Tag Archives: writing life

Professional Wednesday: The Chalice War, Book I Cover Reveal!!

For some time now, I’ve been writing about and teasing my new Celtic urban fantasy, The Chalice War. The series is part thriller, part comedy, part myth, part urban fantasy, part mystery. It is set in our modern world — all over it, in fact: book I takes place in the U.S.; book II shifts the action to Australia, and book III is set in Ireland — but the series also draws heavily on Celtic lore. It is unlike anything I’ve written before. Each volume was a ton of fun to write, and will be, I hope, just as much fun to read. I love these books and I am incredibly excited about their upcoming release.

The first book, The Chalice War: Stone, should be out from Bell Bridge Books in February 2023. The second book, The Chalice War: Cauldron, will follow within a month or two, and the trilogy’s finale, The Chalice War: Sword, will drop not too long after that.

Today, I am delighted to share with you the incredible jacket art for book I, which was created by my brilliant editor and publisher, Debra Dixon. Drumroll please . . . .

The Chalice War-Stone, by David B. Coe

Wednesday Musings: Thanksgiving and Some People To Thank

The past couple of years, usually on the Monday of this calendar week, I have written about Thanksgiving — last year a catalogue of all the things for which I’m thankful (the list still holds), and the year before, ahead of the country’s first Covid Thanksgiving, a rambling remembrance of holidays past that still makes me laugh when I read it over. For obvious reasons, I didn’t feel like writing such a post for this past Monday. But with the holiday upon, I thought I would try again.

I don’t know how to approach a Thanksgiving post this year without repeating myself from those previous posts, and yet here I am making the attempt. And maybe repetition in this context isn’t the worst thing in the world. The things for which I am thankful year in and year out remain remarkably consistent — boring for a blog, but gratifying in every other way. My marriage, my children, my extended family and friends and fans, my career, and, of course, the good fortune of having a home, food in our pantry, health care access, and so many other blessings that too many people lack.

As I have said before, Thanksgiving is my favorite holiday, in part because it forces me to take stock, to set aside the petty grievances that too often cloud my mood, and recognize that in the important ways, despite real and serious problems in our lives, my loved ones and I are doing okay. We live, it often seems, at 75 mph, the world blurring past as we try to complete our work, take care of our chores, see to our obligations. Even when we are “on vacation” or taking a bit of time off, we try to squeeze in so much that the relaxed times feel rushed.

To me, Thanksgiving is a time to slow down, to focus on the now, on those things that matter most. It is a time to inhale deeply and say, “Right now, in this moment, I am grateful for _______.” The things we fret about, the things that inconvenience and nettle and worse — they’ll still be there the day after Thanksgiving (in fact, they’ll probably be on special…). They’re not going anywhere. So why not push them away for a while and accentuate the positive? This from a confirmed, life-long pessimist.

In any case, I will hop down off the soapbox now. And I will share with you a brief list of very important people, outside my circle of friends and family, who have made an enormous difference in my life this year. Their mention here is small thanks for all they have done for me and my family.

1. I am thankful for my therapist, a woman named Rebecca, who has been absolutely incredible to work with. She is insightful, gentle, funny. Best of all she gets me and understands when to push me and when to let me stumble into truths on my own. I have learned so much from our time working together, and feel better equipped than I have ever been to deal with the uncertainties of this crazy world.

2. I am thankful for my editor, the marvelous Debra Dixon, who has been an amazing creative partner, mentor, critic, and booster. She is terrific with artwork. She did the gorgeous covers for the Radiants books, and she has done a fabulous job with the first book of the The Chalice War, the Celtic urban fantasy about which I’ve told you all so much. You’ll see a reveal of the cover not too long from now.

3. My older daughter’s oncologist, who shall remain nameless so as to protect my daughter’s privacy, is just terrific. He is compassionate, honest, brilliant, devoted to our child and her battle with cancer, and willing to communicate with us whenever we have the need (so long as our daughter has given her okay, of course). We know he can’t perform miracles, but he has our daughter’s complete trust, respect, and affection, and that is all we can ask.

I wish these three a glorious Thanksgiving, and I wish the same to all of you. May your day be filled with laughter, joy, and the companionship of people you love. And may the year to come be filled with blessings large and small.

Happy Thanksgiving.

Professional Wednesday: What I Learned During a Recent Visit With Claude Monet

Last week, Nancy and I were traveling for her work, and we had the opportunity to spend a day and a half in New York City. We had dinners with our older daughter, we attended some university functions, Nancy had finance meetings, and I had part of a day to myself.

As I have mentioned here recently, I am trying to figure out where to go with my writing. (And allow me to take this opportunity to thank those of you who weighed in with opinions about what project I should take on next. Many of you want to see continuations of existing series — Thieftaker was the most popular request, followed by Fearsson and Radiants. Not surprisingly, the new project I mentioned as a possible choice received little love. The unknown is bound to attract less notice. But the most heartening element of the responses I received was the repeated assurance that you would welcome and read whatever I choose to tackle going forward. And for that, I am grateful beyond words.)

As I continue to grapple with this decision, I thought I might find inspiration in art, and so, on a bright, crisp Monday morning in New York City, I walked north along Fifth Avenue to 83rd Street and the grand entrance to the Metropolitan Museum of Art. I didn’t know precisely what I sought in the museum, but I trusted the instinct that drove me there. Much the way our bodies sometime crave certain types of food — salty snacks, or protein rich foods — so I believe our brains can crave input of a specific type. I felt a strong need to look at the beauty of creative endeavor.

Specifically, I wanted to see the work of the Impressionists and Post-Impressionists. Degas, Manet, Morisot, Cezanne, Pissarro, Cassatt, Van Gogh, Gauguin, and my favorite, Claude Monet. As a historian (and a camera bug), I find the development of Impressionism (in the latter third of the nineteenth century) fascinating. It coincided with the invention and popularization of photography. Suddenly, artists were freed from the need to create images that were accurate and lifelike. A photograph could do that. Instead, artists could begin to experiment with color, with light and shadow, with texture, with the self-conscious use of brushstroke and palette knife.

Claude Monet,  Rouen Cathedral: The Portal (Sunlight) 1894, Metropolitan Museum of Art, New York, New York
Claude Monet, Rouen Cathedral: The Portal (Sunlight) 1894, Metropolitan Museum of Art, New York, New York.

