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Juliette – plight of a secondary character

On January 6 the TV show Grimm begins its sixth and final season. As a fan I’m disappointed to see the show end. Worse, the final season is half its normal length. But I’ll take what I can get. At least the story will come to an end instead of terminating abruptly, and I’ll find out what happens to the characters. I especially wonder about Juliette Silverton (Bitsie Tulloch), the hero’s girlfriend. She’s had a rough five years. From the start I’ve harbored the uneasy feeling that the show’s writers aren’t quite sure what to do with her. She’s too important to the narrative to remain static. She has to change. But how?

The saga of Juliette

Life is goodA perky veterinarian, Juliette lives with Detective Nick Burkhardt in a delightful old house in Portland, Oregon. Life is good. Then Nick begins seeing people’s faces change into monsters. He thinks he’s going nuts and doesn’t tell anybody. Shortly thereafter, his Aunt Marie (Kate Burton) shows up with an Air Stream trailer full of weird artifacts and some news for Nick. Grimm’s fairy tales are real and he’s a Grimm. Like many of his ancestors he has the ability to see various species of monsters called Wesen.

They look like ordinary humans, but under duress Wesen show their true forms. Sometimes the transformation becomes so complete that ordinary people see them too. Hence the legends about werewolves etc. Some Wesen are dangerous and predatory, and Nick’s duty as a Grimm is to hunt them down and kill them. As a cop he already chases bad guys, so that’s handy.

Nick’s new identity spells the beginning of disaster for Juliette. She gradually becomes aware that he’s hiding something and their relationship suffers. Then one of his enemies, the Hexenbiest (witch) Adelind Schade (Claire Coffee), casts a spell on Juliette, a weird coma beyond the doctors’ understanding. This plot twist takes Juliette out of action for several episodes.

The writers could have let her die, but that would be too easy

Nick’s boss, Captain Sean Renard (Sasha Roiz), happens to be a Zauberbiest, the male equivalent of a Hexenbiest. At first he’s in league with Adelind and her mother against Nick. Later he allies himself with Nick against “the Royals,” European aristocrats who use Wesen to maintain their power. As the King’s bastard son, Sean has never had a comfortable relationship with his family.

Juliette learns to shootSean and Adelind’s mother devise a spell to awaken Juliette. Unfortunately it has side effects. Juliette doesn’t remember who Nick is and she develops a sexual obsession with Sean. (Before your imagination runs wild, keep in mind this is NBC, not HBO.)

By the time everything is sorted out, Juliette’s life has radically changed. She lives in a world of monsters. Even Nick’s friends, the perfectly nice couple Monroe and Rosalie (Silas Weir Mitchell and Bree Turner), are Wesen. But Juliette adapts. She becomes a team player in the ongoing battle against the Royals and various species of evil Wesen. The trouble is she doesn’t have much to do. Her knowledge as a vet occasionally comes in handy, but without magical powers or physical prowess, she can’t do much.

Adelind strikes again

Adelind gets her powers backAfter Nick takes away her Hexenbiest powers, Adelind endures an arduous and disgusting ceremony to regain them and proceeds to take away his Grimm powers. Hey, tit for tat. It’s only fair. With a magic potion she takes Juliette’s form and seduces Nick, who acts surprised when she comes on to him. I get the sense that Nick and Juliette’s love life hasn’t exactly been on fire.

Now that Nick is no longer a Grimm, Juliette hopes for a normal life. No such luck. He’s now helpless against his enemies. Nor can he protect Monroe and Rosalie from the Wesen Nazis who consider their mixed marriage an abomination. (Rosalie is foxy and Monroe is wolfish.) The only way to regain his powers is to reproduce Adelind’s spell. Ever the good sport, Juliette drinks the potion, takes Adelind’s form, and has sex with Nick.

And turns into a Hexenbiest herself.

As one might expect, the transformation is disastrous for her relationship with Nick. Nor does it do wonders for her personality. Once perky and sweet, she becomes sarcastic, jealous, and vindictive—like a witch should be. When Adelind ends up pregnant with Nick’s child from their single encounter, Juliette flies into a rage. She’s on the brink of killing Nick when his Grimm apprentice, Trubel (Jacqueline Toboni), brings her down with an arrow from a crossbow.

Photo by: Scott Green/NBC

Of course Juliette doesn’t die

She’s spirited away by a secret organization devoted to fighting a secret organization of Wesen trying to take over the world. (The organization is called Black Claw like the daemon enforcer in my Daemon World series, so I must point out that my daemon existed long before Grimm‘s secret organization. If anything, they borrowed the name from me.) After extensive conditioning, Juliette reemerges into the narrative as Eve, a Hexenbiest who does nothing but fight. A weapon without life or personality, she appears not to care that Nick has hooked up with Adelind. Maybe she would have been better off dead.

Juliette slain

But here comes another twist. In the final episode of season five, Juliette is grievously wounded and healed through the power of a mysterious artifact. In the process she changes and becomes . . . what?

Poor Juliette. Human beings are merely at the mercy of fate. TV characters are at the mercy of script writers.

