Special Friday Post — THE CHALICE WAR: SWORD Teaser!!

The Chalice War: Sword will be published on August 4, one week from today, and so as you did last week, you get to enjoy a lengthy excerpt from the book, another teaser to whet your appetite for the third book in my Celtic urban fantasy trilogy! Have fun!!The Chalice War trilogy, by David B. Coe

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The Chalice War: Sword, by David B. CoeHanging out with magical beings, Kel had decided some time ago, reminded her of being in middle school and trying to keep up with her cool, athletic friends. She was always lagging behind, struggling to do at all what her friends could do with ease.

The wall protecting the Knowth heritage site had to be eight feet high, and while she had little doubt Marti and Carrie would scale it with little effort, Kel didn’t think she could get over it. And she wondered what Carrie intended to do with her fearsome conduit. Kel was a cat person. Dingos—even reformed Dingos like Orla—terrified her.

They stood in silence for some time as the sky darkened and crickets serenaded them. No one passed them on the walking path, not so late in the evening. They were alone. For now.

Marti checked the clock on her phone for the tenth or twelfth time since Riann’s departure. Carrie whispered something to the dog and kissed its massive head.

Kel eyed the wall. “I’m never going to make it over.”

“I didn’t realize you’d tried already,” Marti said, her tone breezy.

Being Marti’s conduit was a bit like living with the world’s worst life coach. Encouragement through snark.

“I’m not a climber,” she said. “I don’t like heights. This surprises you?”

Kel had struggled with anxiety of one sort or another for most of her life. She really didn’t like heights. Or brushes with authority. Or the mere thought of treating with ghosts or undead spirits or whatever the hell this guy Lugh was.

She was learning to control the worst symptoms of her anxiety disorder. Coming to terms over the past year with the fact that she possessed power, that she not only could become a conduit for a Sidhe sorcerer but could make a material difference in a magical battle for the future of her world and the protection of humanity, had allowed her to confront her mental health issues as never before. The truth was, Marti had been enormously helpful in this regard, bolstering her self-esteem as they trained together to increase her capacity to fuel the Sidhe’s spells. But there was no real cure for general anxiety disorder or panic disorder, both of which afflicted her. She could control her anxieties, but not banish them entirely. And climbing stone walls? Dodging security in sacred Celtic landmarks? Still not for her.

“When was the last time you tried to climb anything?” Marti asked. “I’ve never seen you do it. And since in my experience everything you try to do you succeed at, I’m going to assume you can climb. That is, until you prove me wrong.”

Okay, maybe not such a bad life coach.

“I have no idea how we’re going to get Orla over,” Carrie said in her rich Australian accent. “She really doesn’t climb.”

Marti regarded the dog and then the wall. “It would help things quite a bit if you could develop a talent for levitation magic.”

Carrie grinned. “Yes, so I’ve gathered. I’m working on it.”

“Will she stay here if you climb over?”

“I expect so. But obviously I won’t have access to her power.”

“You shouldn’t need it. But we will need every pair of eyes on the grounds.” Marti glanced at her phone again. “Riann should be in position by now, and I don’t want to wait any longer.”

Marti climbed over first, leaving Carrie to help Kel up. Kel surprised herself, as Marti had known she would. Carrie offered to boost her, but the problem wasn’t physical—she could get herself over. The problem was psychological. And as it happened, she got over that, too. Within moments she had pulled herself up, swung her legs over, and climbed down the other side. Seconds later, Carrie dropped down beside her, silent and solid.

Orla gave a low whine from the other side, and the women winced.

“I hope she quiets down,” Carrie whispered.

Marti scanned the grounds. “Let’s make this quick in case she doesn’t.”

They set out through a fringe of forest before emerging into a shorn field. As soon as they were in the open, Kel stopped again, frozen and struck dumb by the scene before her. The moon hung just over the eastern horizon, orange and full and so huge she could barely comprehend it, as if the gods had dragged it closer to the earth just for this night. Beyond the first field and a second smaller one, stood several huge, grass-covered mounds. The central one was the largest by far, but all of them pulsed with power, carrying within them the weight of centuries. A light wind stirred the grasses, and the gossamer touch of moonlight made them glow as though lit from within.

Carrie and Marti had halted, too.

“Holy shit,” Carrie said, breathless, speaking for all of them. Wind touched the woman’s short, dark hair, and moonlight accented her high cheekbones, her square, handsome features.

Usually, even in a place like this, Marti would have tried to lighten the mood with a joke of some sort. Not this night.

“Let’s get this done,” was all she said.

They strode on, covering the distance to the huge central mound in awed silence. Marti made her way to a gravel trail that led to the top of the mound, but Kel and Carrie paused to examine the huge stones encircling the base of each grass structure. All were carved with ancient symbols and runes. Again, Kel was struck by the nearly oppressive force of history in this place, by the raw power that seemed to flow from the ground beneath them.

