On February 24 my new novel Daemon Seer will be available in paperback and in the Kindle store. Daemon Seer picks up Lu’s story ten years after the events of Talion. Now twenty-fiveshe and Lisa still suffer from the trauma of being taken by serial killer Rad Sanders. Talion is back, too, but he’s no longer the kind spirit who helped Lu survive the kidnapping . . .

Lu owes her life to the daemon Talion, and now he demands repayment — she must bear him a child.

As a teenager, Lu Darlington attracted national attention when she and her friend Lisa escaped a sadistic killer known as the Professor of Death. She never told anyone about the daemon who saved her life that day.

Ten years later, Lisa shows up at Lu’s door, fleeing another psychopath stalker. But Lisa’s not the only one seeking Lu after all this time. One by one, the daemons descend:

Voracious Chama. Sinister Black Claw. Beautiful Talion.

Chama wants Lu, but Talion claims her. The women of Lu’s family have always belonged to Talion—and they’ve suffered deeply for it.

As the human threat draws closer, Talion demands that Lu bind herself to him in a harrowing ceremony that will destroy an innocent man and change her forever—but might save Lisa’s life.

Can she navigate the violent intrigues of the daemon world without being consumed by its terrible, all-consuming demands?

Now available for preorder in the Kindle store.

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Late last year, Awesome Indies published Awesome Allshorts: Last Days, Lost Ways, the first of a series of planned anthologies. Last Days, Lost Ways contains stories by 21 authors, including Tahlia Newland, Dixiane Hallaj, Bill Kirton, Shauna Bickley — and me. I’m honored to have my story “Smilin’ Mike” published in the company of stories by so many accomplished indie authors.

“Smilin’ Mike” is one of several stories I wrote about a nine-year-old girl whose life is disrupted when her parents divorce. The girl and her mother move in with Nana, her eccentric paternal grandmother, in a quiet suburb of San Diego. (The stories are set in the 1950s, when San Diego had quiet suburbs.) Nana harbors the hope that her son will come to his senses and the family will reunite, a hope shared by the little girl but not her embittered mother. Caught up in the tension between two adults who love her, the child must negotiate a world far more complex and uncertain than the one she has known. When Nana meets one of her favorite TV personalities, Smilin’ Mike, a professional wrestler known for his humor and geniality, the girl discovers that people aren’t always what they seem and even adults can be fooled by a false image.

Last Days, Lost Ways is available as a paperback and ebook from Amazon, Barnes and Noble, and other online booksellers.

 

checking your grammar day and night

She’s back! Grammar Nazi is here to remind me that, no matter how hard I try, I’m doomed to be a screw-up and a loser. And the worst part is that no matter how mercilessly she harasses me, I need her.

 

If a writer must mark a character for death, it’s safer to choose one that readers hate. In my novel Talion Norlene Jakes falls victim to the sadistic serial killer Rad Sanders, the Professor of Death. Rad kills her to make an impression on her stepdaughter Lu, for whom he has special plans.

Norlene is hard to love. She boozes and does hard drugs and cheats on her husband. She feels endlessly sorry for herself. Listen to her bemoaning a hangover:

Used to be you could have a few Coke-and-whiskeys without paying for it with this torment. Not anymore. You’re old and worn down by life. Sex is like taking a shit for all the pleasure you feel. Wake up every morning with a truckload of shit piled on your chest. A loser husband and a crazy stepdaughter and just enough money to scrape by. Might as well put a bullet in your brain.

Oh yeah, she has a mouth on her. I blame Norlene for all those readers who complained about the bad language in Talion.

She vents her rage on Lu, abusing the poor kid emotionally and physically. Norlene is not very bright, but her real problem is lack of self-awareness, which isn’t the same thing as intelligence. Self awareness requires the honesty to look within yourself and understand how you came to be who you are. Only once does Norlene have a flash of insight that she abuses Lu because she herself suffered abuse as a child:

Today Lu knew better than to answer, “It’s not a house, it’s a trailer,” or some other backtalk. She needed a smacking now and then to make her behave.