 

Photos from fanpop.com and NBC.

checking your grammar day and night
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When a comma matters

Grammar Nazi deplores sloppy punctuation. My own attitude is more ambiguous since I think communication matters more than correctness and nobody is perfect—least of all me. But sometimes punctuation matters. While reading Justin Cronin’s The Passage, I came across an example of how much a missing comma can change the meaning of a sentence.

In Cronin’s novel a virus developed by the military changes test subjects into vampires with familiar characteristics: blood hunger, razor sharp teeth, aversion to sunlight, and indeterminate lifespans. The monsters also have psychic powers that enable them to escape from the fortified lab and infect the entire North American continent and perhaps the world. Eventually they number in the millions and and very few human beings or other animals are left, creating a problem. Whose blood are the vampires going to drink now?

Humanity’s only hope is a young girl, Amy, who is infected with a variant of the virus that gives her the vampires’ powers without turning her into one.

A familiar premise, but The Passage is remarkable for the breadth of its story and the depth of its characters.

The second half of the novel concerns a small colony of human beings in California roughly a hundred years after the catastrophe. They survive by following strict social rules and keeping the perimeter outside their high walls flooded with light through the night. But the batteries that store power from a nearby generating plant are failing. It’s just a matter of time until the lights go out. Then Amy arrives. Her unlikely survival outside the walls arouses suspicion and her presence upsets the colony’s social balance.

Cronin provides ample backstory to create characters that become like people whom I’ve known for years. This narrative strategy could have been a drag on the plot, but the histories are dramatically rich and always pertinent to the current action.

One of the colony dwellers, Peter Jaxon, has always felt overshadowed by his older brother Theo. Theo is a leader, a warrior, the inheritor of their father’s mission to leave the safety of the colony and search the world for other survivors. Peter reflects bitterly that while he cared for their mother on her deathbed, it was Theo to whom she spoke her last words: “Take care of your brother, Theo. He’s not strong like you.” Peter feels disregarded, belittled. His mother’s words drive home his belief that he is—and always will be—second to his brother.

Only much later, after a lot has happened, does Peter realize that he might have misinterpreted his mother’s words. Perhaps she said, “Take care of your brother Theo. He’s not strong like you.” In other words, Peter is the stronger of the brothers and their mother knew it. This interpretation is more likely. Unless she was altogether delirious, she would know which of her sons was sitting at her bedside.

Apart from what the misunderstanding implies about Peter’s sense of himself and his relationship with Theo, it shows how important a comma can be. The comma after brother puts Theo in the vocative case and indicates that she was addressing her older son. Without the comma Theo becomes the object of the verb in the sentence, the one with whose care Peter is charged.

(Grammar Nazi reminds me that if Peter and Theo have no other brother, this should be indicated by placing a comma after the word brother. Grammar Nazi has a habit of complicating things.)

Obviously people don’t use punctuation when they speak, so this kind of ambiguity is inescapable. But writers have the tools to communicate with greater precision. They just have to use them.

You may have noticed that I’m no longer blogging at Ancient Children. The blog is now part of my new website, created by Kate McMillan of Outbox Online. I hope you’ll take a look around while you’re here.

Winter Wonderland Contest

Night Owl Reviews is hosting the Book Lovers Winter Wonderland Contest from November 23 until December 15. Dozens of authors, including me, are coming together to sponsor this exciting event. The timing is perfect for Darkroom, since Kelly’s search for her friend Day takes place during the same time span in November and December. The contest offers some suspense of its own. Eighty-one Amazon gift cards will awarded, including the grand prize—a $100 gift card! For the chance to win a prize and discover a whole bunch of new books to read, head over to Night Owl Reviews and check out the contest when it starts on Wednesday, November 23.

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Bedtime Stories: My adventures with Audible

A while ago I began a three-month trial subscription to Audible, a company that sells audio versions of books. Instead of staring at a page or screen and risking eye strain, you listen to a narrator read the book. I’d resisted the idea of audio books for a long time. When would I listen? I prefer to keep my attention on the road while driving. I don’t even listen to music.

Then inspiration struck.

I suffer from chronic insomnia. Most nights I struggle to fall asleep and then wake four hours later, my mind revving. It can take an hour or more of reading to lull my overactive brain. I wondered if listening to a book would help. It’s more passive. You can do it with your eyes closed. It would be like a return to childhood, listening to your parents read bedtime stories.

The Girl on the Train Audible CoverI used my first Audible credit to buy The Girl on the Train by Paula Hawkins, a popular and widely praised suspense novel. I donned my ear buds and crawled into bed, tapped the “Play” button and began listening. A pleasant female voice with a British accent described lying under a tree, and within minutes I was asleep. Four hours later I woke up to another female reader with a pleasant voice and a slightly different British accent reading . . . I had no idea what. I shut off the book and promptly fell asleep.

Success!

But not really.

When bedtime came, I had no interest in revisiting The Girl on the Train. But I restarted it from the beginning and once again Reader #1 launched into her description of gazing up at the tree. As Reader #2 gazed out the window of a commuter train, I tuned out. I awoke somewhere mid story and shut off the narration. This time I didn’t fall back asleep. And I felt an aversion to plugging myself into The Girl on the Train. Instead I got up (much to the annoyance of my husband, who considers me to be his personal snuggle bunny) and stood in the kitchen reading an entertaining steampunk novel called The Black Orchid on my Kindle.