Monet was fascinated in particular with the way light and color changed from hour to hour, day to day, season to season. He painted series after series, experimenting with images of the same subject matter painted at dawn and dusk and midday. Haystacks on farms, poplar trees in the French countryside, water lilies, the Houses of Parliament and Charing Cross Bridge in London, and two of my favorite series: the façade of the Cathedral at Rouen, and the Japanese footbridge and pond at his home in Giverny.

Claude Monet,  Bridge over a Pond of Water Lilies 1899, Metropolitan Museum of Art, New York, New York
Claude Monet, Bridge over a Pond of Water Lilies 1899, Metropolitan Museum of Art, New York, New York.

Seeing these paintings last week filled me with joy, with a sense of calm and contentment. It was glorious. I lingered in the museum for hours longer than I had intended to.

But what does this have to do with writing? Why would it warrant discussion in a Professional Wednesday post?

Honestly, I am still trying to figure out the answers to those questions. But I think it comes down to this: Creativity demands that we reexamine those things we have taken for granted, the things we have accepted as routine. The daily dance of light across the front to a building, the shape and forms we see each day. But creativity also asks that, on occasion, we rethink everything about our art. Imagine having been trained as a classical artist in the mid-nineteenth century, only to have every assumption about visual art overturned by the invention of a light-capturing box.

In the course of my lifetime (and I’m not THAT old . . .), we have sent spacecraft beyond the pull of earth’s gravity and out to the edges of our solar system. We have created lenses capable of peering through space and time to the very beginnings of our universe. We have replaced the rotary phones that were wired into our homes with untethered devices that take pictures, monitor our finances, store our music, and handle computational tasks that used to challenge machines so big they needed to be housed in warehouse-sized spaces.

We have seen the impossible become consumer-ready, the fantastical turned mundane. And as storytellers, we have had to stretch to come up with ideas that will surprise and captivate and satisfy. That stretch doesn’t necessarily imply pursuit of the increasingly outlandish. Rather, I would argue, it has forced us to reconsider simplicity, to infuse the familiar with qualities that make us marvel or recoil.

And as I search for my next spark of inspiration, I find myself wondering what will be for me the literary equivalent of watching color and shadow transform a garden pond and the reflections of a footbridge. Once upon a time, I worried that I would run out of ideas for stories, that I would complete a series, only to discover that it was the last one, that my creative well had run dry. Now, as I approach the big Six-Oh, my fear is that I will run out of time before I have completed all the tales I wish to write. I’m don’t worry about failing to find a new idea; I worry about choosing the wrong one and wasting time on something I don’t love.

Late in his life, Monet began to lose his sight. And still he worked, learning to create images of power and beauty and drama despite seeing color and form with less clarity. Creativity finds a way. Inspiration carries us past obstacles both physical and emotional.

Maybe, ultimately, that was the reminder I needed when I stepped into the Met. I still don’t know what I’ll be writing next. I do know that the challenges in my life have not gone away and won’t anytime soon. But I am a creator, and I still crave inspiration. So, I will consider, and I will settle on a project, and I will share with you the stories that stir my passions.

And I wish you the same.

Keep writing, keep creating.

Professional Wednesday: Another Celtic Urban Fantasy Teaser!

This is a busy week and I have a lot going on. No time to sit still and write a Professional Wednesday post. And why should I when what you REALLY want is another teaser from my upcoming Celtic urban fantasy release. This, like the first one I shared with you several weeks back, is from The Chalice Wars: Stone, the first volume of the trilogy. It picks up sort of where that last teaser left off. Enjoy! And rest assured: normal Professional Wednesday posts will resume next week.

Keep writing! And read on!

*****

All of these suburban streets looked the same. Treeless yards, soulless cookie-cutter houses, paved driveways with new, expensive SUVs. It was enough to make Marti throw up. And it was likely to make her and her beat up Ford wagon stand out like mutts at a dog show.

If she ever found her house. As far as she could tell Fairlea Lane didn’t exist, though that could have been her fault. She had no sense of direction. None at all. Lots of Sidhe had the same problem. At least Alistar said so. But she had never met anyone who was as bad with a map as she was. She could get lost on a one lane desert highway. She had, in fact.

She wasn’t good with cars, either. Especially new ones with computers in them. She didn’t drive this old junker because she wanted to. She would have loved a sleek new roadster, something shiny and fast. But magic and tech didn’t always mix well.

Reaching an intersection, she stopped and read the street signs. Classic rock blared on her lousy little radio—she hadn’t been able to find any indie stations, and she wasn’t going to listen to country unless she had no other choice. She turned down the music and looked around. She had been here twice already. She was driving in freaking circles. The directions from the real estate agent had sounded so easy. Directions always did.

She leaned out the open window—needless to say, she didn’t have AC in this thing—and called to a cluster of kids playing with sidewalk chalk in a nearby driveway. They stared back at her like she was the monster living under their beds, until one of them got up and ran into the house, probably to tell her mother some crazy woman in a car from Colonial times was trying to kidnap her. Marti thought about driving away, but figured that would freak out the kids and their mom even more. The last thing she wanted was for her first day in the new neighborhood to end with a 911 call.

A woman emerged from the house a few moments later, the little girl peering out from behind her.

The woman halted at the end of her driveway. “Can I help you?” she asked in a clipped southern drawl. She gave the car a quick once over and then fixed her glare on Marti again.

“I hope so,” Marti said, hoping she sounded friendly and helpless, or at the very least sane. “Can you tell me how to get to Fairlea Lane?”

“You here to clean someone’s house?”

No, I’m here to steal your television.

“Actually, I’m moving in.”

For just an instant, Marti expected the woman to call her a liar. She saw the thought flicker in the woman’s eyes. But then she ventured out into the street, closing the distance between herself and Marti’s car.

“You buy the Herrera place?”

Marti shrugged. “I don’t know. The address is 16 Fairlea.”

“Mm hmm,” she said with a nod, “that’s probably the Herrera’s house. They couldn’t make their payments.” I wouldn’t be surprised if the same thing happens to you.

The woman didn’t say it, but Marti could tell she was thinking it as she checked out the car again. Marti hadn’t been here ten minutes and already she hated the place.

“So,” Marti said after an uncomfortable silence, “how do I get there?”

“It’s right over there,” the woman said, pointing toward a line of houses that backed up against hers and her neighbors’. “I’m not sure how you missed Fairlea. You come in from town?”

Marti checked the printed directions lying on the passenger seat. “I turned left from Foster Boulevard onto Sawyer. Is that coming from town?”