“Look at me when I’m talking to you.”

Lu obeyed with her face showing there was no sass on it. Norlene used to face her own mother in the same humbled way. The recognition stabbed like a needle. Why should the girl be anything to you? You ain’t blood.

Norlene immediately dismisses the parallel because she and Lu aren’t “blood.” It never occurs to her that the biological connection never stopped her own mother from beating on her.

Later in the story, after giving Lu a whipping that will leave scars, Norlene puts on a dress that hides her thick waist and shows off her still-shapely legs, and goes off to turn a trick with Rad. Readers know what’s coming. I doubt many of them care what happens to her, but in case they forget Norlene is a human being, there’s this:

Norlene started walking along the highway’s narrow shoulder. Meeting down the road from the lodge was his idea. “We don’t want to compromise your reputation,” was his excuse, but most likely he was scared of Duane. The high roadside weeds tickled her arm with stalks and pods and shriveled flowers. Grasshoppers jumped up and rasped her legs. The weeds were thick with them. When she was little, Norlene thought grasshoppers grew inside weed pods and hatched out like birds. Kids got some strange ideas.

Poor Norlene. Maybe things could have been different.

Bill Kirton’s The Darkness charts the moral journey of a doctor who succumbs to fantasies of revenge. Dr. Andrew Davidson seeks justice for his brother, who commits suicide after his wife and daughter die in a car crash. He wants to punish not just the drunk driver who caused the accident, but other sociopaths who destroy lives and evade punishment. One by one, suspected criminals begin to disappear from the streets of Cairnburgh, Scotland.

Inspector Jack Carston, charged with investigating the disappearances, has mixed feelings. He isn’t sorry to have rapists, child molesters, and killers off the streets, but whoever has taken them is equally a criminal. He and his partner set about solving the cases in their quiet, methodical way.

The Darkness pits a compelling antihero against a reticent hero. Both are intelligent and likable. Davidson is kind to his patients, considerate of his coworkers, and sweet to his girlfriend. Carston loves his wife and enjoys his work. But the doctor eclipses the inspector through most of the story.

The doctor becomes the dramatic center as soon as he appears, largely because of the narrative point of view. Most of the narrative is third-person omniscient, but the doctor addresses the reader in first-person, which is direct and intimate and places him at the emotional core of the story. Everything happens around him. Eventually we learn that we’re reading his confession, addressed to Carston. This device links the doctor to the detective and underscores their shared need to see justice done.

Once the investigation begins to break, Carston’s role becomes more active and his character takes center stage. Still, the doctor remains the heart of the story. What will he do with the captives in his basement? Will his sanity survive the trauma of the crimes that he commits in the name of justice?

Kirton writes elegant prose and creates memorable characters. Even secondary players stand out. I won’t forget the prostitute Rhona or her devoted boyfriend, Billy, for a long time. The Darkness might confound some readers who expect mystery novels to follow a conventional pattern, but those who enjoy intelligent psychological suspense are in for a treat.

When I wrote this post, my blog was called Ancient Children.  The photo above shows me with a friend back in the 1970’s.

I named this blog Ancient Children for a couple of reasons. One is that it gives me an excuse to use an old photo of myself, taken when looking good required no effort. Another is that Ancient Children is the title of my first novel, which was nominated for a Pushcart Prize and almost got published.

Ancient Children is a typical 70’s novel. It tells the story of a crew of aimless dopers who devise a harebrained scheme to kidnap one of their friends whose parents happen to have money. Since I was more into realism than plot back then, the scheme never really comes off. Too bad. If it had, maybe the novel would have got published. It also might have helped if the protagonist were more likable. She’s a cynical little shit.

I haven’t looked at the manuscript for years, but I remember the beginning: “Maggie steps into her shadow.” As a young writer, I wanted every sentence to be fraught with symbolism.