The third night I picked up my Kindle and wrote off the Audible experiment as a failure. But I didn’t cancel the trial membership and a month later a message arrived in my mailbox. I had another credit available. So I downloaded another book, Blake Crouch’s Dark Matter, a new science fiction novel.

Dark Matter Audible CoverThis time I listened only a few minutes before drifting off. In the middle of the night I woke up, skipped back several chapters, and picked up the thread of the story. When I fell asleep again, the hero, a physics professor, was leaving a Chicago bar.

The following night he was kidnapped at gunpoint. Sleep ambushed me as the hapless professor walked naked and shivering into an abandoned power plant. I slept until morning.

Success!

A little too much success.

I couldn’t wait until bedtime for more. I went through the day plugged into my ear buds as the hero of Dark Matter discovers he’s been transported to a parallel universe and undertakes an odyssey, wandering from universe to universe to find his way home.

As soon as I finished Dark Matter, I exchanged The Girl on the Train for Stephen King’s 11.22.63, a thirty-hour listening extravaganza. Now I look forward to bedtime.

The takeaway from this experience?

Certain books don’t lend themselves to narration.

The Girl on the Train has THREE first-person narrators, and although the audio book employs three different narrators, the rhythm and tone of the prose stays pretty much the same. I won’t get into the question of whether multiple first-person narrators is a good idea—Hawkins has sold a gazillion more books than I have—but the technique doesn’t work for me as a listener. Add the story’s arty, oblique approach and it becomes even harder to follow. I suspect that reading the novel is far more satisfying.

Dark Matter has ONE first-person narrator and lots of dialogue and action. Crouch vividly describes the many universes that his hero explores. The details are fresh and concrete and succinctly described. Most of all, the reader never has to wonder what’s going on.

The reader makes a huge difference.

As a writer I’ve given readings of my own work, and as a teacher I’ve read the poetry and prose of other writers to my students. I have some idea of how difficult it is to read aloud. It requires talent and extensive training. An incompetent reader would no doubt ruin the whole experience.

The three Audible novels I’ve tried were major releases from mainstream publishers. Unsurprisingly, the readers in all of them are top notch. My favorite is Jon Lindstrom, who reads Dark Matter. He has an expressive voice and speaks the dialogue of every character in a distinctive way.

Audible at bedtime won’t work for everyone.

When I described my experience to my writing group, reactions were varied. One person, already an Audible subscriber, thought it was an interesting idea. Another shook her head. “I move around too much. I’d probably strangle on the cord of the ear buds.” Another person imagined herself swallowing the buds. And I guess a few princesses might have trouble sleeping with giant peas in their ears.

11.22.63 Audible CoverComprehension is poorer than with reading.

I remember what happens in Dark Matter along with some especially striking details, but not much about how the hero moves through parallel universes in his box that turns into a corridor. Something about Schrödinger’s cat and a drug that suppresses key areas in the brain . . . Oh well, the important thing is that the contraption works.

The time travel in 11.22.63 is less of a problem. Stephen King sticks with how it works and doesn’t delve into why. It’s a mystery, a “rabbit hole.” At least so far. I haven’t finished the novel yet.

In spite of the drawbacks, bedtime stories work for me. It looks like Audible has a permanent subscriber. I could use some recommendations for my next book. If you listen to books on Audible or iTunes, I’d love to know about your favorites. Just leave a comment below.

Easy ways to write a book review #AugustReviews

In this post, reviewer Rosie Amber does a solid for authors by encouraging readers to leave book reviews on Goodreads and Amazon. She gives some helpful tips to make the process easier. All of us authors rely on feedback from readers, not just to help sell books but to let us know where we get it right and where we fall short.

Authors WANT  Reviews

Simple! How many times have you read pleas on social media for readers to write reviews? – Probably Loads.

Does the thought of writing a book review send you racing to the hills? – I can see plenty of you nodding in agreement.

WHAT holds you back?

Reading Soft edge

6 common replies:

I can’t write.

I can’t write paragraphs about a book.

I don’t know what to write.

I’m afraid of what people will think of my review.

I’m an author and don’t want a backlash on my own books.

I don’t have the time.

Let’s turn this around

I can’t write – I bet if you can read, you can write.

I can’t write paragraphs about a book – Good News, Amazon accepts one sentence reviews now as do many other sites.

I don’t know what to write – Ah! Quick Question – Why did you like or Dislike the book? Got an answer? Then you have a starting place.

I’m afraid of what people will think of my review – Facing fears is part of life, it is hard, but I bet you’ve faced much harder challenges. Authors LOVE reviews, other readers also like to read them to see if they agree or disagree. Every reader will get something different from their experience. An honest review from someone who genuinely read the book IS REALLY APPRECIATED.

I’m an author and don’t want a backlash on my own books – This one STOPS TOO MANY AUTHORS from writing book reviews and it shouldn’t. In fact if you are an author, one way to hone your writing skills is to READ, READ, READ and from this you will be noting what works, what doesn’t and you will have all the skill sets to write a review. IF YOU WRITE WITH HONESTY AND COMPASSION I can’t see an author would want revenge or to be labelled a TROLL, these are far and few amongst the millions of authors who GENUINELY WANT A REVIEW.

