Friday, May 01, 2015
Monday, April 20, 2015
NEW EBOOK AVAILABLE: NEALE SOURNA’S "Libidinous 1A - Writing Lessons: Author Notes, Short Stories, Poems, and Novel Excerpts"
 |
| http://libidinous.neale-sourna.com/ |
FOR IMMEDIATE RELEASE:
CONTACT:
Neale Sourna (neel SORE-nah)
PIE: Perception Is
Everything
216 - 772 - 1302
ns@pie-percept.com
NEW EBOOK AVAILABLE: NEALESOURNA’S "Libidinous 1A - Writing Lessons: Author Notes,Short Stories, Poems, and Novel Excerpt"
Cleveland, Ohio,
20 April 2015 - This new book, a collection of stimulating romantic
erotica short story fiction, novel excerpts, and poems, previously published,
which now includes the addition of previous story editions and author notes,
about how each arousing story came to be and influences upon each story. Also
included are comparisons, an older version of most of these tales in order for
you, the reader to compare the original version with the polished published
version.
Have you ever wondered
where an author got an idea? Or how they mixed things together you’d never
thought could meld well together, but do? Or how characters are built up within
an author’s mind, from both “real” elements they see around them and their own
emotional experiences? This is your pleasurable little step onto that rich, grassy,
flowering field of imagination fostered by intellectual breezes, emotional
rain, and the solid humanity that grounds it all together.
LIBIDINOUS 1A – WRITINGLESSONS: AUTHOR NOTES, SHORT STORIES, POEMS, AND NOVEL EXCERPTS gives you the
“inside the author’s mind” for those interested in crafting literary stories
and erotic tales and is the expanded version of LIBIDINOUS 1: SHORT STORIES,
POEMS, AND NOVEL EXCERPTS; the later (LIB 1) with the same stories but WITHOUT insights
into the writer’s mind and crafting. LIB 1A shows you a writer’s growth from
original stories, when the beginning author felt they were polished enough to
submit to publishers, to newer versions, the polished gems, rewritten and
published years later, revealing a working author’s continuing development.
ISBN 978-1-938903-26-7 ebooks
Print version coming soon.
PIE: Percept publishes
romantic erotica fiction, fiction, and nonfiction all by award-winning author
Neale Sourna. PIE: Percept was founded in 2001 and published Sourna’s first
novel’s, HOBBLE, first edition in 2002. At PIE: Perception Is Everything we
believe in: "Doing for the mind, what the body shouldn't" and "Thoughtful Entertainment You Can FEEL."
Distributed by Lightning Source
- END -
PRESS RELEASE
SEO
romantic erotica, erotica,
fiction, neale Sourna, pie publishing, pie percept publishing, press release,
new ebook release, distributor
Tuesday, April 14, 2015
NEW EBOOK RELEASE: NEALE SOURNA'S "Libidinous 1A - Writing Lessons: Author Notes, Short Stories, Poems, and Novel Excerpt"
FOR IMMEDIATE RELEASE:
CONTACT:
Neale Sourna (neel SORE-nah)
PIE: Perception Is
Everything
216-772-1302
ns@pie-percept.com
NEW EBOOK RELEASE: NEALE SOURNA'S "Libidinous
1A - Writing Lessons: Author Notes, Short Stories, Poems, and Novel Excerpt"
Cleveland, Ohio,
15 April 2015 - This new book, a collection of stimulating romantic
erotica short story fiction, novel excerpts, and poems, previously published,
which now includes the addition of previous story editions and author notes,
about how each arousing story came to be and influences upon each story. Also
included are comparisons, an older version of most of these tales in order for
you, the reader to compare the original version with the polished published
version.
Have you ever wondered
where an author got an idea? Or how they mixed things together you’d never
thought could meld well together, but do? Or how characters are built up within
an author’s mind, from both “real” elements they see around them and their own
emotional experiences? This is your pleasurable little step onto that rich, grassy,
flowering field of imagination fostered by intellectual breezes, emotional
rain, and the solid humanity that grounds it all together.