The woman nodded again. “Mm hmm. Like I said, I don’t know how you missed it.”

“I’m talented that way.”

She smiled. The woman didn’t.

She pointed to the street in front of them, the one intersecting the lane Marti was on. “This is Greenvale. Follow it around this way.” She pointed to the right. “You’ll pass the playground on your left. Fairlea will be on your right. Once you’re on Fairlea, your house will be three or four houses down, on the left.”

“Thank you.”

Marti pulled forward into the intersection, made a right. She could feel the woman and those kids watching her, but she kept her gaze on the road. Already most of what the woman said was a garbled mess in her head. But there would be a playground, and then Fairlea, and she’d figure out the rest. Or she’d find someone else to scare.

The houses here might have been identical to one another, sitting on barren plots of grass, shrubs, and concrete, but they were good sized. No doubt hers was way too big for one person. She had made it clear to the agent that she needed a home right away—any home. Money, she’d told her, was not an issue.

The account in New York had been Alistar’s idea. He’d even seeded it for her—transferring eight hundred thousand dollars from his own accounts into hers, back when that was some serious money. “Magic is great,” he told her at the time. “But in this world, there’s no substitute for wealth.”

The balances in his accounts were proof that living for two hundred years and having access to divination magic, could make a man very rich. And over the forty-plus years Marti had been squirreling money away in her account, it had grown into a pretty impressive nest egg—mid-seven figures. Alistar’s account was worth more than ten times as much. The manager on their accounts, Michael Craig, was also Sidhe, and had helped them with whatever paperwork and bureaucratic hassles came up over the years. Marti had opened her account under her real name—Diana Taylor—and had transferred it several years back to a new name—Carolyn Taylor, claiming that she was Diana’s daughter.

Michael’s colleagues at the bank were more than willing to believe her; Diana was born in the 1940s and couldn’t possibly have looked as young as Marti did. Getting the necessary documents proved easy. Marti had at least half a dozen birth certificates and social security cards stashed away, as did Alistar, just in case. Just in case: That had been their mantra. The hardest part had been keeping up with who they were, seeing to it that each of their various aliases listed a different alias as his or her spouse. The last thing they needed was for all their meticulous planning to be undone by a careless foray into polygamy.

The point was, Marti could have held out for something nicer, even if it cost her twice as much. But she was more interested in quick than nice. She needed a home, for herself and for Alistar’s stone. And in this case, quick also meant cheap—foreclosed, the construction not quite complete. She’d been able to buy it outright, with a bank check. No waiting, no mortgage papers to sign. She didn’t know how long she would stay. If history was any guide, she’d be moving again within a year or two; maybe sooner. But she owned the paper on the house, and so could do with it as she pleased.

She rolled past the playground on her left, and saw the intersection with Fairlea coming up on the right. Another group of kids played kickball on Fairlea, and they scampered to the sidewalks when they saw her turn, then gaped at her as she crept by.

Aside from them, and a pair of lawnmower-wielding gardeners a few lots down, the street was deserted. Four in the afternoon on a Friday, and there was no one here at all. A couple of bicycles lay abandoned in driveways, and in the distance a sprinkler twirled lazily in the middle of an unnaturally perfect lawn. Dogs barked; a mockingbird perched atop a telephone pole went through its repertoire, mimicking a jay, a robin, a goldfinch.

Number sixteen was the fourth house on the left, just as the woman had told her. There was little to distinguish it from the homes on either side of it. Beige vinyl siding, black shutters flanking the windows, a brick walkway leading to the front landing, a door of polished wood, with narrow etched glass windows on either side of it, and a half moon of triangular glass panes above. Marti couldn’t decide if it all struck her as tasteful or tacky. Either way, Alistar would have hated it, if for no other reason than the siding.

“I will not live in a plastic house!” he’d once told her, when they were working out the logistics of one of their many moves. “If that’s my choice, the Fomhoire can kill me now.”

She remembered laughing at this at the time; both of them had. It wasn’t funny anymore.

Marti pulled into the driveway and shut off the engine. But she didn’t get out. She stared at the house, at the yard, at the houses around hers.

Her lawn had been cut within the last few days, apparently for the first time in ages. Long strands of dried grass littered the walkway. Even groomed, though, the yard didn’t look healthy. Large patches of brown, dead grass covered much of the lot, and the flower beds—if that’s what they were meant to be—were filled with wilted shrubs and dried leaves from the one tree, an oak, shading the front of the house. She had little hope the backyard would be in better shape.

“Not exactly the garden we left behind, old man.”

She hoped she’d find a place in back where she could put the stone without it being conspicuous.

She opened the door, the creak of metal loud and harsh, and climbed out of the car.

As soon as her feet touched the driveway, she felt it. It was as obvious as the breeze cooling her sweat-soaked back, as pervasive as the twined scents of gasoline and freshly-cut grass.

Power.

It hummed in the cement like an electric current, raising the skin on her legs, pulsing through her entire body. It frightened her, enticed her, aroused her even. She hungered for it. But feeling it here, now, after all that had happened, all she had lost . . . .

“Crap,” she breathed knowing a moment of panic.

She had no conduit, and so no access to her magic. A sachet of wolf’s bane, bay, dill, and anise—an odd-smelling but powerful combination of protective herbs—lay in her glove box, along with raw pieces of onyx and jasper. Those might have been enough to let her escape an attack if one had been imminent. They would have had to be. Her other herbs, crystals, and oils were packed away in the back of the car.

But she hadn’t sensed magic. This was power, which was different. Sidhe and Fomhoire possessed magic. Sluagh were creatures of magic. Power came from conduits, and allowed Sidhe and Fomhoire to access their spellcasting abilities.

She held herself motionless, closed her eyes, and tested what she sensed, her awareness flicking out like a snake’s tongue tasting the air for predators or prey. No doubt about it: power. Potentially a conduit. Strong, but not dark, not malevolent. Neutral. Unclaimed. This wasn’t Fomhoire or Sidhe. Not yet, at least. It could go either way.

Still, she couldn’t keep herself from opening her eyes and scanning above for winged demons. The sky was hazy, a faint shade of blue, and, for now, empty of Sluagh.

Relief eased through her, loosening tensed muscles, slowing her pulse. Mostly.