I don’t have the time – time is what you make of it and those who have this as their reply probably won’t have time to read this post, so we’ll say no more.

So BE BRAVE – make a promise that the next book you read you will write a review.

Read the rest for useful tips on how to write a review.

Pat Down! My encounter with Agent Jackson

The first two weeks in August, I’ll travel west to Salt Lake City and Los Angeles to visit friends and family. I dislike flying and try to ease the discomfort by using frequent flyer miles to pay for business class tickets. But no upgrade can save me from airport security. I first posted this story six years ago and nothing has changed since then. 

Coming home from Los Angeles in August of 2010, I experienced the TSA’s new enhanced pat-down procedures. I’m unsure when the change went into effect—the TSA didn’t exactly trumpet them with a publicity campaign—but I might have been among the first airline passengers to get groped.

The journey did not begin auspiciously.

I had an abraded cornea. The night before my flight, the pain and blurred vision reached the point that I called the advisory nurse for my HMO. She ordered me to get to an ER at once. My friend Carol, with whom I was staying, offered to drive me, but I imagined spending hours waiting my turn behind drug ODs and gunshot wounds and heart attacks and a hundred other emergencies more life-threatening than an abraded cornea, then dragging back to Carol’s apartment just in time to pack. I imagined Carol going to work after a sleepless night spent holding my hand. Better to wait and see a doctor at home.

The next morning, I stood on the curb of Laurel Canyon Blvd., surrounded by my luggage, awaiting the car that would drive me to the airport. I entertained myself by staring at the building across the street out of my damaged right eye, trying to gauge whether the blurriness was worse and hoping I wouldn’t go blind by the time I got home.

The pickup time came and went. Still no car. Finally I phoned the limo service. The woman on the phone told me I was scheduled for pickup at eight that evening, not eight in the morning. But not to worry, she said. She would find a driver. Twenty minutes later the car pulled to the curb, and I made it to LAX in time for my flight.

Passengers going through airport security check

Everything went smoothly until I reached security. I had a liter bottle of drinking water in my carry-on bag. The guy manning the x-ray machine flagged it, and suddenly I found myself confronted by Officer Jackson, a plug of a woman with a jutting lower lip and a gun. She ordered me to stand in a specific spot. “But my purse!” I protested. “My iPad!” They were still on the conveyor belt of the x-ray machine, and I was terrified they would be stolen.

At this sign of potentially violent resistance, Officer Jackson scowled and said, “Let’s not have a tantrum now.” Well, she had the gun. And the power to decide whether I got on my plane. So I stood there, my eye throbbing, while she put her hands all over my body. The side of her hand brushed my crotch, but she didn’t actually grab it.

I made it onto the plane. As we taxied onto the runway, I composed an indignant letter of complaint on my iPad. “Perhaps I ought to accept that your security people are rude and seemingly feel entitled to treat passengers without respect,” I huffed. “But I refuse to accept it without comment.”

I never sent the letter, realizing it would have no impact whatsoever. By the time Joe picked me up in Champaign, all I wanted was to get to a doctor and have my cornea treated. Since it was nighttime, we went to the ER at Carle hospital. There were no drug ODs, no heart attack or gunshot victims.

I got right in.

Looking back, I suffered no damage from from my brush with airport security except a few ruffled feathers—unlike this poor woman.

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A shiny new object changes everything – and nothing

Last year I got an awesome deal on a camera. I “saved” over $500 off the purchase price. (And no, I didn’t buy it off the back of a truck. It was last year’s model, on sale, and I had credit card points.) Of course I could have saved more by passing on the camera and continuing to take photos and videos with my phone like most people.

FlowerI justified the purchase in various ways. I was writing a novel, Darkroom, in which a photographer and her photographs play a central role. Hands-on experience with an actual camera was research. (The photographer in the novel is old school. She uses shoots with film and develops her prints in a darkroom. I wasn’t ready to go there, especially since darkroom equipment is hard to find.)

Instead of shelling out money on stock photos, I could use my own high-quality photos on my blog and in the process learn more about working in Photoshop. And I could make videos!

I could ask an onlooker to videotape some of my riding lessons so I could study and improve my form.

As webmaster of the local Scrabble club, I take pictures at the meetings. This particular camera has a setting called “Beauty Shot” (I’m not kidding) that processes images of faces and eliminates flaws. I could get better shots of the people who hate having their picture taken. They might stop threatening to kill me if I posted photos of them online.

PlaygroundAnd the shiny new camera would give me a reason to detach my brain from my iPad and get my butt out of the house once in a while.

Once I started snapping pictures, I came to some unhappy realizations. All the fancy features were pointless until I knew how to use them, so I studied the manual enough to be minimally competent. More than that would take practice. A lot of practice.

SAMSUNG CSCAnd I soon realized were things that my camera couldn’t do. A few outdoor sessions showed me that even with the correct settings I couldn’t capture birds in flight. My husband, Joe, a sometimes photographer who gave me invaluable help in researching Darkroom, explained that I needed a lens with a longer focal length, which would cost almost as much as I’d spent for the camera.