“Come on,” Marti called from the path. She glanced around, a frown creasing her brow. “I don’t want to be here when it’s fully dark.”

“Moon like that,” Carrie said, tipping her head eastward, “it won’t be dark tonight.”

“You know what I mean.”

They joined her on the trail and together they climbed the mound. By the time they reached the top and the ruins of the structures that once stood there, Kel was winded. Even Carrie was breathing hard, her cheeks pink.

Kel turned a full circle, taking in the vista, and stopping when she faced that incredible moon. “Are you sure this is where we’re supposed to be?”

Marti gazed eastward. “As opposed to . . . ?”

“I don’t know. The tomb, or one of the smaller mounds.”

Marti shoved her hands in her jean pockets, another gust of wind ruffling her hair. “Honestly, no. I’m not sure of anything. But I think this is all hallowed ground. If we summon him here, he’ll come here.”

“Will he be able to see us?” Carrie asked. “We’re still spelled, right?”
 “We should be. As to what he can see—” Marti’s shrug was eloquent. “Let’s find out.”

Marti set her feet, still facing the moon, and Carrie and Kel backed away from her, positioning themselves so that the three of them were equal points on a triangle. Marti raised her arms, tipped her face toward the moon, and closed her eyes. She looked beautiful, as always, but small atop the mound, with the Irish countryside stretching away in every direction.

“Lugh, Shining One, bearer of the Spear, bane of Baelor, I summon thee. Awake from your slumber, venture forth from your resting place, join me on this holy ground. I seek counsel, I foreswear trickery, I swear allegiance to your ancient cause. Heed my call and come!”

Her voice sounded weak amid the wind and whispering grass. Kel had heard her call for gods and ancients in the past; this summons, she thought, lacked power and reach. She hoped this was just a function of their location, and not some indication of what would result.

Carrie sidled closer to Kel. “I’ve seen Riann summon gods and living spirits but never a ghost. Will this summons work the same way?”

Kel regarded Marti, who stood motionless, her arms held high, her eyes closed. “Marti seems to think so,” she said, her voice low. “She didn’t draw on my power at all. It had better work, because I don’t think she knows any other way to get Lugh’s attention.”

They shared a pointed glance before Carrie reassumed her spot in the triangle. Still nothing happened — no change in the wind or the light, no sounds other than the susurration of the grass. Carrie and Kel shared another glance, and Carrie quirked an eyebrow. Kel shook her head.

Voices drew their gazes to the site entrance. Two uniformed security men entered the grounds, watchful and grim-faced. Kel didn’t think they were armed; back in the States they would be, but not here. Still, she and Carrie followed the men with their gazes as they circled the grounds and then climbed to the top of the same mound. Closer up, she could see that one of the men was older, sandy hair generously sprinkled with silver. The younger man was tall and brawny but clearly less sure of himself. They walked around the ruins, passing within just a few feet of the three women. Marti remained as she had been, oblivious, rapt in supplication. Carrie appeared as nervous as the younger guard.

As the two men completed their orbit of the top, a glowing figure appeared before Marti.

Carrie let out a small gasp. Kel managed to check herself before doing the same. Marti opened her eyes and lowered her arms. She eyed the gleaming man, then cast wary glances at the guards.

The man—the wraith?—was tall and lean, clad in a tunic of mail and dun cloth leggings. His hair, a pale, reddish gold, flowed to his shoulders; his face was chiseled and lean. He was, frankly, completely gorgeous. His eyes burned bright, like embers in a fire. And he held a spear loosely in his right hand. The Spear, Kel realized, her mouth going dry. The Spear of Lugh, which was said to make armies invincible. A sword hung from the other side of his belt, as did a slingshot; she wondered why he would need any weapons besides the Spear.

At first, the guards didn’t seem to notice him, and they started back down the gravel path off the mound. But as they walked away, the younger man glanced back.

“Holy shit!”

Both men stopped. The young guard pointed at the ghost, his hand shaking.

“You see that, right?”

The older man nodded.

Lugh leered and gripped the spear with both hands, brandishing it threateningly.

“Let’s get the fuck out of here,” the older guard said. Both of them hurried away. They peered back repeatedly, and Lugh stepped to the edge of the ruins, where he could be seen from below. Sooner than Kel would have thought possible, the guards were out the main gate. She heard car doors slam, the rev of an engine, and the squeal of tires.

Lugh rounded on them, still grinning. “That was fun!” His voice was higher than Kel expected, his brogue nearly impenetrable, his words thin and stretched, as though they came from a great distance. “What can I do for you lasses?” He sauntered toward Kel, his brilliant gaze raking over her boldly and lingering on her breasts.

Her cheeks burned. Of course, the one exquisite man who preferred her to Marti was three thousand years dead.

“We need your help,” Marti said.

He continued to ogle Kel. “So I gathered.”