Now the manuscript sits in a box in the storage area of my office along with other writing that’s unfinished or unpublished, or both. I think of the film The Hunger, with Catherine Deneuve as a beautiful vampire whose lovers succumb to old age but cannot die. She locks them in coffins and finds someone new, but she can’t forget them. They call to her constantly, a chorus of voices in her head, begging her for release, reminding her of the love they shared. Ancient Children calls to me occasionally, but it’s mostly silent now. I’m afraid to look at it. If you saw The Hunger, you know why.

Catherine Deneuve in The Hunger

Haley Molnare can’t inherit her father’s estate until she runs his company for two years. Her father has been absent from her life, and the little she knows of him comes from her embittered, narcissistic mother — hardly a reliable source. Haley’s idle, materialistic lifestyle suggests she will become much like her mother. She dreads the two years of hard work but wants the money.

Kirsten Mortensen’s Dark Chemistry is the story of Haley’s entry into her father’s world. No more partying every night, sleeping in every morning, or taking her survival for granted.

The company makes raw ingredients for cosmetics companies. Its research department has developed a dangerous and potentially lucrative chemical, and the current CEO intends to profit from it. He will do whatever is necessary to get Haley out of the way. She lacks the experience and knowledge to fight him, so for much of the story the CEO manipulates and uses her. She turns away from her new friend, Donavon, even though she cares for him and he cares for her.

Her weakness could have made her unsympathetic, but one of Mortensen’s strengths as a writer is her ability to get inside a character’s head. Readers experience Haley’s struggle to understand what’s happening and her newfound determination to succeed. Mortensen brings the same insight to the other characters, even the villainous CEO, who is loathsome but also pitiful.

For a moment I doubted the story’s premise, the discovery of a chemical that has the potential to change the world, but the author’s research and careful plotting won me over. Besides, I was already hooked.

Dark Chemistry has the essential ingredients of a page-turner — professional prose, a gripping plot, interesting and believable characters, and a love story that’s touching but never sappy.

Every evening I looked forward to reentering the story, and I read late into the night to reach the ending.

It did not disappoint.

Dark Chemistry Cover

 

 

I began wondering about the fine distinctions between a writer and an author after encountering some online snootiness toward those who self-publish. One commentator sniffed that self-publishers cannot be authors since no one has validated their work; they’re merely writers who scribble whatever nonsense comes to mind and upload it to KDP or CreateSpace or Spark or wherever. Another commentator sneeringly called self-publishers authors because they’ve published books, no matter how awful, but refused to consider them writers because they have yet to master their craft.

Which title confers respect and validation: author or writer?

In the broadest sense, a writer is anyone who writes, but usually the word refers to a person devoted to the craft of writing — as opposed to someone making a grocery list or dashing off email messages. A writer of fiction works at shaping a narrative, developing characters, choosing the right word, finding an appropriate voice, and expressing a theme that will resonate with readers. A writer of nonfiction works at developing an argument or presenting information in a fresh way that engages readers.

Anyone who wields a pen or taps a keyboard in pursuit of these goals is a writer at some level. Beginning, aspiring, accomplished, masterful.

Jenny Sanford Signs Copies Of Her New BookAuthor refers to a writer who has published a book, article, or poem. The title’s kinship to the word authority lends it prestige. I get uncomfortable at the way some folks puff up at the prospect of being authors, as if publishing a book is an accomplishment. It’s the writing that matters. Does it show craftsmanship? Does it offer anything fresh or entertaining or informative to readers?

In a way, the author is the writer’s public face.

Suppose you sign up for a writers’ workshop. What do you expect? Probably to read and critique the work of other writers and receive their feedback on your work, all with the goal of improving your craft. At an authors’ workshop you’re more likely to learn about marketing and promoting your books. Both kinds of lessons can be useful.

My understanding of the distinction between writer and author coalesced when I read Stephen King’s novel Misery. Some readers say The Stand is King’s best work, but I think Misery surpasses it. Annie Wilkes is the most compelling psychopathic character I’ve encountered in fiction, scarier than Hannibal Lector, whose abilities verge on the supernatural. Annie is terrifying in her realism.