HydrantMaybe someday . . .

It wasn’t only the camera that had limitations. I lacked the eye for photography. My gaze slipped past the unlikely objects that make good photos. I didn’t think in terms of frame or perspective or angle. Joe helped me. When I walked around town taking pictures, he came along and pointed out what I overlooked. He set tasks for me. One was to photograph the fire hydrants in our neighborhood. I came to think of the project as a travel guide for the dogs who might journey to Charleston, Illinois.

His tutoring helped. I learned to see more possibilities in places so familiar that I’d stopped  seeing them.

Locked

And I made a heartening discovery. Photography helps my writing. Not only do I see the world in a new way, but my photographs have become a kind of memory, capturing mundane images in more detail than I could ever remember.Shadow Box

But there are limitations here as well.

Memory is more than an visual image. It’s the smell of mud, the bark of a dog and the rumble of distant thunder, the flutter of the wind and the damp touch of the air. Above all it’s the convergence of thoughts and moods with the input from the senses—that complex thing called experience.

Broken Dishes

My writing process – That Magic Moment

Writers are expected to write about their creative process. It’s on every handy list of blog topics for authors. But this particular topic is a struggle for me. On one level is the mystical Source From Whence All Inspiration Flows, and I haven’t got much to say about it. It’s my well in the desert. If it dries up, I’m toast.

On another level the creative process is a set of practices that, like rituals, give the writer access to the Source. But I have nothing as exalted or predictable as a ritual. I don’t need a special chair, a lucky pen, a certain place or time of day (although I usually write in the morning). And inspiration doesn’t always come to me in the same way.

I might experience a creative moment when an story comes to me in its entirety, a flash of inspiration with a strong emotional component. In that moment I experience the story and understand its meaning. The story is complete and perfect. My writing inevitably falls short of the original conception, but sometimes it comes closer than others.

Cover of YubiA long time ago I wrote a short story about a woman who falls in love with her parakeet. From the beginning I knew the last line would be “Daniele would love Yubi as long as she lived.” I began the story with Daniele’s brother giving her the bird as an unwanted gift and simply aimed toward that last line. It felt easy. (“Yubi” is available here as a free download.)

But my fiction isn’t always conceived in a magic moment. For my horror novel Daemon Seer I set out with only a goal, to write a sequel to Talion. And Talion began as a story about the friendship of two very different teenage girls. The serial killer’s role was to unite them against a common enemy, but somewhere along the way the son of a bitch highjacked my story.

Since Daemon Seer ends with a cliffhanger, I pretty much have to write a follow-up. Fortunately the story of Daemon Blood came to me in a flash of inspiration. I’m in the middle of writing the first draft now.

Before I can write, I have to discover the story’s tone. Sometimes this means reworking a paragraph several times. This part of my process contradicts the advice of writing gurus who advise never, ever stopping to revise a first draft. But I can’t help it. No way can I continue until the prose sounds right. Once it does, I move ahead at a decent clip. And sometimes tone isn’t an issue since I have it right from the start.

I outline my novels, for all the good it does. An outline is like a rough map of uncharted territory. You begin the journey and discover there’s no path where the map clearly indicates there should be a path. Instead you spot something off to the west that might possibly be a path. So you head that way instead, trusting that it eventually leads where you need to go. No matter how elaborately I plan, I come to a place where I have to trust my sense of direction. Maybe that’s what creativity is.

Occasionally characters refuse to go along with my plans for them. In Darkroom, a bartender named Nina Ivan gets drugged and raped at her place of work. There’s a scene in which the protagonist, Kelly Durrell, persuades Nina to report the rape to the police. That’s how I planned the scene anyway. By then I was working on a later draft of the novel. In earlier versions Nina was a much less important character and I hadn’t thought much about her background or motivation. I didn’t really know who she was.

While writing the persuasion scene, I reached a point where I got stuck. I couldn’t figure out why. The dialogue wasn’t coming and dialogue is usually easy for me. I stopped in frustration. When I came back to the scene the next day, I understood. No way was Nina going the police. She isn’t that kind of character. I wrote the scene her way and altered the story. Everything worked out.

It usually does.

Your Story is Still Unfolding

Usually. There’s always a chance of dying of thirst in the middle of the desert. Creativity takes faith.

Death and Dark Money: A riveting thriller

In his international conspiracy thriller Death and Dark Money—the fourth book of the Sabel Security series— Seeley James shows how loopholes in Citizens United open the door for foreign corporations and nations to influence American policy. Pia Sabel, ex-Olympic soccer player, now runs her adoptive father’s international security company. The company receives a contract from an influential firm of lobbyists that includes a mysterious twenty million dollar payment for seemingly nothing. When Pia wants to know where the money comes and what it’s buying, she becomes a target. One thread of the plot traces this money to its source.

Another thread follows the machinations of an underling to seize control of the firm of lobbyists. Spurred by his ambitious wife, a contemporary Lady Macbeth, he stops at nothing to gain control. As people begin dying, Pia and her father become caught up in the struggle for power.