LIBIDINOUS 1A – WRITING
LESSONS: AUTHOR NOTES, SHORT STORIES, POEMS, AND NOVEL EXCERPTS gives you the
“inside the author’s mind” for those interested in crafting literary stories
and erotic tales and is the expanded version of LIBIDINOUS 1: SHORT STORIES,
POEMS, AND NOVEL EXCERPTS; the later (LIB 1) with the same stories but WITHOUT insights
into the writer’s mind and crafting. LIB 1A shows you a writer’s growth from
original stories, when the beginning author felt they were polished enough to
submit to publishers, to newer versions, the polished gems, rewritten and
published years later, revealing a working author’s continuing development.
Libidinous 1A - Writing Lessons: Author Notes,
Short Stories, Poems, and Novel Excerpts
ISBN 978-1-938903-26-7 ebooks
Print version coming soon.
ABOUT PIE: Perception Is
Everything
PIE: Percept publishes
romantic erotica fiction, fiction, and nonfiction all by award-winning author
Neale Sourna. PIE: Percept was founded in 2001 and published Sourna’s first
novel’s, HOBBLE, first edition in 2002. At PIE: Perception Is Everything we
believe in: "Doing for the mind, what the body shouldn't" and "Thoughtful Entertainment You Can FEEL."
- END -
PRESS RELEASE
SEO
romantic erotica, erotica,
fiction, neale Sourna, pie publishing, pie percept publishing, press release,
new ebook release
Tuesday, March 17, 2015
50 SHADES OF GREY Thinking: Are the Alarmists Missing the Important Layers of This Fiction?
50 SHADES OF GREY Thinking: Are the Alarmists Missing the Important Layers of This Fiction?
Love is not separate from lust in a marriageable relationship.
Is the myth of virgin taming the wild thing lost on us today?
What is an inappropriate sexual first time? And all the blood and pain of a "traditional" wedding night is bull, and unnecessary except to those who think blood and pain prove virginity, not impatience and lack of foreplay.
Trust, whips, bindings. Do you trust your lover / spouse / significant other / partner?
What is the emotional and physical cost of redemption -- with your help -- for someone you love?
We're all piggybacking on the interest of this "controversy" but is the alarmists for domestic violence going too far in apparently proposing the attitude that properly agreed upon bondage, dominance, submission, and sado-masochistic behaviors LEAD to true violence and domination in physically intimate relationships without a woman's inability to stand for herself and say no.
That's not what I've learned from the news about bad and violent marriage, date rape, and war crimes. The nonplay crimes.
The limits change and can be misunderstood, that is a the end of the first book; Anastasia's misunderstanding what her limits are, and Christian's misunderstanding of his own motives (properly diagnosed, but he rejects that truth and internalizes the incorrect negative).
Are you certain she's not a sneaky dominant, rewriting or discarding his long held rules? And he the actual submissive submitting to her changes?
And never underestimate the charming fiction that we can influence and change someone with love; it can happen, but is not something you can count on or depend. But romantic female fiction is being loving and effective in that love; romantic male fiction is being hero and leader (soldier, warrior, cowboy, pirate, special ops).
Love is not separate from lust in a marriageable relationship.
Is the myth of virgin taming the wild thing lost on us today?
What is an inappropriate sexual first time? And all the blood and pain of a "traditional" wedding night is bull, and unnecessary except to those who think blood and pain prove virginity, not impatience and lack of foreplay.
Trust, whips, bindings. Do you trust your lover / spouse / significant other / partner?
What is the emotional and physical cost of redemption -- with your help -- for someone you love?
We're all piggybacking on the interest of this "controversy" but is the alarmists for domestic violence going too far in apparently proposing the attitude that properly agreed upon bondage, dominance, submission, and sado-masochistic behaviors LEAD to true violence and domination in physically intimate relationships without a woman's inability to stand for herself and say no.
That's not what I've learned from the news about bad and violent marriage, date rape, and war crimes. The nonplay crimes.
The limits change and can be misunderstood, that is a the end of the first book; Anastasia's misunderstanding what her limits are, and Christian's misunderstanding of his own motives (properly diagnosed, but he rejects that truth and internalizes the incorrect negative).
Are you certain she's not a sneaky dominant, rewriting or discarding his long held rules? And he the actual submissive submitting to her changes?
And never underestimate the charming fiction that we can influence and change someone with love; it can happen, but is not something you can count on or depend. But romantic female fiction is being loving and effective in that love; romantic male fiction is being hero and leader (soldier, warrior, cowboy, pirate, special ops).