She had come here to get away. While on the road, she had managed to call one of the other Sidhe, to tell them of Alistar’s murder, to let them know she was without a conduit, that her part of the protective magical web—hers and Alistar’s—had been breached and would be out of commission for a while. Responsibility to her fellow sorcerers demanded no less. Beyond these warnings, though, she owed nothing more. She needed time—time to rest, time to grieve, time to find a new conduit.

This power she felt might allow her to bind again, but it didn’t promise rest or time. If she sensed it, someone else would, too. Fomhoire, Sluagh, others she didn’t wish to consider. It wasn’t a question of if they would find it—and her—only of when.

And yet, that wasn’t what bothered her most.

Marti didn’t believe in happenstance. The old gods didn’t simply allow things like this to happen; what others called coincidence a Sidhe knew for the machinations of the ancient ones. They delighted in bringing power to magic, power to power, magic to magic, for good or for ill. Which meant she was here because of this . . . presence. It had been waiting for her.

Professional Wednesday: Special Guest Joelle Presby

Joelle PresbyI first met Joelle Presby several years back at a convention, and I was struck straight off by a number of things. 1) She’s just plain nice. That’s certainly not unheard of in the publishing world, but it’s also not routine. Many people are in the game for themselves. Others pretend to me something other than what they are. Not Joelle. She is genuine, kind, funny. 2) She is also crazy smart. Read her bio. Read her post. She is SMART. And 3) Everyone I talked to at that convention who  was familiar with her work had come to the same conclusion: She was a rising star. A few years later, she continues to dazzle with the release of her first solo novel.

Please welcome to the blog Joelle Presby. [Cue wild applause.]

*****

Professional Wednesday: On Hope

By Joelle Presby

There are a number of ways storytellers transition from folks who write because they have to into folks who write because they have to and also have deadlines and readers buying their work. Like many writers, I think of my transition as special and unique.

I was solidly on the path to never being published, when I stumbled into an opportunity. I was writing my seventh rough draft novel with every intention of finishing it and immediately setting it aside to begin an eighth never-to-be-revised novel. Editing is a lot of work. And I’d let my hopes shrivel too much to sustain me through the grind of reviewing an entire novel’s flaws with a clear eye and rewriting it to make the words on the page fully match the story in my mind.

The re-birth of hope was all my husband Andy’s fault.

Debare Snake Launcher, by Joelle PresbyDebare Snake Launcher, by Joelle Presby (back cover)We were both naval officers in the nuclear power pipeline, trained in engineering and managing complex technical projects, but my degrees were in math and his were in physics and spacecraft design. I got sick (nothing terminal) and had to accept a medical discharge. But my next job required fewer hours, so I could write more. And we could attend science fiction conventions and meet up with authors as long as I did the arranging and accepted that Andy might be at sea. Conventions were a lot more fun when Andy came too. Science fiction authors tend to be significantly more interested in chatting with folks who have space craft engineering backgrounds than talking to another would-be writer who happens to have only a math and engineering background.

But my hope was shriveled, not gone.

When Andy Presby had regular meetings with David Weber to provide Honorverse tech continuity support, I came along. Mostly, I sat in a corner working on a new first draft, but it was fun to eavesdrop on some of the detailed discussions around revising nearly-finished drafts with an eye to incorporating newly postulated science and also not breaking the story world. I began to think just a little about editing my own work. I did and it was hard. So, mostly I wrote first drafts again. But my hope was growing.

Andy and eight friends formed the company BuNine in order to sign a contract with Baen Books to produce a fictional nonfiction encyclopedia of the Honorverse to be released on the twentieth anniversary of the first publication of ON BASILISK’S STATION (Honorverse book 1). The group started strong with Andy agreeing to a leadership role and a primary technical role for the many planned space craft articles. Then the US Navy sent Andy to a new job. He had almost no time. The work wasn’t getting done. I started getting calls. I knew how to be a project manager and I could write. My husband and our friends had made this commitment. I didn’t want them to fail. I didn’t want them to fail David Weber or Baen Books. I wrote bad articles and good ones. I poked Andy to get from him the ship specifications we absolutely needed. I revised the drafts and took editorial correction and revised again. It was hard, but not that hard. I did a lot of nonfiction writing for work, and for a day job, you don’t get to only do rough drafts. Besides, I told myself, this didn’t count. It wasn’t real writing.

But my confidence, my hope, my willingness to dare and try grew anyway.

I heard that Toni Weisskopf was interested in a short story to be published on Baen.com during the month that our project, now titled HOUSE OF STEEL: THE HONORVERSE COMPANION, released. My hope wasn’t big enough to send anything to Baen, but it was enough for me to write a very small Honorverse short story, revise it, and share it with my husband. He gave it to our friends who, without asking me, gave it to Sharon Rice-Weber who, without asking me, gave it to David Weber who, without asking me, gave it to Toni Weisskopf who wanted to buy it if… I would revise it.

The Baen.com story was well received by Honorverse fans. It led to an invite to write for the BEGINNINGS (Worlds of Honor 6) anthology. That success led to having my first published novel be a collaboration with David Weber: THE ROAD TO HELL (Multiverse #3). And then Baen gave me a contract to write a solo novel, which I had to revise. A lot. And it was worth it.

The revised version of my ninth rough draft novel a.k.a. my first published solo novel, THE DABARE SNAKE LAUNCHER, comes out November 1, 2022.

I still go to science fiction conventions and talk to writers, and I’ve learned I’m not as unique as I first thought. If you want to stay on the path to never publishing, it’s dangerous to keep writing.

Though if anyone has access to a time machine, please tell younger me that there is joy in getting the revisions right, and the satisfaction of reaching the last page on the final polish far, far exceeds typing “The End” for a mere rough draft.

Beware. Opportunity might be just around the corner. May you have enough hope to make the attempt.

And, as David B. Coe says, keep writing.

*****

Joelle Presby is a former U.S. Navy nuclear engineering officer and recovering corporate consultant who grew up in West Africa. Her first reader husband works for NASA, but he has yet to build her a space elevator. She does not admit to arranging a book deal through a quid pro quo arrangement with Mami-Wata.
 
Joelle began her writing career publishing in David Weber’s Honorverse and joined him as a cowriter for the Multiverse series with the novel, The Road To Hell. Over a dozen short stories later, she is releasing her first solo novel, , in November 2022.
 
She lives in Ohio with her husband and two children.