“The Fomhoire have Nuadu’s Sword.”

At that, he whirled. “What?

“I take it we have your attention now.”

“How did this happen? Who gave it to them?”

“No one gave it to them. They took it. They’ve been opening portals from the Underrealm, attacking us where we’re weakest. The wars you fought never really ended, and now they have the advantage.”

“The Spear is safe?”

“For the moment.”

“Where is it?”

Marti shook her head. “I have no idea. Which is as it should be.”

“What of the Stone and the Cauldron?”

“They’re safe but only just. Lives were lost protecting them.”

“You know where they are?”

“I do. I won’t tell you.”

The warrior hesitated, nodded. “Yes. Very well.” He pivoted back to Kel, his expression less lustful but every bit as intense as it had been earlier. He opened his free hand, lifted and dropped his broad shoulders. “What is there that I can do for you? I cannot fight.” He regarded with a scowl the glowing spear in his hand. “This . . . thing . . . is no more substantial than I am. It is useless. One might argue that I am as well.”

“You’re not useless at all,” Marti said. “You could be incredibly important to our people. Again. You’ve defeated Baelor once, and more to the point, you are a creature of both the mounds and the Underrealm. You are both Sidhe and Fomhoire.”

The warrior rounded on her. “That is a lie!” His voice shook the ground on which they stood. He pounded the butt of his spear on the dirt, and the earth trembled a second time.

Carrie and Kel shared another anxious look. Marti appeared unconcerned. Wind lifted her raven hair, and moonlight made her face almost as luminous as Lugh’s.

“You done with the tantrum? Or do you want to fuss a bit more?”

“I am of the Tuatha Dé Danann! The Fomorians and I are enemies sworn! I am Lugh of the Long Arm! Wielder of the Spear! Slayer of Baelor!”

“Baelor lives. He slumbers most of the time, but he lives. What’s more, I’d guess you knew that already. So what is this really about?”

He lifted his chin and glowered. “Release me!” To Kel he said, “I wish we had more time, you and I. But your companion is as rude as she is brazen. If all she brings are insults and lies and accusations, I will not treat with her further.”

“Shall I summon Buach, or Nás, or Deichtine, or one of your other wives?” Marti said. “Shall I ask them what they know of your heritage? Shall I summon your Fomhoire mother?”

His glare deepened, but he hunched his shoulders, saying nothing.

“Don’t you see?” Marti said. She might have been speaking to a sulky child. “This is why we need you. This is what makes you so valuable to us. We’re going to retrieve the Sword, and we need to know how to get into the Underrealm. You can help us with that.”

“It would be madness for a Sidhe to enter the Underrealm. You will be found before you can walk a hundred paces. They will torture you for a millennium, kill you for the pleasure of it, and dance around your corpses drinking demon whisky.” He glared at each of them, daring them to argue.

“I’m not Sidhe,” Carrie said mildly. “I’m Fomhoire. Like you, I gather. And I’m the one going down there.”

He pressed his lips into a hard line.

“We didn’t come here to accuse you of anything or to besmirch your name or even to coerce you into helping us.” Marti walked a few paces, planting herself in his line of sight. “We came to ask your help. You’re the greatest of Sidhe heroes, and it really doesn’t matter to me who your parents were. You possess knowledge that we need. And I summoned you hoping you would share it with us. I honestly had no idea you would react as you did when I mentioned your Fomhoire heritage.”

“It is my shame.” He kept his voice so low that at first Kel didn’t understand what he’d said.

Marti shook her head and smiled. “It is not. You’re still celebrated in Sidhe history, in the history of all Ireland. None speak of this as a cause for shame. Please believe me. Us.” She nodded encouragement to Kel.

“She’s right,” Kel said. “Since I became a conduit, I’ve read many histories of the Tuatha Dé Danann. In all of them, you’re described as a hero, as the hero of the Sidhe.”

The warrior straightened. He even managed a faint smile. “My thanks.” He eyed Carrie again. “I would not have thought you a Fomorian.”

“Because I have two eyes, you mean?”

“Because you are beautiful.”

Her cheeks pinked. “Well . . . trust me, I am. At least enough that I can enter the Underrealm, retrieve the Sword, and come back here. But we need to know how and where to create a portal.”
 “You will need to go to Toraigh, to the Dún Bhaloir at the very east end of the isle.”

Toraigh,” Marti repeated. “Tory Island.”

Lugh nodded. “Aye, just so.”

“And the place there—”

Dún Bhaloir.

Kel pulled out her phone and typed in the name. Seeing what her search produced she looked up at Carrie and then at Marti. “Baelor’s Fortress.”

“Aye,” he said again. “What is left of it. For the Fomorians, it is the most powerful place in your world. If you cannot open a pathway to the Underrealm from there, you cannot do it at all. You should be there on the night of the new moon. That is when you are most likely to succeed. Use torches—none of your modern contraptions. And bring food.”