Sunday, March 08, 2015
Game of Thrones Jon Snow family (supposition) by Neale Sourna
I've been on this
thought since I read the first book and watched the first season, and
the feeling behind the thought keeps getting more certain, or probable,
since the book series is still being written and the TV series doesn't
have to match it exactly, but has been closer than TRUE BLOOD / SOOKIE
STACKHOUSE SERIES.
My supposition is this:
GoT Bastard and warg Jon Snow is not Eddard / Ned Stark's son but his stepson and nephew by blood, being his sister, the secret warg, Lady Lyanna Stark's child by Crown Prince RhaegarTargaryen or soon to be King Robert Baratheon.
Book VI not yet available.
My supposition is this:
GoT Bastard and warg Jon Snow is not Eddard / Ned Stark's son but his stepson and nephew by blood, being his sister, the secret warg, Lady Lyanna Stark's child by Crown Prince RhaegarTargaryen or soon to be King Robert Baratheon.
Book VI not yet available.
Thursday, March 05, 2015
Thursday, February 19, 2015
Writing in Games: It’s Much More Than Narrative_Why some of the best writing has nothing to do with character or story. By Tim Biggs
22 Jun 2014 Warning: This feature contains a minor spoiler for The Last of Us: Left Behind.
Writing can make or break a game. It takes many forms - from dialogue to in-game literature, voiceovers or even scripted environmental events - but in almost all cases it aims to move the game along, distil complexity into something meaningful, give justifications for gameplay conceits and keep the player attached to the characters and scenarios through story.
When it comes to pointing out ‘good writing’ in games though, we don’t always look to the examples that do these things best. More often than not we associate ‘good writing’ with well-crafted story content and entertaining text or dialogue, and while this obviously isn’t a negative thing in and of itself, it leaves room for the idea that there are games with great, skilful writing that we don’t think of as such because they aren’t literary or don’t tell a gripping story. So is there a problem with the way we evaluate the quality of writing in games?
With the exception of pure narrative, writing in games must be
function first; less to do with crafting a story and more to do with
non-literary concerns like player retention and awareness.
Often when we talk about writing, we refer to the bits between or on top of the gameplay, where the characters talk to one another or you read some text to gain exposition. Yet while that kind of writing is easier for us to identify and analyse (by looking for the indicators of quality we recognise from literature and other media), the more game-specific, more technical (and depending on the game, more vital) form of writing that takes place during and informs the gameplay can often be overlooked.
With the exception of pure narrative (for example in a cutscene), writing in games must be function first, which is to say it’s less to do with crafting a story and more to do with non-literary concerns like player retention and awareness. Concerns like how does a player know the only way to exit the room is through a ladder in the roof? What does an AI character say to alert the player to incoming danger? How will the game explain to the player that a particular area is off-limits?
Whether these concerns are addressed seamlessly depends almost entirely on the quality of the writing which, like most other art in games, is usually there to build part of the scaffolding as much as part of the pretty façade. For example having a character deliver a “no, this doesn’t go here” or a “just three more to go” or heaven forbid a “hey, listen” serves a gameplay purpose rather than a literary one, and so should be judged on whether that purpose is realised.
Even if an offhand character remark gives you exactly the information you need at the right time to have things click into place and make you feel like a genius or a badass, such writing is unlikely to be called out as ‘good’, and I think it boils down to the fact that this kind of functional writing only really exists in video games.
As a baseline, consider Naughty Dog's Uncharted trilogy and The Last of Us, which are generally very well regarded in terms of writing and storytelling. This can be seen most recently in The Last of Us Left Behind DLC, in which the narrative cleverly negotiates our familiarity with coming-of-age stories.
Although stories of this type tend to be predictable and hard to pull off owing to the sheer number of times they’ve been told, the characterisation and literary restraint in Left Behind allows an experience that feels exciting and surprising while still managing to convey something deeply universal. Had the characters been written more salaciously or more in line with traditional young love stories, the player would surely have anticipated this and the impact of Left Behind would have been undermined.
Stories like these show that video games are just as capable of incredible storytelling as film and literature, but it’s plain to see that the cleverness and skill with which the game’s narrative aspects are handled are satisfying to us in all the ways we recognise from those purely narrative forms. We recognise them as hallmarks of good storytelling. So what about the cleverness and writing skills unique to video games as a form? For an example of that I’m going to jump to a game similar to The Last of Us in many ways, but also very different.