Monday Musings: Memories of Halloweens Past

With much larger family neighborhoods, not to mention dormitories, only two miles away, in the village proper, the families with kids in our area tend to drive over to town for trick-or-treating. Certainly, that was what we did when our girls were young enough to go out in search of gobs of candy. Nancy and I don’t usually buy candy at all, knowing that whatever we buy we’ll wind up eating ourselves, since no one will be ringing our doorbell. Okay, some years we DO buy candy, knowing that whatever we buy, we’ll wind up eating ourselves . . . .

The larger point remains, though. For us, for many years now, Halloween has been a non-event.

Erin as kitty catWhen the girls were little, we used to take them into town, meet up with their friends and their friends’ parents, take a bunch of photos (all of them too cute for words), and then commence the hunt for goodies. We would actually bring a bag or two of candy to supplement what our friends were giving out, so that we wouldn’t be total freeloaders, and while half the parents (sometimes the dads, sometimes the moms) went out walking with the kids, the other half stayed, gave out candy, drank a bit of wine. Those were great evenings. Sadly, I missed out on trick-or-treating as often as I participated. Back then, World Fantasy Convention was held each year on Halloween weekend. If Halloween fell anywhere between a Thursday and a Sunday, chances were I’d be away. Sometimes, if the travel was complicated enough, I missed out on Halloween on other days as well. I considered WFC one of the most important professional events on my calendar — I still do — but looking back, I wish I’d skipped the convention more often than I did. I missed out by not taking my girls door-to-door more than I did.Alex as pirate

I grew up in a small suburb, a bedroom community of New York City. From an early age, my parents felt comfortable sending me out with my friends on Halloween night. Before then, I remember my sister, Liz, taking me trick-or-treating. She is older than I am by twelve years, and so by the time I was old enough to go out, she was old enough to have given it up. She was a good sport and always accompanied me for as long as I wanted, for as far as my little legs could carry me. Back then, we young-uns would be armed with two items: a brown paper shopping bag bearing the image of a ghost or a stylized witch or a spooky jack-o-lantern, and a small, orange, slotted cardboard box in which we were to collect pennies for Unicef. A quick internet search tells me that “Trick-or-Treat For Unicef” is still a thing, though these days the boxes have little handles and, yes, QR codes.

I judged the success of the night by the weight and jangle of that orange box, and the weight and sag of that shopping bag. Each year, the latter proved disappointing. Somehow, in the build-up to Halloween, I pictured myself filling my shopping back to the brim, which, of course, would have required a walk lasting days rather than hours, and covering leagues rather than miles. The truth was, I always returned with more candy than I could possibly eat (not that I didn’t make the effort). In one of those old paper shopping bags, candy piled two inches deep was a lot of candy.

My parents, of course, examined and culled my takings. My father loved Mary Janes — peanut butter flavored taffies that always threatened to tear the fillings from his teeth — and Bit-O-Honeys. My mother loved Good and Plenty and anything chocolate (though obviously she didn’t take ALL the chocolate, or anywhere near it). The inspection of our haul post trick-or-treat was, for my siblings and me, a bit like April 15th. We got to keep most of what we brought home, but the powers-that-were took their cut.

Any loose candies, home-packaged candies (like baggies filled with loose candy corn), or homemade treats we threw out. Our parents were not trusting. We threw away apples as well, our fears stoked by urban legends of people slipping razor blades into apples. Raisins we were allowed to keep, but honestly, what kid wants to get boxes of raisins on Halloween?

I remember several of my costumes — baseball player (in a vintage woolen Yankee uniform that I thought was very cool, until I put it on and found it itched like mad), hobo (with burnt cork rubbed on my face to make me appear unshaved), astronaut (this was at the height of the Apollo era, and my helmet “mask” had a tiny little lightbulb that flickered on when I pressed a control at the end of a thin wire that ran from the helmet, down my sleeve, to my hand), ghost (with a freaking scary rubber mask), Charlie Chaplin (I honestly don’t know why; I never was particularly fond of his movies). I think I went as a vampire one year, with those plastic teeth and my hair slicked, but I might be making that up.

All this by way of saying I miss Halloween. I miss the excitement I felt for it as a kid, I miss the anticipation I saw in my own kids as the end of October approached and thoughts turned to candy and costumes. (I remember a pirate and a tiger, a ballerina and a soccer star, a kitty-cat and a scarecrow, a froggy and a princess.) I would love another chance to savor the holiday . . . and I suppose that’s what grandchildren are for. Someday!!

Have a great week!

Professional Wednesday: An Alternative to NaNoWriMo

First off, many thanks to those who offered feedback on last week’s post, in which I asked for input regarding what I might work on next. I appreciate your thoughts. The general consensus appears to be that there is no general consensus. Several people did express enthusiasm for more Thieftaker and more Justis Fearsson. A number were also interested in reading more in the Radiants supernatural thriller series, and a few fans from way back were excited to see an edited reissue of the Winds of the Forelands books. Others liked the idea of a new writing How-To as well as the space opera concept. Which is to say, there was at least some support for pretty much everything I’m currently considering, and that’s reassuring.

We are nearing the end of October, which means Halloween is almost here, elections are right around the corner, and NaNoWriMo is about to start. For those unfamiliar with the term, National Novel Writing Month began in November 1999 as a challenge to writers to write 50,000 words in thirty days. The challenge has grown in popularity each year, and now engages literally hundreds of thousands of writers, including kids, in creative writing. NaNoWriMo is also a non-profit that promotes literacy and creativity.

In many ways, NaNo is a positive force in our industry. It fosters community, by bringing together writers of different backgrounds and abilities in a simultaneous effort to be creative on demand. And as I have said in this space again and again, part of being a professional writer is learning how to produce on demand, without “waiting for the muse,” or some such. I have heard many stories of people finally being motivated to write by NaNo, by the communal aspect of the challenge. Knowing others are making the effort at the same time enables some people to write the story that has been burning inside them for so, so long. I think that’s great.

And yet . . . . From the time NaNo first began, I have had some qualms about the concept and the structure. I have written 50,000 words in a month; I’ve done it a couple of times. I know some professionals who write far more than that in 30 days. It can be done, no doubt. And if the challenge and group dynamics of NaNo get your creative juices flowing, more power to you.

But what I remember about those occasional months during which I churned out 50,000 words is that I was unable to sustain the effort. Each time, during the month that followed, I struggled to write half as much. I was burnt out. I know some people have gone on to publish novels they began during a NaNo November. But I wonder how many NaNo participants still have novel fragments of 50,000 words (or 40,000, or 30,000) on their computers, gathering virtual dust. I wonder how many did NaNo only to find themselves unable to sustain the effort beyond the month in question.