Kel and her companions exchanged glances.

“Because we’ll need to make an offering?” Carrie asked.

“No. Because food in the Underrealm is disgusting. They are demons. They do not eat as we do.” He frowned again. “Did.”

“All right,” Marti said, her tone unnaturally bright. “Is there anything else we need to know?”

The ghost nodded, grave again. “Cichol’s lair in the Underrealm is a maze of stone and shadow, and it is well-guarded. Souls are lost there, bewildered for all time by the labyrinth or killed by demons. Even your Fomorian here will need a guide.”

“Are you offering to accompany her?”

“I am not. I cannot. I can only manifest in certain places, none of which can be found in the Underrealm. No, you will need another to guide you.”

For several seconds, none of them spoke. Until at last Marti ran a rigid hand through her hair and said, “Well, crap.”

 

 

Professional Wednesday: The Last Book of a Series

The Chalice War: Sword, by David B. CoeA week and a half from today, on Friday, August 4, The Chalice War: Sword, the final book in my Celtic urban fantasy trilogy, will be released by Bell Bridge Books. (The first two books, The Chalice War: Stone and The Chalice War: Cauldron, are already out and available. If you haven’t already gotten them, please consider doing so. And if you have read them, please consider leaving reviews at your favorite book sites.)

I won’t bother telling you that I’m excited for this release (though I really am). The fact is, I get excited for every new release (but especially this one — really!). Even after so many published books (Sword will be my 30th) the thrill remains much the same. And there is something extra special about the concluding book in a series. A couple of weeks ago, near the end of my “Beginnings, Middles, and Endings” feature, I wrote about the things we want to accomplish with the final chapters of our novels, including bringing our story to a satisfying and thrilling culmination, completing our character arcs, and tying up our remaining loose ends. We want to do this with any novel, but to state the obvious, it is absolutely crucial to nail the ending of a final book in a series.

The Chalice War: Stone, by David B. CoeThe premise of The Chalice War trilogy is fairly simple. The four treasures of the Sidhe — the Stone of Fal, the Spear of Lugh, the Daghda’s Cauldron, and the Sword of Nuadu — are chalices of magic. As long as they remain in this world, the Above, the Sidhe sorcerers living in our midst can continue to protect our world. But the Fomhoire, masters of the demon Underrealm, seek to take the chalices from our world into the Below, and if they succeed, magic will cease to exist in our world and demons will overrun the face of the earth.

The first two books are set entirely in the Above — our world — where Sidhe sorcerers do battle with Fomhoire demons to protect two of the chalices (the titles give away which ones). But I wanted to do something different with the third book. And honestly, for a long time, I didn’t know what exactly that would look like.

The Chalice War: Cauldron, by David B. CoeYou see, I wrote the first iteration of book one, Stone, more than a decade ago, when I was in a lull in my career and was looking for something to write for the fun of it. I loved that first draft, but it needed work, and around the time I finished it, I signed my first Thieftaker contract, putting an end to the aforementioned lull. I started work on the second book, Cauldron, about seven years ago, hit a wall, put it away, came back to it four years later and finished it. Now, usually when I write a series, I know as I begin book one how the last book will end. Not with this series, because when I wrote that first book, I was playing around. I had no idea what it would become. So even after I finished the second book, I still wasn’t sure what to do with the series, because I had no idea how to write the third book without making it simply a repeat of one of the first two.

Except that’s not quite true. Early in the series, I reveal that the Fomhoire have already succeeded in stealing one of the chalices. The Sword of Nuadu is already in the Underrealm; the future of our world is poised on the edge of a blade. So, naturally, book 3 had to be about a journey into the Underrealm, the demon world, to steal back the lost sword.

But the idea of this intimidated me. I had no idea what the demon realm was like. I had no idea how to write such a book. So, I put books 1 and 2 back in a drawer, and I wrote the Radiants books, which was fun and great. I LOVE those books.

But the Chalice books haunted me. And the challenges of that third book called to me. I needed to create the demon realm, making it believable and tangible and rich and compelling, but also menacing enough to carry its share of the plot. I needed to have an exciting, engaging second plot line set in our world so that the characters who don’t go to the Below are still busy with Important Stuff. And, as mentioned earlier, I needed to nail the ending, to hit all the right emotional notes while tying off every one of my plot threads from the three books.

No pressure.

The fact is, not knowing what to write is an impediment to starting a project. But perceiving challenges? Seeing in a potential novel tasks that are going to force me to grow as a storyteller? That right there is incentive. And once I started working on the third novel, once I overcame that sense of intimidation, the book flowed quite easily. The result, in my biased opinion, is a strong, successful conclusion to what I believe is one of my best series yet. I hope you agree.

I posted a teaser last Friday, and will post another one this Friday. I hope you enjoy all three books. Thank you, as always, for your support of my work!