Misery Cover 2She drags author Paul Sheldon from his car after an accident and takes him prisoner. Crippled in the accident, he’s trapped in her isolated house in the mountains of Colorado. She calls herself his “number-one fan.” When she reads his just-finished manuscript and discovers he has killed off her favorite character, she demands a rewrite. Addicted to the drugs she feeds him, at the mercy of her violent whims, Paul doesn’t have much choice. He rewrites the story and even takes inspiration from his tormentor’s criticisms.

His breaking point comes when she chops off his foot to punish him for leaving his room. After that he stops caring whether he survives, yet he continues to care about the book Annie is making him write. He hangs on from day to day to finish the book. For Paul authorship and the acclaim that comes with it are secondary to the process of creation.

So what are you — writer or author?

If anything you’ve written has been published, you’re both. What matters is where you love to be. Is it sitting behind a table in Barnes & Noble, autographing copies of your book for adoring fans? Or alone in front of a computer screen or notebook, perhaps late at night, practicing your craft?

As for respect and validation, either you don’t need it or you can never get enough.

Daniele is a loner. The way she looks at it, who needs other people when you can read a good book? Worried about her reclusive ways, her brother gives her a parakeet so she won’t be altogether alone. She takes the bird reluctantly and names him Yubi. To her surprise Daniele enjoys having Yubi around. Then Yubi begins a romantic courtship of Daniele, and she finds herself unable to resist his bold advances. The pair settle into a happy relationship — until Daniele steps out into the world and begins dating her boss.

Now she becomes torn between two lovers. One of whom is very jealous.

“Yubi” is a short story with comedy, mild erotic content, and a touch of magical realism.

It was first published in Yellow Silk: A Journal of the Erotic Arts.

Available below as a free download:

 

For Kindle

 Cover Draft 5

 

For iBooks, Nook, and Kobo

 

Cover Draft 5

 

In Manroot Anne Steinberg tells the tragic story of Katherine, who inherits the gift of magic from her Native American mother and nothing but heartache from her abusive white father. After her mother’s death Katherine and her father travel from the Southwest US to a small town in Missouri, where they find work at a tourist hotel. There Katherine falls in love with a local judge who hangs out at the hotel with his cronies.

She begins collecting items connected to the judge—a cigarette butt, one of his cuff links, a few strands of his hair, and a man-shaped ginseng root (the manroot of the title)—negligible things, but she believes their magic binds him to her. For a brief time the couple is happy even though the judge refuses to leave his spoiled, childless wife. Then the magical items are discarded when Katherine’s room is repainted. Distraught, she behaves in ways that alienate her lover.

At this point in Manroot I wondered if Katherine’s belief in magic is supposed to be a delusion, since her reaction to the loss rather than the loss itself triggers the chain of events leading to her ruin and threatening her sanity. Later events show the magic is quite real. Just not altogether under her control.

I can’t give specifics without spoiling the story, but the narrative shifts away from Katherine in the second part of the novel. She stays in the background, emerging now and then to do her magic and influence events. Although these events are compelling and matter to Katherine, it’s as though her destiny is sealed and her personal story has ended. From now on she must live by proxy.

An omniscient narrator tells the story, which necessarily creates distance between the reader and the characters. Both the point of view and the narrative structure kept me from fully identifying with Katherine. In addition, the narrator comments on and reacts to events. The editorial omniscient is more common in 19th Century fiction, and it gives Manroot an old-fashioned feel. Not a bad thing in itself. Sometimes, though, Steinberg uses it to insert long expository passages that become a bit boring. Manroot coverOne quirk irritated me, the overuse of the exclamation point. The author attaches it to sentences that are declaratory. For instance, “That was when she sent for Katherine!” Those exclamation points were like flies. Just when I hoped I’d seen the last of them, another one buzzed me.

Overall, though, Manroot is a haunting story with lush description, complex characters, and a kind of mystery that cannot be neatly categorized or explained.

I began David Litwack’s novel The Daughter of the Sea and the Sky expecting the title character to be a fabulous creature supercharged with magical power. Instead I met Kailani, a nine-year-old girl who has run away from home. Kailani does have the ability to transform the lives of those she meets, but her power isn’t supernatural. It comes from the altogether human qualities of beauty, innocence, and love.

