Life in an Opera House can kill you…

Synopsis:

Sheltered young violinist Julia is traumatized when she witnesses the assassination of her mentor, a famous conductor, on the podium of the Metropolitan Opera. But it is when her best friend Sidney is indicted for the murder that Julia is forced out of her protective shell and into the dark corners and hidden hallways of the Met to find the real killer. Then, she not only discovers an opera house full of secrets, intrigue and danger but comes face to face with her own inner power.

What Critics are Saying:

“‘Murder In The Pit’ is an adventure of the imagination, a play within a play…[Miner] has recreated in a fascinating operatic world a tangle of plot twists whose intricacies ultimately unravel to reveal the prose of an author who is sure of her skills.” – Valerio Massimo Manfredi, Best selling author

“I was immediately pulled in to the glamorous world of the Metropolitan Opera House….everything about this world was wonderfully written by a true ‘insider.’ Because of her (violinist) background, as well as quick-witted writing, Ms. Miner has put together a very solid mystery with a cast of characters who were an absolute joy to read.” — BookPleasures.com

“You hooked me in the first few paragraphs and few authors do that to me.”
– Brian Wamsley, Author of “Bloody Big Muddy”

“Mystery doesn’t get ANY better than this!!!! Buy it ASAP!”” – Amy Lignor, Reviewer, BookPleasures.com

“I’m on Chapter 31 and can tell I will be staying up all night if that’s what it takes. I MUST KNOW WHO THE KILLER IS AND WHAT THE DEVIL IS GOING ON. I could kill you myself for raising my blood pressure!…This book is beyond fantastic!” – Georgia Richardson Staggers, Author, Speaker

“Murder In The Pit” was published in 2010 by Twilight Times Books.

Download a sample chapter from “Murder In The Pit.”

 

One Response to Murder in the Pit

  1. I’ve never been an opera buff, but I do love a good murder mystery–and this is it! Not only is it well-written and entertaining, but I actually learned that behind the opera’s persona as a centuries-old form of chic, somewhat untouchable entertainment–its members are human, too. Great job, Erica!

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