As I said, professionals, myself included, can and do write half a novel in a month’s time, but most of us write slower than that. My brother is a visual artist, a painter. And he will occasionally engage in exercises that force him to paint quickly. There is something freeing about turning off the inner critic and just painting fast, to see how an image turns out. Just as there is something freeing about blocking out our inner editor and writing swiftly and in volume. Most of the time, though, my brother’s process looks nothing like that. And I can promise you my writing process — and that of most of my professional colleagues — bears little or no resemblance to NaNo.

Yes, NaNo can jumpstart the creative process for some people, but I would offer this: If instead of trying to write 50,000 words in thirty days, an aspiring writer were to try to write 500 words a day for 100 days, that writer would wind up with the same volume. Yes, it would take more time, but in the snail’s-pace world of publishing the difference between one month and three isn’t so great. Plus, I guarantee you, the 50,000 word manuscript produced over three months will be far, far cleaner than the NaNo manuscript and will require a good deal less editing, thus narrowing the time gap.

Most importantly, while NaNo will leave many writers exhausted and unprepared to follow up and finish the manuscript in question, the 500-word-a-day writer will have developed a habit, a creative routine that is both manageable and sustainable. More than likely, that writer will be able to increase their production over those three months and beyond.

I’m not looking for a fight here, and again, if NaNo works for you, go for it. Enjoy yourself. But if you have considered NaNo, wondering if you might finally kick off a writing career by trying it, I would encourage you to try the slow-and-steady approach instead. As a model, it is much closer to the professional experience than NaNo will ever be and, to my mind, it is more likely to produce a) clean prose, b) a coherent narrative, and c) a completed manuscript.

Whatever you decide, keep writing!

Professional Wednesday: In Which I Ask You, What Should I Write Next?

As I discussed at length in last week’s Professional Wednesday post, I have recently completed a first draft of the third book in my contemporary Celtic urban fantasy, The Chalice Wars. The novel needs to sit for a while before I can do a final revise-and-polish and send it off to my editor — six weeks or so, I would think. And since the first book has not yet been copyedited and proofed, since the second book still needs to go through a round of revisions and then the entire production process, and since the third book is still wet behind the ears, I have plenty of work left to do on this series.

Thanks to the successful Kickstarter campaign Zombies Need Brains ran late in the summer, I also have a new anthology, Artifice and Craft, to co-edit with my good friend Edmund Schubert. We already have more than 150 submissions for the anthology, so that work is bound to keep me busy through the end of the year and well into 2023. I also have a short story to write for one of the other anthologies, and I have editing clients in my free-lance business queue.

But beyond the short story, which should only take me a week or two to complete, I have no idea what I am going to write next. None.

Yes, I have ideas. Many.

What are they? Funny you should ask.

The Loyalist Witch, by D.B. Jackson (Jacket art by Chris McGrath)One idea is to write my next Thieftaker novel, either in the form of a trio of novellas, like I did with The Loyalist Witch, or as a simple novel. In the Thieftaker novel timeline, the Revolutionary War hasn’t even started yet. There is lots and lots more I can do with Ethan and Kannice and Sephira.

I have also considered going back to the Case Files of Justis Fearsson series, another contemporary urban fantasy that I began in the mid 2010s with Spell Blind, His Father’s Eyes, and Shadow’s Blade. I LOVE these books and have missed writing in Justis Fearsson’s world. I have several ideas brewing for that world.His Father's Eyes, by David B. Coe

I have long wanted to return to my five book Winds of the Forelands series and the Blood of the Southlands trilogy, to revise and re-release those eight novels. They are among my best stories, and they have been out of print for far too long. I envision an “Author’s Edit” re-issue, along the lines of what I did with the LonTobyn Chronicle back in 2016.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)I want to write at least one more Radiants book. Actually, I would like to write several more. Radiants and Invasives are, to my mind, the two best books I’ve written to date, and I still would love to see these books gain come commercial traction so that I can justify writing more of them.

And then there are the new ideas . . .

I have one idea for a space opera series (yes, you read that right), set on a pair of terraformed planets. The plot involves intrigue, mystery, romance, and vengeance, and it is actually based on the work of a well-known, much-beloved, and for-now-secret 19th century novelist. I’m excited about this one. (Actually, I’m excited about all these ideas, which is why I’m considering them in the first place.)

I have a middle grade novel that I first wrote back in 2010 or so, when my kids were much younger. The idea still sings to me, though I know the book needs a good deal of work. But I love the concept and I adore the characters. And I think I would enjoy writing for kids.

My good friend A.J. Hartley has been trying for years to get me to write a non-fantasy, non-supernatural, straight-ahead thriller. He thinks I’d enjoy it. He thinks I’d be good at it. And I will admit I have some ideas percolating along these lines as well. Of all the projects I’m thinking about, this one probably has the most commercial potential, which is not the only consideration, but I do this for a living, so . . . .

And finally, I have considered taking all the Professional Wednesday and Writing Wednesday posts I have written since 2020 and collecting the best of them in a new writing how-to book. I have more than enough material, and I think some people would like to see the advice I have offered gathered in a single, convenient volume.

So there we are. Those are the things I’m thinking about right now. (I should add that I can’t guarantee I won’t have five more ideas tomorrow.)

What ideas appeal to you? Feel free to Tweet at me, or to comment in my Facebook Group! I look forward to hearing your thoughts.

In the meantime, keep writing!

Professional Wednesday: Finishing a Book Actually Means More Work

As I mentioned last week, I have recently finished the third book in my new contemporary Celtic urban fantasy, The Chalice Wars. This book, The Chalice Wars: Sword, will be out sometime fairly early in 2023. Book I, The Chalice Wars: Stone, is currently in production, and book II, The Chalice Wars: Cauldron, is with my editor. The art work for the first book should be ready soon. I’ll share it the moment I can. I’m excited about these books. They are filled with tension and suspense, but also with humor, and they are quite different from other work I’ve done. And I am proud to add that when this third volume is published, it will be my 30th book.

For today’s post, though, I want to focus on the mechanics of finishing a book, and precisely what that means for me in terms of work and process.

I know. It seems like finishing a novel should be fairly straightforward. We type “The End” and then we drink whisky. Right?

Turns out it’s not that easy.

First of all, I NEVER type “The End.” If we as authors have to tell our readers when a book has reached its end, we haven’t done a very good job with our ending. Just saying.

