About Biting Oz by Mary Hughes
Gunther Marie “Junior” Stieg is stuck selling sausage for her folks in small-town Meiers Corners. Until one day she’s
Biting Oz by Mary Hughes
offered a way out—the chance to play pit orchestra for a musical headed for Broadway: Oz, Wonderful Oz.
But someone is threatening the show’s young star. To save the production, Junior must join forces with the star’s dark, secretive bodyguard, whose sapphire eyes and lyrical Welsh accent thrill her. And whose hard, muscular body sets fire to her passions.
Fierce as a warrior, enigmatic as a druid, Glynn Rhys-Jenkins has searched eight hundred years for a home. Junior’s get-out-of-Dodge attitude burns him, but everything else about her inflames him, from her petite body and sharp mind to what she can do with her hip-length braid.
Then a sensuous, insidious evil threatens not only the show, but the very foundations of Meiers Corners. To fight it, Junior and Glynn must face the truth about themselves—and the true meaning of love and home.
Warning: Cue the music, click your heels together, make a wish and get ready for one steamy vampire romance. Contains biting, multiple climaxes, embarrassing innuendos, ka-click/ka-ching violence, sausage wars and—shudder—pistachio fluff.
Here’s an excerpt:
I was late. Dinner-skipping, running with twenty tons (including a tenor sax case the size, weight and maneuverability of a dead body), panting late by the time I found the theater house doors.
Chop me into sausage. My first night with the full group and I needed to make a good impression, but I had three minutes to assemble instruments and wet reeds and find my seat and warm up and—
The tuning note sounded. Chop me into sausage and slap me on a bun. Not only was I late, when I did start playing I’d be out of tune like a fifth grade wire choir. I juggled instrumentalia to free a hand, yanked open the heavy house door and ran through—
Straight into a sea of Munchkins. Which, since I wasn’t Moses, refused to part.
Chop me, slap me and serve me with ketchup and a side of kraut fries.
Running, squirming Munchkins blocked the aisles, crawled over stinky-new seats and generally terrorized the otherwise empty auditorium. Not real Munchkins, of course, but local kids who hoped to sing and dance their way to fame and fortune in the new musical, Oz, Wonderful Oz. The inaugural production would open our brand-spanking-new Meiers Corners Marlene Dietrich Performing Arts Center. Actors and musicians had been rehearsing separately and tonight was our first time together. I was playing reed two in the pit orchestra.
If I could get to the pit, that was.
Bull my way through? At five-two, I wasn’t much bigger than the rugrats. But with the tenor sax deadweight… I eyed the sea of Munchkins and sighed. It was vital I get to my seat but not at the cost of hurting a kid.
Besides, those poor harried teenagers needed help. I sloughed my cases and music stand and went to render what aid I could.
A Lollipop Guilder, scrambling to escape the auditorium, rammed into me. I snagged him by his suspenders and plopped him into a seat. Just as I straightened, a scuffling pair of boys with missing front teeth (not from the scuffle, I hoped) rolled into me. I broke them up, rescued their hats and sat them next to the Lollipopper—who Lolli-popped out of his seat. I grabbed him, but the gap-toothed boys bubbled up, timing it like a tag team. I managed to corral all three with a bear hug and wrestled them into their seats.
I huffed to catch my breath. No wonder Mom only had the one of me.
Two giggling girls darted past and bumped me into the boys. Or into their empty seats, as they’d climbed out and were now Spidermanning into the next aisle.
“Overture, please.” Up front the pit director called the musicians to attention.
I forked fingers into my hair, forgetting my scalp-tight braid, and nearly tore out a chunk. Not only was I officially screwed, I couldn’t even corral a few kids. Cocktail weenies on a stick, could it get any worse?
Of course it could. “I’m a filly!”
Speaking of corral. A stampede of girls playing horse galloped into me, knocking me off my feet again. I fell, trampled under their small hooves. Terrific. My obituary would now read, “Gunter Marie ‘Junior’ Stieg, pit musician and sausage queen, pounded flat by a herd of size-three Mary Janes.” I braced myself for death, or at least a bad bruising.
Big, warm hands slid under my arms, drew me to my feet. “Here now,” said a musical baritone. “I’ll take care of this, babi. You sit here, out of the way.”
The hands assisted me to a plush seat. I sank in. Mmm, comfy. The city sure had gone all out remodeling the theater…babi?
I blinked. A pair of shoulders wider than a freeway waded out into the sea of kids. The leather-jacketed shoulders belonged to a man, black-haired, tall and strong-looking—but even Gulliver fell to a raging river of Lilliputians. I called out a warning too late. Kids grabbed the man’s hands, his jacket, and climbed him like a tree. He was swarmed, overwhelmed, swallowed up by the horde of prepubescent terrors. I covered my eyes.