Keep writing!!The Chalice War trilogy, by David B. Coe

Monday Musings: Thunderstorm Memories

As I write this, a storm is moving in. The sky has turned an angry shade of purple-gray, and thunder rumbles frequently, close enough to reach me through windows closed against the oppressive heat, but far enough away that the house doesn’t yet tremble with each clash. The rising wind and first huge raindrops cool the air — welcome relief. Lightning flickers, and I hunger for the sweet, clean scent of ozone and fresh rain. I leave my computer to step outside for a few moments.

As a small child, I was frightened by thunder. I suppose most kids are. My father would come into my room during nighttime storms and sit with me, both of us counting the intervals between lightning flashes and thunder’s response. With his help, I overcame my fear and grew to love thunderstorms as much as he did. A gift. One among so many, more than I could possibly count.

Afternoon storms were a staple of Mid-Atlantic summers, reprieves from the hot and hazies of my native New York. We thought those days brutal, scorching. Little did we know what the future would hold for a climate-altered world. But I remember — as a boy and then a teen — going outside onto our front steps to watch storms roll in, much as I did just now. If my brother Jim was around, he would join me, and we would scan the sky, watching for forks of lightning, savoring the caress of splattered rain.

Years later, he and I would have a different sort of thunderstorm experience, in a cirque above tree line in California’s King’s Canyon National Park. We had planned a hiking trip into the backcountry, biting off far, far more than we could chew. Our first day of hiking was too strenuous for both of us — miles of steady, steep uphill walking, both of us carrying forty-plus pounds of gear on our backs. In the middle of the afternoon, storms rolled in, the Sierra Nevada sky churning. We had no choice but to take shelter, though by that point we were surrounded by low, stunted pines, huge boulders, snowfields, and little else. We got soaked, decided to make camp there so we could dry out. But as night fell, more storms moved in, and one of the cells settled directly over our campsite. Roars of thunder followed right on the heels of brilliant flares of lightning. And we huddled in a tent — one of those old ones, held up by metal poles. Frankly, we were fortunate to survive the night. We woke up to fog, fresh snow, and temperatures way less than half what they’d been when we left our car the previous morning.

Nancy grew up on a dairy just outside of Boise, Idaho, and we still go back to the Boise area to visit her dad, her brothers, and our nieces and nephews. That part of Idaho is essentially sagebrush desert reclaimed through irrigation, and though mountain ranges loom in the distance, much of the landscape between Boise and the Snake River is flat. So when thunderstorms move through the area, there is nothing to mute the sound or block one’s view. Miles from where one stands, daggers of lightning stab the terrain. And thirty or forty seconds might pass before thunder growls in reply, an afterthought, surprisingly clear and loud.

Shortly before Nancy and I left California to move to Tennessee, we paid one last visit to Yosemite National Park, one of our favorite places. It was a gorgeous early summer day, and though we’d made a point of going in the middle of the week, the park was still unbelievably crowded, as it usually is. We spent a little time in Yosemite Valley, but the crowds were worst there, so we passed most of the day in the higher elevations around Tuolumne Meadows, an area of dramatic mountain vistas, deep evergreen forests, and rolling alpine meadows. As is the theme of this post, a series of thunderstorms rampaged through the park that day, bringing high winds, pelting rain, and a fusillade of grape-sized hail that I feared would shatter the windshield of my old Toyota Corolla. I didn’t have much experience with hail at that point in my life, and in the middle of the storm, curious and foolish, I opened the car door (we were parked at a viewpoint) and stuck my hand out. The little buggers hurt, and when I said “Ow!” Nancy looked at me as if I was the dumbest guy on the planet and just said, “Well, yeah.”

There have been lots of other storms of course. When we reached Tennessee, we realized that thunderstorms are different in the Southeast. Some spring and summer nights, the sky flashes continuously for hours at a time, and thunder claps are so frequent they overlap to form an unceasing grumble. I’ve never experienced this anywhere else. It’s one of my favorite things about living here.

The storm that began as I started writing this has continued. Rain still falls, the sky glimmers and thunder echoes across the hollow in which we live. But the hummingbirds are feeding again, so maybe they sense fairer skies heading this way.

I wish you a week of cooling rains, dramatic skies, and fair winds.

Special Friday Post — THE CHALICE WAR: SWORD Teaser!

The Chalice War: Sword, by David B. CoeThe Chalice War: Sword will be published on August 4, two weeks from today! And so today, and again next week, you get to enjoy a couple of lengthy excerpts, teasers to whet your appetite for the third book in my Celtic urban fantasy trilogy! Have fun!!

***

Brilk’s home stood on a headland overlooking the river. It wasn’t a large structure, but it was more than he needed. As the day fires began their long dimming, he paused on the walkway to his front door, savoring the view, the colors in his garden, the flutter of bats around his chimney. He liked having so much space. Another reason to dread the impending takeover of the Sidhe world. With the diminution of his influence would come a reduction in his pay. How could he hope to find such a fine home in the Above?