The Gears of War games, not always regarded as having ‘good writing’
(“Never thought it would end like this, huh Maria!?”) make an
interesting example in my argument that the way we measure writing
quality in games might center the discussion mostly on the overtly
artistic or narrative kind.
Whether or not the story being told in the latest game - Judgment - was of a high quality in the traditional sense, the writing was exceptional. Take the declassified missions for example, which appeared in each chapter and offered an optional set of parameters to the player, increasing the challenge but also the reward.
The parameters obviously had to be fun from a gameplay point of view, but their in-game justification required scenarios that made sense to that exact part of the narrative, could be left out entirely if the player so chose, and delivered a reasonable explanation for why visibility was suddenly limited or the mission had to be accomplished under a certain time constraint. In addition to this, voiceover had to be written that explained these ludicrous happenings from the perspective of one of the main characters, bringing in their own perspective and personality.
In the end the player has an understanding of the option, the consequences and the story, and they’ve stayed immersed in the artifice of the game throughout. It’s a great (if not very subtle) example of games writing acting as the carpenter’s hammer rather than the novelist’s pen. While none of it hit you in the gut, brought a tear to your eye or made you gasp with an unexpected twist, it was good writing nonetheless.
Zooming in from the overarching scenario-type writing to the minute-to-minute experience kind, you can also see a vital role that’s easy to overlook. We’ve all had experiences where the entirety of what’s happening in a game fails to be communicated to us coherently, either because we haven’t grasped an important mechanic or are just not looking at it the intended way.
Often in fast-paced action-heavy games where that doesn’t happen a lot (like Gears), it’s because your focus and understanding of the scenario is being shaped by mission directives or context-specific character speech. For all its malignment, “RAZOR HAIL” is a pretty stunningly effective thing for a character to scream at you if you need to be told “keep yourself covered from above at all times or you’ll be ripped to shreds”.
Whether a particular game is built around mechanics or a story at its core (or both), the function of this seemingly incidental writing is to connect the player in their limited perspective to their place in the immediate scenario and the wider game world.
A poorly written or communicated aspect of the game will break the player’s ability to experience the game as intended, even as the disruptive and unpredictable tendencies of the player will break any writer’s attempt to focus attention too absolutely or tell a story too linearly. Yet for all this, if the writing of a game is absolutely nailed the player will hardly even notice it’s there while they’re playing.
It’s this unique relationship between players and game designers - each affecting the way the other creates and experiences - that makes the supporting writing in games so largely unlike the writing in any other media, and it’s why that writing is just as worthy and just as deserving of our analysis and attention as the more literary kind we tend to focus on.
Tim is a freelance writer based in Sydney. You can catch up with him on Twitter and why not join the whole IGN Australia team on Facebook?
Writing can make or break a game. It takes many forms - from dialogue to in-game literature, voiceovers or even scripted environmental events - but in almost all cases it aims to move the game along, distil complexity into something meaningful, give justifications for gameplay conceits and keep the player attached to the characters and scenarios through story.
When it comes to pointing out ‘good writing’ in games though, we don’t always look to the examples that do these things best. More often than not we associate ‘good writing’ with well-crafted story content and entertaining text or dialogue, and while this obviously isn’t a negative thing in and of itself, it leaves room for the idea that there are games with great, skilful writing that we don’t think of as such because they aren’t literary or don’t tell a gripping story. So is there a problem with the way we evaluate the quality of writing in games?
Often when we talk about writing, we refer to the bits between or on top of the gameplay, where the characters talk to one another or you read some text to gain exposition. Yet while that kind of writing is easier for us to identify and analyse (by looking for the indicators of quality we recognise from literature and other media), the more game-specific, more technical (and depending on the game, more vital) form of writing that takes place during and informs the gameplay can often be overlooked.
With the exception of pure narrative (for example in a cutscene), writing in games must be function first, which is to say it’s less to do with crafting a story and more to do with non-literary concerns like player retention and awareness. Concerns like how does a player know the only way to exit the room is through a ladder in the roof? What does an AI character say to alert the player to incoming danger? How will the game explain to the player that a particular area is off-limits?