The world of the novel consists of two hostile nations, the Blessed Lands where people believe in the Spirit, and the Republic of Reason where people embrace empiricism. Most of the action unfolds in the Republic, a place much like our own world with technology circa 1985. The Blessed Lands are less advanced. Decades after a long and bloody war, the two nations have an uneasy peace maintained through rigid diplomatic protocols. Each side demonizes the other. Believers are zealots; non-believers are soulless. Free travel between the nations does not exist although procedures exist to seek asylum. Those who enter surreptitiously are considered enemies until proven otherwise.

When Kailani arrives on the shores of the Republic of Reason in a foundering boat, proclaiming herself the Daughter of the Sea and the Sky, she presents a problem for the authorities. Although only a child, she breaks the law by preaching the existence of the Spirit. She tells Helene and Jason, the young couple who rescue her from the sea, that she has come from the Blessed Lands to do penance. For what sin she refuses to say. The couple tries to protect her and discover that doing so requires greater personal sacrifice than they imagined. Meanwhile subversive elements within the Republic see in Kailani a means of advancing their own agenda.

A major theme of the novel is that grief is unavoidable for anyone capable of love. Almost every major character mourns a loved one and struggles to make sense of the loss. Yet love gives meaning to life. After the death of her father Helene is cast adrift until she reconnects with Jason, her childhood sweetheart. Significantly, the villain, a religious fanatic who would sacrifice Kailani to his faith, feels neither love nor grief. He only cares about getting what he wants.

Another theme examines the dichotomy of faith and reason. The two nations struggle to coexist yet they need each other. The Blessed Lands lack modern technology. The Republic of Reason prospers materially, but it’s a drab and uninspiring place where many people hunger for a greater meaning. Kailani shines there like a candle in the dark. Litwack suggests that we need both faith and reason and our challenge is to find a way for them to coexist within us.

The Daughter of the Sea and the Sky is a beautifully written story with a fully imagined world and complex characters. I would have preferred a bit more subtlety in the presentation of theme, but other readers will disagree. Without a doubt this is a novel worthy of your time even if you don’t usually read fantasy.

The Daughter of the Sea and the Sky

In Ebony and Spica: Two Birds in My Life, Janet Doolaege tells about a blackbird and a starling who were rescued as fledglings and spent long and happy lives as part of her household. It might seem like there wouldn’t be much of a story here, but the author’s keen observations and skillful description make this brief memoir an entertaining read.

The writing abounds with vivid imagery and information about birds, the kind of knowledge that comes only through close observation:

An aggressive blackbird looks very different from an aggressive starling. Ebony in an angry mood would look like a horizontal missile, all feathers on his head flat and his beak pointed forwards. . . . An enraged starling, on the other hand, is a vertical challenger with crown feathers sticking straight up.

Bird lovers will enjoy the antics of these feathered sweethearts, who worm their way into the hearts of Doolaege and her husband. The latter occasionally loses patience with Spica’s dinner-table incursions. My husband and I share our home with a budgie, so I know how birds can take over a household and how annoying they can sometimes be. I had quite a few moments of recognition while reading Ebony and Spica.

Some think of birds as neglible creatures. Anyone who has lived with them knows they’re intelligent and sensitive. but even bird lovers might not think of starlings and blackbirds as beautiful. Doolaege reveals their beauty—Ebony “with a fine gold ring around each large black eye” and Spica “with his feathers slightly puffed out like miniature cockle shells.”

The story of the birds inevitably allows readers into the author’s daily life. I enjoyed visiting a world not fraught with melodrama or darkened by disaster, a world where people with ordinary problems find contentment in their day-to-day experiences. The author adopted Ebony and Spica because they would have perished otherwise, but she concludes that birds cannot live a full life among human beings. I understand her arguments but think a bird, wild or domesticated, could meet a far worse fate than life in a French farmhouse with other birds, cared for and loved by compassionate human beings.

Ebony and Spica