James has borrowed liberally from Shakespeare’s Macbeth, the sort of literary allusion that you don’t often find in thrillers, and  handles it deftly.

I literally could not put the novel down. I planned to read for an hour or so and instead read through the afternoon and into the evening. It wasn’t only the story that kept me riveted. It was characters that I loved or detested with a passion.

Sometimes thrillers are so plot driven that the characters aren’t very complex. The nonstop action keeps them so busy that they don’t have time to reveal much depth or nuance. Death and Dark Money provides memorable characters as well as a suspenseful and intelligent storyline.

Unlike the girl with the dragon tattoo, Pia doesn’t possess abilities that verge on the superhuman. Though she has extraordinary athletic ability, it’s sometimes not enough for her to triumph and barely enough to keep her alive. Pia is haunted and driven by the mysterious murders of her parents when she was a small child. Her search for the truth runs through all the novels of the series, a mystery that has me eager to read the next one.

Much of the novel is written in third person omniscient, a common point of view for thrillers since it allows the narrative to move quickly from one location to another and from one character to another, as the plot requires. But James has also included a first-person narrator, Jacob, a possibly crazy ex-soldier who works for Pia’s security company.

Jacob’s voice adds warmth and quirkiness to the narrative. He could have been a stock character. Instead he draws me so far into his hallucinations that I begin to believe they’re real. Who’s to say he doesn’t really see and speak with the Roman god Mercury? Except for conversing with pagan gods and being occasionally obtuse about women, Jacob has a firm grip on reality.

And who knows? Maybe Mercury really does exist.

If you enjoy political intrigue, contemporary relevance, and a dash of originality in your thrillers, I highly recommend Death and Dark Money.

Cover Death and Dark Money

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Excerpt from Darkroom – Day meets her soulmate

The Dangerous Darkroom tour is drawing to a close. If you hurry, there’s still time to enter the drawing for special prizes including a $25 gift card and autographed copies of Talion and Daemon Seer. Darkroom will also be on sale for $s0.99 through this coming weekend.

Meanwhile, I hope you’ll enjoy this brief excerpt from Darkroom. The story centers on assistant art curator Kelly Durrell’s search for her friend Day Randall, a talented bipolar photographer who mysteriously goes missing. This section relates how Day meets Gregory Tyson, the dangerous man who becomes her lover.

At the top of the stairs, Day stopped and listened to the voices. They boomed in the open space above the white geometric walls of the museum. The building’s shape molded the sound. A blind person could hear it and know the height of the ceiling and the steepness of its vault. Another kind of sight. But Day was all eyes. Give her scaffolding and she could shoot the maze of gallery walls, the sophisticated rats nibbling snacks and sipping chardonnay. Not her kind of shot, though. She was more the up-close-and-personal, whites-of-their-eyes, breath-to-breath type, going for that flicker of an instant before the lens fogged.

She kept standing there, breathing funny. She couldn’t be scared of those fools. Not her, the woman who’d flipped Baba and lived.

She’d felt sorry for one of his child whores and called the girl’s parents. He chased her through the house with a blade until she locked herself in the bathroom. He slammed the door, yelling that he would cut her throat, bleed her in the tub and carve her like a chicken, wrap the chunks in newspaper and toss them in a dumpster behind the supermarket with the other rotten meat. She was too scared to feel herself, like her body had turned into air. Baba had a way with threats. He might have carried them out except for Shawn, his half brother. Shawn calmed him down and told Day to get the fuck out, warning her that if she stuck her hook nose into their business again, he would personally waste her skinny ass and save Baba the trouble.

That was an occasion for terror. This was just a crowd of art snobs. No blades here. Just voices, diamond-sharp.

“Going to the party?”

Day whipped around, startled.

Stocky guy in jeans and a lumberjack shirt, not much taller than her. Dark hair streaked with gray. Life stamped in his face, deep impressions around his mouth and eyes. Irony in his smile but no trace of cruelty. He held out a gnarly hand. “Leonard Proud.”

She reached out with caution. Not that he seemed like the type who gave women crushing handshakes, but he looked strong. “Day Randall.”

His hand closed over hers—no squeeze or shake, but firm—and then let go. “Kelly says nice things about you,” he said.

“You’re her friend?”

“More like colleague. I’m on the board of the museum.”

She reached for the scuffed Pentax hanging from her neck, the first and only camera she’d owned, her longtime crutch and trusty third eye.

He waved his arm. “No.”

“It’s, like, official. Photos for the newsletter.”

“Even worse.” But he squared his shoulders and turned his face to stone. Ready for his close-up.

“Dude. I’m not a firing squad.”

Leonard clamped his mouth to keep the laughter in. His cheeks puffed a little and his eyes crinkled in amusement. She saw the moment and took the shot. Snap, snap. What she did best. Kelly would never use the photo in the newsletter—members of a board were supposed to look more dignified—but Day might add it to her portfolio if he agreed.

“Let me send you a print,” she said. “What’s your address?”

He gave her a business card, a plain one with a block font.

“You make Native American art? What kind?”

“Weaving and painting.”

“I’d like to see it.”