He had skills, talents; he had authority and he knew how to wield it, as he had proven again today. All of this would be worthless in the Above. There was talk of leaving some behind, of maintaining the Fomorian realm even after the Sidhe were defeated and the God had his vengeance, but that was no more enticing than life Above. He didn’t wish to be relegated to a lesser world. Why couldn’t everything simply stay as it was? Why did Baelor have to pursue this foolish fixation with the Sidhe world?

Brilk gave a small gasp and turned a complete circle, abruptly uncertain as to whether he had merely thought that last or spoken it aloud. He saw no one nearby, though his neighbor, Mrs. Clatch slanted a glance his way as she watered her dahlias. He smiled weakly, raised a hand in greeting, and hurried into the house.

Once inside, he breathed easier. He also double-bolted his door. After depositing his briefcase in his office, he poured himself a generous glass of whisky and retreated to his den, where he could enjoy the view and not think about what Mrs. Clatch might have heard.

He sat, put his feet up, closed his eyes. This had been a good day. Not the day he anticipated, but the best days never were. He had faced a challenge and prevailed, as was his wont. Whatever the future might hold—for the Great One, for the Fomorian people, for Brilk—he would face it with a firm belief in his own abilities and intellect. For now, that would have to be enough.

He sipped his whisky, tried to get comfortable in his chair.

A noise from the front of the house made Brilk open his eyes, sit up, listen.

He heard it again. A footstep. Perhaps several. He set his glass on the table beside him and stood, trying to keep silent. His heart hammered, which was ridiculous. He was a Fachan. His kind were fearsome in battle. He recalled the tales his father told of his great-uncle Uvar, whose heroism during the Sluagh Uprising of 3457 saved countless lives. Brilk would face down this intruder, whoever it might be. Woe to those who dared to enter his home without his leave.

Or he could remain where he was, make not a sound, and hope the intruder kept to the other half of the house. Most of the good stuff was there anyway.

What if they didn’t come to steal? What if it’s a minion of Baelor, here to mete out punishment for traitorous thoughts?

Many Fomorians, he knew, displayed on their walls ancient swords and pikes and axes, mementos from the great wars fought by their forebears. Brilk had always preferred art. Right now, this struck him as a particularly poor choice.

“Hello?” A voice from the common room. A female voice. “Anyone at home?”

How threatening could a female be?

Quite, actually. He’d once seen a Fideal rip the arms off an Urisk to win a battle tournament.

He thought he heard a second voice, also female.

“I’m sure he’s here.”

“Maybe he’s hiding from us.”

“Maybe he’s seen you dance. That would scare anyone.”

Curiosity got the better of him. If the arrival of these females presaged his doom, so be it. He would not hide.

“I’m here,” he said, raising his voice so it carried through the house. “Come in and do your worst, if that’s your intent.”

More footsteps, now growing near. A moment later, three of them entered his den.

“Honey,” said the middle one, “if we wanted to do our worst, we wouldn’t need your permission.”

The Chalice War trilogy, by David B. Coe

They were Fachan, like him, and yet nothing like him at all. These might have been the most exquisite creatures he had ever seen. The one who had spoken had fiery red hair and a large eye the color of dew-kissed grass. She was—there was no other way to put it—voluptuous, and her clothes accented her broad shoulders, the round perfection of her breast. The two who flanked her were stunning as well. Brown hair, eyes of sapphire. They were taller than their companion, but every bit as desirable.

“Who are you?” he managed to ask, his voice unsteady.

The redhead approached him, placing one foot before the other so her hips swayed. Brilk swallowed.

“We’re friends, honey.”

“We. Come. In. Peace,” one of the others said, enunciating each word.

The redhead glared back at her. “He understands you fine, Nellie. You don’t have to talk to him like he’s hard of hearing.”

“Well, I don’t know.” This second Fachan held out a hand in front of her eye. “I can’t get used to seeing this way. I can’t tell what’s where and which things are closer.” To Brilk she said, “How do you do it?”

“Um . . . .”

“Don’t worry about her,” said the redhead, commanding his attention again. “We want to talk to you. We need your help.”

“I still don’t know who you are.”

She looked back at the third one, who shrugged in response to whatever she saw on Red’s face. The more Brilk watched and listened to them, the more convinced he became that they were sisters. The two with brown hair could have been twins, and the redhead resembled them.

“Is there a place you can sit down, honey?” she asked.

“I’m not sure I want to invite you to sit until I understand why you’re here.”

“Not us. You. We prefer to stand.”

“I’ll say,” the third one added. “I can’t imagine sitting in this dress. I’d bend at the waist and boom! Out I’d pop.”

Brilk felt his cheeks warm.

“More fun for you than me, doll.”

The three of them stared and Brilk stared back.