Whether these concerns are addressed seamlessly depends almost entirely on the quality of the writing which, like most other art in games, is usually there to build part of the scaffolding as much as part of the pretty façade. For example having a character deliver a “no, this doesn’t go here” or a “just three more to go” or heaven forbid a “hey, listen” serves a gameplay purpose rather than a literary one, and so should be judged on whether that purpose is realised.
Even if an offhand character remark gives you exactly the information you need at the right time to have things click into place and make you feel like a genius or a badass, such writing is unlikely to be called out as ‘good’, and I think it boils down to the fact that this kind of functional writing only really exists in video games.
As a baseline, consider Naughty Dog's Uncharted trilogy and The Last of Us, which are generally very well regarded in terms of writing and storytelling. This can be seen most recently in The Last of Us Left Behind DLC, in which the narrative cleverly negotiates our familiarity with coming-of-age stories.
Although stories of this type tend to be predictable and hard to pull off owing to the sheer number of times they’ve been told, the characterisation and literary restraint in Left Behind allows an experience that feels exciting and surprising while still managing to convey something deeply universal. Had the characters been written more salaciously or more in line with traditional young love stories, the player would surely have anticipated this and the impact of Left Behind would have been undermined.
Stories like these show that video games are just as capable of incredible storytelling as film and literature, but it’s plain to see that the cleverness and skill with which the game’s narrative aspects are handled are satisfying to us in all the ways we recognise from those purely narrative forms. We recognise them as hallmarks of good storytelling. So what about the cleverness and writing skills unique to video games as a form? For an example of that I’m going to jump to a game similar to The Last of Us in many ways, but also very different.
Whether or not the story being told in the latest game - Judgment - was of a high quality in the traditional sense, the writing was exceptional. Take the declassified missions for example, which appeared in each chapter and offered an optional set of parameters to the player, increasing the challenge but also the reward.
The parameters obviously had to be fun from a gameplay point of view, but their in-game justification required scenarios that made sense to that exact part of the narrative, could be left out entirely if the player so chose, and delivered a reasonable explanation for why visibility was suddenly limited or the mission had to be accomplished under a certain time constraint. In addition to this, voiceover had to be written that explained these ludicrous happenings from the perspective of one of the main characters, bringing in their own perspective and personality.
In the end the player has an understanding of the option, the consequences and the story, and they’ve stayed immersed in the artifice of the game throughout. It’s a great (if not very subtle) example of games writing acting as the carpenter’s hammer rather than the novelist’s pen. While none of it hit you in the gut, brought a tear to your eye or made you gasp with an unexpected twist, it was good writing nonetheless.
Zooming in from the overarching scenario-type writing to the minute-to-minute experience kind, you can also see a vital role that’s easy to overlook. We’ve all had experiences where the entirety of what’s happening in a game fails to be communicated to us coherently, either because we haven’t grasped an important mechanic or are just not looking at it the intended way.
Often in fast-paced action-heavy games where that doesn’t happen a lot (like Gears), it’s because your focus and understanding of the scenario is being shaped by mission directives or context-specific character speech. For all its malignment, “RAZOR HAIL” is a pretty stunningly effective thing for a character to scream at you if you need to be told “keep yourself covered from above at all times or you’ll be ripped to shreds”.
Whether a particular game is built around mechanics or a story at its core (or both), the function of this seemingly incidental writing is to connect the player in their limited perspective to their place in the immediate scenario and the wider game world.
A poorly written or communicated aspect of the game will break the player’s ability to experience the game as intended, even as the disruptive and unpredictable tendencies of the player will break any writer’s attempt to focus attention too absolutely or tell a story too linearly. Yet for all this, if the writing of a game is absolutely nailed the player will hardly even notice it’s there while they’re playing.
It’s this unique relationship between players and game designers - each affecting the way the other creates and experiences - that makes the supporting writing in games so largely unlike the writing in any other media, and it’s why that writing is just as worthy and just as deserving of our analysis and attention as the more literary kind we tend to focus on.
Tim is a freelance writer based in Sydney. You can catch up with him on Twitter and why not join the whole IGN Australia team on Facebook?