“There’s a couple of my pieces back there.” Leonard nodded toward the rear of the museum.

“Show me.”

“Some other time. I wanna get the meet-and-greet over with.”

Day followed him into a gallery of Inuit art. “Would you, like, do me a big favor? Point out the other board members so I’ll be sure and get shots of them. You and Joyce are the only ones I know.”

“How much is Joyce paying you?”

“She’s not.”

He snorted. “A new low, even for her.”

A glass case imprisoned several small totem animals carved from stone, including a curled-up seal so smooth and dark Day yearned to feel its coolness and weight in her hand. “It’s for Kelly. I mean, I’m not paying rent or anything, so I try to help.”

“You live with Kelly?”

“Yeah, for almost eight months. She’s in Chicago at a conference for curators, so I’m, like, helping her. It’s a surprise.”

Leonard raised his eyebrows. “You’re here without an invitation.”

“Do I need one?”

“Hell, no. You’re with me.”

Day followed him into the reception area, drafting in his wake like she sometimes drafted behind a semi in her Corolla to save fuel. She needed his forward energy to make her entry. She hated coming uninvited among these people wrapped in cashmere. Not hated—feared. You have to tell yourself the truth because these people are going to lie. Their smiles were rubbery, like masks.

Leonard veered toward the refreshments, tidbits of food on trays and glasses of wine lined up on the tablecloth beside them. Wine the color of pee after you drink way too much water. Day stopped. Too many people were crowded around the refreshments. She would catch Leonard after he got his food.

She felt something, turned, and caught Annie Laible staring from across the room. She smiled and waved and got a sour smile back. Annie had new and wilder hair, hennaed and spiked. Months ago, Day had asked permission to hang a few photographs for sale in her gallery—she needed money bad—and Annie had blown her off. Just a blunt “No” without saying why. Now it was like Annie still blamed her for asking.

Joyce was talking with two men in their forties. Older than Day, but not by much. Day was thirty-eight, though she tried hard to forget it. The short guy was wasted, face bright pink, eyes shining and empty. The other was tall and gaunt. His cheekbones drank the wind. She remembered the line from a poem she read growing up. She forgot what poem. Anyway, it described this guy. He turned his head as if he felt her stare. Their eyes met. Locked. She recognized him. Not personally. More like she was an alien species who finds another of her kind among strangers.

She lifted her camera, zoomed in, and took his picture. Then zoomed out and got the whole group. They were probably important if Joyce was talking to them.

He walked over to her. “You’re Day Randall. I bought two of your prints.”

Day knew which ones. Soon after she came to Boulder, she submitted her portfolio for an exhibit at the museum. Joyce turned down the portfolio but said she had a buyer for the prints at $350 each. A fortune for Day. Of course, Joyce never gave up the buyer’s name. She wouldn’t want Day selling to him and cutting her out of a commission. Now here he was, this guy whose cheekbones drank the wind.

“What’s your name?”

“My friends call me Gee.”

She grinned. “Am I your friend?”

“I don’t know. Are you?”

“I feel like we’re the only ones from another planet.”

Gee reached out and stroked her cheek. His fingertips set off a tingling that reached down to her core. “Let’s play Find the Magic.”

“What’s that?”

“This exhibit is called Magic and Realism.” He pointed to a painting. “What’s magical?”

The painting showed a bird and a cat, the tension between prey and predator. The bird’s beak was open in frozen song. The iridescent feathers, intense cobalt and silky green, burned into her mind. “It’s like a window into someone’s dream.”

“We’re doing analysis,” Gee said. “Notice how the details aren’t realistic. The color of the feathers, the way they glow. Not like any finch in the real world. And the proportions are skewed. The finch is ten times bigger than the cat. It fills the whole room.”

“But it’s afraid of the cat anyway.”

“How do you know?”

“I just do.”

“Maybe because the finch is hunched and the cat’s kind of batting at it. Check out these claws. The tips are red.”

“Yeah, like with blood.”

“Exactly.”

Day shook her head. “I don’t have to take things apart. I see them whole.”

“There’s nothing whole. Everything is pieces.” Gee’s gaze played over her face and started her tingling just like his fingertips had. “The universe blew up a long time ago.”

Darkroom Cover

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Join the Dangerous Darkroom Blog Tour

The moment finally comes. The first copy of Darkroom arrives from the printer. Excited and anxious, I tear away the cardboard shell and behold the cover. It’s even more striking and sinister on the paperback than on the computer screen.The colors are deeper . The man lurking at the cover’s edge looks more compelling and mysterious. The designer has done a terrific job. I run my fingers over the glossy surface. Oh, it feels good.

Darkroom

I feel a bit shaky as I open the book. The interior is entirely my work, and although the PDF has been proofed by a professional and I’ve been over it  a dozen times, I fret that I’ve overlooked something so blatant and stupid that I’ll want to crawl into bed and hide beneath the covers. I thumb through the pages. The margins are right. The chapter headings look exactly as I’d envisioned, and none of them is out of place. The headings haven’t mysteriously vanished from any of the spreads.

Finally, my anxiety dies down. There’s probably an error lurking in there somewhere, but not a major error. I can relax and celebrate the launch of my newest novel.