“A chair?” Red prompted.

“Ah! Yes.” He grabbed the nearest chair from his dining table and sat.

Red began to orbit, tracing a finger across his shoulders as she passed. He nearly sighed aloud.

“Have you ever heard of the Morrigan?” she asked.

Brilk didn’t move. Obviously he knew of the Morrigan. How could anyone not? But he sensed that any answer to her question invited peril. Her implication was both clear and incomprehensible.

These three were the Morrigan? The Battle Furies? Impossible. Though it would explain their ability to enter his home as they had, through locked doors and bolted windows. And the Furies were said to be a trinity: Macha, the eldest and most powerful, Badbh and Nemain, her twin sisters. They were also said to be hags, ancient and withered, hideous and terrifying. These three were none of those things. Nor had they appeared to him in their true forms, Macha as a great horse, the twins as ravens.

“Honey?” Red said, setting her fist on a cocked hip. She seemed to be losing patience with him. Not good, if these three were truly the Morrigan.

“Maybe he doesn’t hear so well,” said the second Fachan. “You should try talking loud and slow like I did before.”

“He heard us just fine.”

“You claim to be the Morrigan?” Brilk said. “I would see proof.”

“Really?” the third demanded, steel in her tone. “We tell you we’re the Furies, and your response is to suggest we’re lying? Not smart, demon.”

Brilk wet his lips and stared at the floor. Perhaps she was right.

“Calm down,” the first one said to her fellow Fury. “Think like a Fachan for a minute. Would you believe us? Wouldn’t you want proof?”

“I squeezed into this damn dress for him. I’m not going full-on raven for him, too.”

“We don’t have to. Look at me, honey.”

Reluctantly, he lifted his gaze to Red, and his mouth fell open. She wasn’t Fachan anymore. She was human, or maybe Sidhe. Two eyes, two . . . bosoms. He could only assume she would be considered as glorious in the Above now as she had appeared to him seconds before. He understood that for her purposes, and his, the transformation itself was what mattered.

He flung himself out of his chair and prostrated himself before her, before them.

“That’s more like it,” said the third.

“No, it’s not. Get up.”

Brilk wasn’t sure he ought to.

“It’s okay. Get up. Sit in that . . . that comfortable-looking chair, and tell me about yourself.”

He pushed himself up to his knees. At her nod of encouragement, he climbed back onto the chair. The other two appeared bored.

“What’s your name?” Red asked.

“Brilk, Your Highness . . . Great One . . . I don’t know what to call you.”

“If he’d seen our act, he wouldn’t call you ‘Great One,’” said the third sister.

Red glowered, the expression even more intimidating in her Above form. She turned to Brilk again and favored him with a smile. “You can call me ‘Goddess.’ Would you like me to go back to being Fachan?”

“Y-yes, Goddess. Thank you.”

With a sweep of her hand and a ripple in her appearance, she assumed again her earlier, more pleasing form.

“Better?”

He nodded.

“I’m Macha.” She indicated the second and third sisters. “This is Nemain, and this is Badbh. My sisters and I are here for a reason. We believe you can help us and, by doing so, help yourself. You’d like to help us, wouldn’t you?”

“Can we move this along, please?” Badbh asked. “We have a rehearsal, and it’s going to take me a least half an hour to shower off the Fachan stink.”

Macha closed her eye briefly, then focused on Brilk again. “Would you like to help us, Brilk?”

“I’ll do anything I can, Goddess. But I’m hardly in a position—”

“No false modesty now. You have influence, authority, skills. You’re more important than you would have us believe.”

His cheeks burned again, and he fought to keep a smile from his lips. He couldn’t deny that her words swelled his heart. The Morrigan knew of him. They thought him important, a significant figure in Fomorian society. The Goddesses had come to him for help.

“I suppose I have some small influence among my peers.”

Badbh rolled her eye. Nemain examined her nails. Macha, though, brightened at his response.

“Of course you do. Now, I want you to answer a question for me, and I want you to be honest. What do you think of Baelor’s attempts to take over the Sidhe world?”

The heat in his face vanished, leaving him chilled and terrified. He felt as though his soul had been laid bare, as if the Great One himself had flayed the skin from his body, leaving only muscle and bone, blood and viscera. He couldn’t hide. He couldn’t answer. He could hardly breathe.

“I think you broke him,” Badbh said, leaning closer, studying his face. “Seriously. He’s totally wigging out.”

“Brilk—”

“Please, Goddess,” he whispered, dropping off the chair to his knees. “Don’t make me answer. I beg you.”

Nemain’s brow furrowed above the bright blue eye. “Awww! He’s kind of cute when he begs.”

“No one can hear you but us,” Macha said. “You have my word. You’re under our protection. Not even Baelor can reach you right now. He can’t hear or see or know what you’re thinking or saying. Now, answer the question.”

“I dare not.”