Wednesday, February 11, 2015
Neale Sourna ebooks at GoHastings.com
Neale Sourna ebooks at GoHastings.com
Available in: eBook - PDF
![Temple and Silent Tommy: Bedrooms [A Post Second World War (WWII) Love Story/Novel Excerpt]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vcSck2v_6nDNpfEEpZDOBkdDAHqeIdleKT7C8-7xtIIVWz7U3iERJ1CGIwuE6q_banLMA7H1rfRpXIGVm5iMdaxxE9DL_gqrOaNhTR6OQDnhs2GSlmspW0ItKj08E34LdUgL12=s0-d)
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Available in: eBook - PDF
Libidinous 1: Short Stories, Poems, and Novel Excerpts
Sourna, NealeAvailable in: eBook - PDF
$4.50
![Tenure [M/F/M]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t-ohqrh8tkC894Vs6FOf6SfaeEdwlOAR2DZls2Gi3a959hANSiCxQSEbLs2FyipEyrqrBO-5oC3Kfr5XfUks5a_5IzS-VKY3-rZRNtYz54e5OMJbju5E_Tag3w7vBAhWd0g7O4=s0-d)
![Tenure [M/M/M]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tBGV3RYjU6jc-ddef911xixfj96y22icsAFFRKoYDaaxRgrYlSML8xa4T2hF1v9rR0I-TuFDFUsePGJ3j5UApNgArlcec1fnP-SbhznB1aoMV4TCtagAr6Ugj_rO_mut97ZfPJ=s0-d)
![Hobble [An Adult Fiction]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tzyxlOviHcKWBBK5FfXBC0FoMMKEjHTpSaxqukGxEENs6NFauih4UI_NlY2_ptEJbXmah4IgFjrPcZlGeR06WaUOP4rNa5lZI3uDUUf1ngOcc384vzQuTpO62xwOlDHy-z2iM=s0-d)
Temple and Silent Tommy: Bedrooms [A Post Second World War (WWII) Love Story/Novel Excerpt]
Sourna, NealeAvailable in: eBook - PDF
$1.00
NCADv4n1--North Coast Academies' Diary, Vol 4 #1--Tad: The Switch-hitter, His Twink, and His Teacher--A Lust Novella (M/M/M)
Sourna, NealeAvailable in: eBook - PDF
$4.00
Neale Sourna's North Coast Academies' Journal 1, Neale Sourna's North Coast Academies' Diary Vol. 1-3 Compiled
Sourna, NealeAvailable in: eBook - PDF
$4.00
Seduce Her Like Keanu Reeves (3 Articles: Seduce, 10 Seduction Secrets, List of Bad Lovers)
Sourna, NealeAvailable in: eBook - PDF
$0.67
Neale Sourna's CuntSinger: Cunnilingus: How to Give Head (Oral Sex and Eating Pussy), for Giving Women Orgasms of Cuntlicious Joy!
Sourna, NealeAvailable in: eBook - PDF
$3.00
Neale Sourna's North Coast Academies' Diary, Volume 3, #1. 3--Ross: My Daughter's Anal Cherry
Sourna, NealeAvailable in: eBook - PDF
$4.97
Neale Sourna's North Coast Academies' Diary, Volume 3, #1.1--Sascha: Public Parking, Sex Squared
Sourna, NealeAvailable in: eBook - PDF
$4.97
Neale Sourna's North Coast Academies' Diary, Volume 3, #1. 2--Laila: Daddy's Willing Little Slut
Sourna, NealeAvailable in: eBook - PDF
$4.97
Neale Sourna's North Coast Academies' Diary, Volume 3, #1--3 Sex Views: Ross, Laila, Sascha
Sourna, NealeAvailable in: eBook - PDF
$4.00
Neale Sourna's North Coast Academies' Diary, Volume 2, #1--Ross: Daddy's Little Whore, uh, Seductress
Sourna, NealeAvailable in: eBook - PDF
$3.00
Neale Sourna's North Coast Academies' Diary, Volume 1, #2--Yune: Suck My _ _ _ _
Sourna, NealeAvailable in: eBook - PDF
$1.25
Neale Sourna's North Coast Academies' Diary, Volume 1, #1--Laila: Cozy with Daddy
Sourna, NealeAvailable in: eBook - PDF
$2.00
Hobble
Sourna, NealeAvailable in: eBook - PDF
$6.00
ebooks, go hastings, gohastings.com, hastings, neale sourna, ebook, adult ebooks, adult fiction,
ebooks, go hastings, gohastings.com, hastings, neale sourna, ebook, adult ebooks, adult fiction,
Sunday, February 08, 2015
Neale Sourna aus eBook.de NET GmbH
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