Be sure to join me for the Dangerous Darkroom Blog Tour May 2-6, organized by the lovely people at Novel Publicity. You’ll get sneak peaks of the novel, interviews with me, and exclusive insights to the story and characters that make Darkroom a novel you won’t soon forget.

Enter the blog tour drawing for a shot at winning these special prizes:

  • A paperback of Larry Clark’s famous photo essay Tulsa. Darkroom features a talented photographer whose photos, like Clark’s,”uncover the secret of a face, its elusive life, so it becomes the portrait of an intimate you have yet to meet.”
  • A set of 10 custom note cards with envelopes, featuring a photograph of Boulder’s iconic Flatirons by moonlight. Photograph by Charles Pfiel.
  • Autographed copies of my dark fantasy horror novels Talion and Daemon Seer.
  • A $25 Amazon gift card.

Darkroom is a suspense thriller with a noirish atmosphere and unexpected twists. Art curator Kelly Durrell goes looking for her missing roommate, talented photographer Day Randall, and becomes entangled in a demimonde of powerful people who will stop at nothing to protect their secrets. Here’s what advance readers and reviewers have to say about Darkroom:

“. . . tight, compelling, and convincing writing.”  — Jon A. Jackson, author of Hit on the House and No Man’s Dog

“A thriller with unexpected plot twists and suspenseful action.”  — RT Source

“Kelly Durrell is a deftly-drawn, intelligent, and likable heroine.”  — Daiva Markelis, author of White Field, Black Sheep: A Lithuanian-American Life

“A solid mystery that involves a satisfyingly diverse range of characters.”  — D. Donovan, Senior Reviewer, Midwest Book Review

“[Maddox’s] prose flows with beauty and clarity.”  — Tahlia Newland, author of The Locksmith’s Secret

The paperback is now available through Amazon and will soon become available through other online sellers. The Kindle edition is coming May 3, and you can preorder a copy right now at the special launch price of just $0.99. The price is going up at the beginning of next week, so don’t wait too long!

Book Reviews – The Bullet and Playing with Fire

I don’t post many negative book reviews. When I’m not connecting with a book, for whatever reason, I stop reading unless I’ve committed to reviewing it. And I don’t feel comfortable judging books that I haven’t finished. I liked Mary Louise Kelly’s The Bullet and Sherry D. Ficklin’s Playing With Fire enough to finish them. Despite their differences, the two thrillers share one quality that always draws me into a story: an engaging first person narrator with a distinctive voice.

Playing With Fire

This YA novel centers on Farris Burnett, a teenage hacker whose father is a Marine Corps officer. The story begins as he assumes command of Cherry Point air base and she enrolls in a new high school. When someone hacks the base computers and begins wreaking havoc, Farris sets out to find the culprit.

Playing with Fire CoverFarris has a strong voice, and the secondary characters are complex and interesting. Overall the writing is good, but the book could have used better editing. The author uses principal in a context that calls for principle, and there are a few confusing sentences.

The main problem with the novel is the plot structure. The hacking problem begins almost halfway into the story. Everything up to that point involves Farris’s life—her dead mom, her somewhat distant relationship with her father, the unfair ostracism she faced at her last high school, the challenge of making friends at the new one, the dilemma of liking two guys who hate each other. The characters introduced in the first half do play important roles in the hacking plot, but the author could have told readers what they needed to know in half the space.

The upshot is that Playing With Fire is more teen high school drama than it is thriller. This might not be a problem for the novel’s teen audience, but the book description led me to expect more suspense and less romance.

The Bullet

Caroline Cashion, a professor of French at Georgetown University, discovers that she’s adopted and has a bullet in her neck. The bullet has been there since she was three years old and her birth parents were shot and killed. I struggled with the premise. This woman is in her 30s and none of her doctors ever noticed the bullet lodged against her spine until it began causing symptoms? And her adoptive parents never told her anything about her origins? I was willing to give the improbability a pass because the first-person narration hooked me from the start.

The Bullet Cover 2Caroline flies to Atlanta to find out who her parents were and what happened to them. She learns that they were killed in their home and that the bullet passed through her mother before entering her. Removing it from an infant would have been too dangerous. The killers were never found.

While she’s busy talking with reporters and the detective who worked the case, her doctor shows up at her hotel. He’s flown all the way from Washington because he’s smitten with her. They strike up a romance. Later she finds out he’s married, making the subplot even more irrelevant than it already was. I have nothing against romantic subplots if they somehow advance the story. This one is mostly filler. It shows an aspect of Caroline’s character, that’s about all.

A reporter in Atlanta also tries to seduce Caroline, but he’s not as attractive as the doctor. He writes a story about her, though, and soon after her return to Washington, someone breaks into her apartment with the clear intention of doing her harm. Events escalate from there.

Caroline’s later actions surprised me since they seem to contradict her character. Readers are supposed to believe that the revelations about her past have changed her profoundly, but there’s nothing about her life beforehand that makes her behavior believable. Not to mention the unlikelihood of someone intelligent and mature traveling around the country shortly after dangerous surgery.

The story is well told, but the credibility issues and pointless romance put a drag on its momentum.