her, burned for her, he felt himself falling into that pit of uncontrolled need.
The thought raged through him as he fought to reject it.
The demand tore at him. Ah God, giving her up, letting her go, would kill him.”
That’s good stuff. From the start of the novel until the end, we can feel the sense of urgency, the building tension between the two main characters and we become consumed with them.
But back to Logan, my most recent literary crush. With assistance from Leigh’s interesting plot and structural styling, we have an opportunity to grow to love him—we want to cry with him, to visit his secret room, to put on a flowing night gown with Zsa Zsa Gabor high heeled shoes to model for him, and at times we find that we would like to choke him because he can be as stubborn as a mule.
As you may have guessed, Logan is a great main character. All that onion wrapped up in a single man.
There were a great many things to love about this book, from the wonderful cat and mouse that Logan and Skye played to the nail-biting moments of suspense, but for me her actual writing style was paramount.