“Sit now, younglings. All in a row, that’s it. Sit quietly until it’s your turn to have makeup.”
He had a lovely accent. I uncovered my eyes. Somehow he’d freed himself from the swarm of kids and was calmly shepherding them into the first two rows of seats, adjusting a tie here or hat there as they filed neatly by.
Holy Dr. Spock. There was a handy man to have if I ever wanted kids.
I smacked myself discreetly between the eyes. No children, at least not right now. First, make a good impression on the director of this show, turn the show into a smash hit, and go to New York.
Which meant getting into that pit before the overture started. Maybe I still could. I jumped to my feet, snatched up my Manhasset stand and corpse sax, shouldered my instrument bag and trotted down the rapidly clearing aisle.
And nearly slammed into a six-kid pileup.
The adults doing Munchkin makeup had stopped the kids from filing into the third row of seats in order to fix one Munchkin’s smears. I screeched to a stop on my toes, off-balance. My bag slipped, dropped off my shoulder, jerked me into stumbling. I nearly dropped the sax, did drop my stand, tangled feet with it and had to wrench myself backward to keep from falling.
Except the sax didn’t hear about the change in plans. Momentum carried it in my original direction, popping it from of my grip.
To my horror, the tenor case pitched straight at the kids.
The man turned instantly, as if preternaturally aware of the danger. But he was behind the kids. He’d have to hurdle like Jesse Owens to get between the deadly sax and those small bodies.
Palming the wall, he levered against it to kick up and over Munchkin heads, clearing them with incredible grace and ease, landing on my side.
On the way he snatched my tenor. Midair.
I set down my instrument bag and blew out my tension. “Wow. Thanks. I…”
Straightening to his full height of six-OMG, he faced me, emanating strength and energy. Powerful chest muscles pushed into the jacket’s gap right in front of my nose.
I gaped, realized I was starting to drool and looked up.
Sondheim shoot me. His face was all dark, dangerous planes. His eyes were twin sapphire flames that hit me in the gut. My breath punched out and none came to replace it. Bad news for a wind player.
He turned to set the sax down. I started breathing again.
A tapping caught my ear, the conductor ready to start. I needed to get into that pit now.
Half a dozen kids and two makeup adults were still in my way.
I’d have crawled over the seats myself but my joints weren’t as limber as the kids’…unless I used my black Lara Croft braid as a rope. I was desperate enough to consider it.
The man, turning back, saw my predicament. He lifted my instrument bag and music stand over kids with the same strength and grace as when he’d snatched the tenor. Then he turned to me.
And swept me up into his arms.
An instant of shock, of male heat and rock-hard muscle. A carved face right next to mine, masculine lips beautifully defined—abruptly I was set on my feet beside the pit. The sax landed next to me with a thump.
“There.” His accent was jagged, as if he were as rattled as me. “There’s your instrument.” He bounded to the back of the theater and was gone.
Like what you read? Buy this ebook at Samhain Publishing, Amazon, Barnes&Noble
Mary Hughes is the bestselling author of the Biting Love series. A musician, computer consultant, and author, she has a wonderful husband (though happily-ever-after takes a lot of hard work) and two great kids. But she thinks that with all the advances in modern medicine, childbirth should be a lot less messy.
http://www.maryhughesbooks.com; https://www.facebook.com/MaryHughesAuthor
http://www.twitter.com/MaryHughesBooks
Your blog hostess:
Sue Swift/Suz deMello
Best-selling, award-winning author Sue Swift, a.k.a Suz deMello, has written over fifteen novels, plus several short stories and non-fiction articles. She writes in numerous genres including romance, mystery, paranormal, historical, contemporary comedy and erotica. She’s a freelance editor who’s worked for Total-E-Bound, Ai Press, Liquid Silver Books and Etopia Press. She also takes on private clients.
Her books have been favorably reviewed in PW, Kirkus and Booklist, attained the finals of the RITA and hit several bestseller lists.
A former trial attorney, she resides in northern California. Her passion is world travel, and she’s left the US over a dozen times, including stints working overseas for many months. Right now, she’s working on her next manuscript and planning her next trip.
Her blog is at http://www.fearlessfastpacedfiction.com. Find her reading picks @ReadThis4fun on Twitter, and befriend her on Facebook (http://www.facebook.com/SueSwift ). Her sites are at http://www.sue-swift.com and http://www.suzdemello.com.
Like this:
Like Loading...