More to the point, finishing the first draft of a novel is just one step in a significantly longer process. Yes, it’s an important step, but it certainly does not mean the book is anywhere near “done.”

When I work on a book, I have a separate file open on my computer, which is usually called “[Book Title] Edit Notes.” This is a file filled with reminders to myself of things I need or want to change in the book. While writing my first draft I don’t want anything to stall my forward momentum. The most important thing we can do with a book draft is finish it. Let me say that again. The most important thing we can do with a book draft is finish it. Finishing a book is hard to do, and it is all too easy to retreat into edits and rewrites rather than move on toward those looming scenes we haven’t quite figured out how to write. It is also tempting, upon noticing in earlier chapters imperfections of prose or character or plotting, to fix them immediately, to make the manuscript as perfect as possible.

But here’s the thing: No first draft is ever going to be perfect. In fact, I would argue that no finished novel has ever been or ever will be perfect. That, though, is a conversation for another time. The point is, finish your book. It is much easier to edit a finished manuscript than it is to complete said manuscript in the first place. And so, when I think of changes that need to be made, I jot them down in a different file for later, thus preserving my momentum.

Fast forward to that glorious day when we actually finish the first draft. Well, now we have to deal with that file filled with edit notes. Working through my edits can take anywhere from one day to one week or even more, depending, obviously on how much work I’ve left for myself.

After I finish the edits, I next tackle my crutch words. Crutch words are verbal mannerisms unique to our writing, words or phrases that we tend to overuse or fall back on when in the midst of composing our stories. We all have them — I see them when editing the work of others, and I see them in my own rough drafts. I even see them in the published volumes of colleagues. My crutch words will be different from yours, which will be different from your writing-group buddy’s, which will be different from those of your favorite writer. But as I say, this is something all writers have to watch out for. I keep a running list of my crutch words in (another) word document on my computer desktop. And after completing any book or story, I work through this list, checking to see if I have overused any of the usual suspects. How do I know if I have overused them? I do a universal search of each word or phrase, which gives me a count of occurrences. And then I compare that number to the number of occurrences of the same word or phrase in several of my other completed, edited manuscripts, ones I know I have checked for crutch words. If the numbers are about the same, if figure I’m okay. If the number for the new book is a good deal higher, I have some work to do. Dealing with crutch words can be a slow, tedious process. It can take me several full days. Slow, tedious days . . . .

Finally, after seeing to my edits and getting my crutch words under control, I put the newly completed manuscript away for several weeks and start work on something else — short fiction, a new novel, editing projects. It doesn’t matter what. After about four to six weeks, depending on how soon the book is due, I pull out the manuscript again and read it through a couple of times start to finish, doing a full edit of the manuscript, looking for any and all problems — stylistic, narrative, structural, etc. Everything. Only after doing this, when I am convinced the manuscript is as good as I can make it at this time, do I send it on to my editor, or my agent, or my Beta readers. (At some point, I’ll have their suggested edits to deal with. And after that there will be copy edits and proofs. But that is part of the production process and is another subject entirely.)

By this time, of course, I’m in the middle of whatever project I’ve started next, so I’m no longer in the mood for celebrating the completion of the manuscript. But that doesn’t mean I can’t have a wee dram of whisky. . . .

Keep writing!

Creative Friday: Celtic Urban Fantasy Teaser!!

This week, I finished the first draft of the third and final book in my new project, a contemporary Celtic urban fantasy called The Chalice Wars. I have a lot to do with this newest manuscript still — I’ll discuss that in greater length in next week’s Professional Wednesday post.

But for today, as a way of celebrating the completion of this latest novel (which will be my 30th when it finds its way to print, later this year or — more likely — early in 2023), I thought I would share with you a bit of book one in the series. This is actually chapter 2 of The Chalice Wars: Stone

I expect it will be out in the next few months. Again, late this year or early next. For now, here’s a peek.

Enjoy!!

*****

Two drops of blood. One on the bottom stair, glistening on brick, red on red. The other on the cement landing by the front door.

The drops were small; she might easily have missed them, walked past and into the house without noticing. But having seen, she couldn’t look away, and she couldn’t take another step.

She stood rooted to the walkway, empty reusable grocery bags tucked under one arm, an oversized bottle of Australian Shiraz in the other hand, her bag slung over her shoulder. And she stared at the blood.

Alistar has cut himself, said a voice in her head. He’s cut himself while working in that damn garden of his.

To which a second voice—Alistar’s, usually so calm and reassuring—said, No, he’s dead. You need to get the hell out of here.

Blood, brick, the geraniums in the ceramic planters Alistar had placed on either side of the stairs. So much red today.

The front door was open behind the screen. Burl should have been there watching for her, tail wagging, tongue lolling happily. Or he might have been in the back garden with Alistar, in which case he should have come bounding around the corner of the house as soon as she pulled up.

She reached for the dog with her mind, with her magic. Nothing. This is what she felt at the store. This was what made her rush through the rest of her shopping, what drove her to flee the grocery store, leaving her half-full cart beside the check-out line. The sensation had been abrupt, final, like someone placed a wall between them.

Like someone had killed her conduit.

On that thought, she was moving again. Not inside, but to the back, the sweat on her palm making the bottle slick and unwieldy. At the corner of the house, she let the canvas bags drop to the ground. She kept hold of the wine; a weapon now.
As soon as she stepped into the backyard, she spotted Alistar.

He lay in the dirt between the slate patio and his bed of gladiolus. Even from a distance, she could see the blood that stained the front of his shirt, like a fan-shaped bib. She faltered a step, a choked sob escaping her, her stomach seizing into a fist. An instant later, she was at his side, knees cushioned in the rich black soil. A faint stench hung in the air, cloying, foul, the smell of rot, of disease, of death.

Alistar’s throat had been cut, ear to ear, the gash a ghoulish grin on his neck. His eyes, pale blue and once electric with wit and mischief and passion, were fixed on a clear sky, unseeing, lifeless. His midsection . . . . She couldn’t even look at that. Whatever killed him had feasted as well. She wanted to believe they waited until he was dead, but she knew better. A tear rolled down her cheek and she swiped at it. It landed like a raindrop on the slate, darkening the stone just beside Alistar’s hand.
His bloodied hand. One crimson-stained finger appeared to point at a dark scrawl on the patio. Letters in blood. A single word. Or part of one. “S-L-U-A—”

Not much, but enough.

“Oh, Alistar,” she whispered. But her heart hammered.

Now she understood where that terrible smell had come from.

Sluagh. Shadow demons. Winged, enormous, utterly without mercy. Fomhoire assassins.

Get the hell out of here!

His voice again, urgent and compelling.

First, though, she had to find Burl.

If a Sluagh did this, or more likely a trio of them—the old powers did things in threes or fours—Burl would be dead, too. They would sense the magic in him and assume he had been Alistar’s conduit. Forced to guess, she would say the poor dog was dead before Alistar knew what was coming.

She remained beside him for another moment, trying to reconcile the wreckage before her with her memories of the man she had loved. She never should have gone out. She was the one with a conduit, the one who had been maintaining their part of the network since the death of Alistar’s conduit two months ago. She should have stayed here and sent Alistar to the store. But he was so happy in his garden, and she was gone for such a short while.

It’s not your fault, and this is no time for blame. Go.

Leaving him seemed wrong. He deserved . . . more.

No. You have to go. And you have to take it with you.

She stood, gripped the wine bottle once more, and strode to the back door. It was open, of course. Burl lay sprawled on the kitchen tiles, his silky white fur matted with blood, his water dish overturned, the floor covered with a thin, dark pink mixture.

Tears again, a stream of them this time. How could she cry so for her dog, when she’d shed barely a tear for Alistar?

He wasn’t just a dog.

She felt more than grief. The stench of the Sluagh was thick in here. She gagged, biting back against the bile rising in her throat, and the terror clawing at her chest. Without a conduit, she was vulnerable, all but defenseless. Sidhe or no, she couldn’t cast much of anything without a source for the magic.
She swallowed hard, wiped her eyes again. Burl deserved to be buried, too. Losing either one of them would have been bad enough. But both?

She stepped over the dog, avoiding the stained water, and halted at the door to the dining room. Drops of blood trailed away from the kitchen, through the dining room, and into the living room. Toward the front door. She guessed they had come in from the front, killed the dog, gone back out the same way, and snuck up on Alistar from behind. Then they returned to the house and ransacked it, breaking and tearing nearly everything of value. Sluagh wouldn’t worry about leaving behind a trail of destruction, much less a splattering of blood. They were hunters, nothing more or less. They worried about the kill and whatever they’d been sent to find.

At last, terror kicked in. She hurried to the bedroom, knowing she couldn’t take much. There wasn’t time, and the Sluagh hadn’t left much intact. Clothes, photos, papers, books, music. Most of the furniture was Alistar’s and what belonged to her wouldn’t fit in her car.

Alistar had insisted they keep boxes in the attic and packing tape in the utility drawer, just in case there came a time when they would need to leave without delay. He had also paid the rent on a month-to-month basis; no lease.

“I want to be able to leave this place on an hour’s notice, and never look back,” he often said.

Hearing the words in her head once more, she muttered, “You were supposed to come with me, old man.”

She was packed in less than two hours, and had the car loaded before nightfall. But she waited until dusk to return to the garden for the one thing she couldn’t leave behind.
When it was dark enough, she went to the garage and retrieved the ancient wooden crate Alistar stored there. It must have weighed ten pounds empty. She carried it to the farthest end of his garden, took a spade from his shed, and removed the stone from its spot in the dirt.

“It should be packed in soil,” he’d told her at least two or three times. “And the crate should be nailed shut.”

On one occasion she laughed at him. “Why tell me all of this? You’ll be the one packing it. You never let me near that thing.”

He’d stared back at her, silent and grave and beautiful in the dying light of an autumn afternoon. Had he known it would come to this? Had he seen it?

She stared at the gaping hole she’d left in the dirt. They had hosted parties at the house, sat with friends on the patio, sipping wine and chatting deep into the night. No one ever noticed the stone, which was just as it had to be.

There was nothing striking about it. It was vaguely round, about the size of a honeydew melon, dull grey, with a few gleaming specs of mica and quartz. And with the spells she and Alistar had cast on it, its power was dampened. She shivered, as if someone ran a magical finger down her spine. The spells. They had cast them together, so that if one of them died, the spells would survive. He had seen this day coming.

Bastard. Brilliant bastard. More tears streamed down her cheeks. She went back to work.

The stone fit perfectly in the crate. She had created a nest of soil for it, leaving just enough room to sprinkle more dirt around it and over it. She sealed the crate, then retrieved the other stone from behind the shed. It looked much like the first; same color, shape, and size. She put it where Alistar’s stone had been, smoothed the dirt surrounding it.

She stood, lifted the crate with a grunted “Sonofabitch!” and staggered out to the car. There she wedged it into a space she had left unfilled in the far corner of the rear hatch. As an afterthought, she threw in the shovel, too. It had been Alistar’s, just like everything else in the garden shed. She slung coats and a few dresses over the stone, arranging and then rearranging until it all looked natural, like she was a slob, rather than someone trying to hide something.

When everything else was done, she went to the basement for the last of Alistar’s precautions. Somehow he had managed to buy or steal license plates from half a dozen states. On their own, the plates would have been of limited use, but he had also arranged to have new registration stickers sent each January from the state DMVs. She didn’t know how he did it, and he never bothered to tell her; it was just Alistar being Alistar. But she was smart enough—or maybe scared enough—to put a fresh set of plates on her car, and to take the others with her.

From now on, she would be from Maryland. Until she needed to be from somewhere else.

She tossed the old plates and the wrench into the back, and closed the hatch.

She needed to let the others know. Their part of the network was open now, exposed. In recent months she had sensed gaps, weaknesses in their web of magic that the Fomhoire might exploit. Now it was worse, and without her conduit there was no easy way for her to send a warning. All she could do was run, and hope she’d find an opportunity to tell them later.
It didn’t feel right. Alistar still lay in the garden, Burl in the kitchen.

Alistar had long been a prominent figure in the Sidhe community, which made her one as well. They had helped establish the network monitoring this part of the Sidhe world for Fomhoire incursions. That was reason enough for Fomhoire and their Sluagh friends to want Alistar and her dead. Not that they needed reasons to kill.

She sensed, though, that the Fomhoire were also after the stone, and she didn’t understand why. Alistar had never explained to her the stone’s significance. For years she had wanted him to tell her, but always he refused. Now she needed to know, and he was gone.

“That part wasn’t so brilliant, old man,” she whispered, peering through tears at the darkened house.

You’ll figure it out. Now, go!

She climbed into the car, and with one last glance toward her home, toward the gardens, she drove away.