Badbh stepped closer so she was shoulder to shoulder with her sister. She gestured and Nemain hurried forward to stand with them.

“You need to ask yourself, doll,” the third fury said, “who is the greater threat: Baelor in his palace, leagues and leagues away, or the three of us, standing right here, holding your life in our hands.”

He looked to Macha, but she merely quirked her eyebrow, this once appearing in no mood to temper her sister’s remark.

“He hears all,” he said, breathing the words. “He knows all.”

“Oh, good lord, he does not,” Badbh said. “None of us do. We wouldn’t have known to come here if not for your stupid diary, which you left open, and which we found while searching—”

Macha put a hand on her arm. “Enough. But she’s right, honey. He doesn’t know all. Omniscience is a convenient myth for beings like us. But really there’s no such thing. Now, I’ve shared a little secret with you, and I need you to return the favor. So, answer the question, or risk trying our patience.” Her tone hardened as she said this last.

He wet his lips with the tip of his tongue.

“I . . . I am not as enthusiastic as some Fomorians I know.” He grimaced, expecting to be struck dead by a bolt of lightning or crushed by some giant unseen fist. When he wasn’t, he relaxed fractionally.

“‘Not as enthusiastic,’” Macha repeated, her voice flat. “It goes a little deeper than that, doesn’t it?”

“I . . . I suppose. We’re quite comfortable now, aren’t we? And we have worked hard to become so. My family—we’ve helped to build an agricultural paradise in the Below.”

“I think maybe ‘paradise’ is a bit much, don’t you?”
 Macha slapped Badbh’s arm, earning a scowl.

“And so you would rather live here?” Macha said.

“I don’t want to see this all go to waste. And . . . .” He dropped his gaze. “And, I don’t wish to see my influence diminished. I matter here. I’m a figure of some importance. Not a lot. I don’t deceive myself in that regard. But I have a fine home, a position of responsibility, a decent wage. In the Above, I would be . . . no one.”

“We understand, don’t we?”

Badbh nodded. Nemain looked doubtful, but when Macha scowled her way, she pasted a smile on her lips and said, “Sure we do.”

“The question is, what can we do about it? All of us, working together.”

He couldn’t bring himself to speak. He didn’t want to hear more, but neither did he wish to incur the wrath of these three. Somehow, through no fault of his own, he had drawn the attention of powers beyond his reckoning. What had he done to deserve such a fate?

Badbh had already answered this question. He had written—

“Wait, you read my diary?”

Badbh leered. “Welcome to the conversation.”

Professional Wednesday: Beginnings, Middles, and Endings, part VI — Final Thoughts

This week I close out my Professional Wednesday feature on “Beginnings, Middles, and Endings” with some general observations about narrative structure. If you are just coming to this series of posts, I would recommend you go back and read the previous entries on openings, middles (here, here, and here), and endings.

Not surprisingly, I stand by all I have written in the preceding essays. But I also think it is worth pointing out that everything I’ve written in this series of posts thus far assumes a linear approach to narrative. And for writers who are at the start of their careers, still learning their craft and/or still trying to break into the business, that is the safest approach to storytelling, if not the most exciting or innovative. The three-act narrative structure has been around for a long time. Lots of creative careers have been built on it. One could argue that the entire movie industry was founded upon it, and did quite well for a long time, thanks very much.

But for many of us, the real fun begins when we take apart that traditional narrative structure and piece it back together again in ways that are less predictable and more challenging, for creator and audience alike. There are so many fine examples of this, I hardly know where to begin. William Faulkner’s masterpiece, The Sound and the Fury, is the first one that comes to mind. In it, Faulkner tells the story of a tragically dysfunctional Southern family by focusing on the events of four days as experienced by four different point of view characters. Each section adds crucial details of the family’s rise and fall, until the final point of view brings all the previous elements together into a coherent whole.

One of my favorite novels of all time is Angle of Repose, by Wallace Stegner, which consists of two narratives, one of an older man coming to terms with the looming end of an unhappy life, and the other tracing the life of his mother, which the man reconstructs as he reads through her journals. The two narratives intertwine and feed one another in unexpected and poignant ways.

Many of you are probably familiar with Quentin Tarantino’s film Pulp Fiction, which interweaves several storylines, playing with chronology, coincidences, and chance encounters to create a fascinating (albeit bloody and graphically violent) fractured whole.

No doubt you can think of many other examples — together we could go on for pages and pages pointing to all the innovative narrative structures we’ve encountered, be it in novels, short stories, movies, television episodes, etc.

My point in presenting these posts was to familiarize readers of my blog with the basics of traditional, linear narrative structure. Because before we as artists start breaking the rules, we need to KNOW the rules and even master them. Miles Davis and Charlie Parker didn’t start off their musical lives creating jazz classics that sounded like nothing that had come before. They started by learning their craft and by becoming virtuosos of well-established jazz styles. THEN they innovated and changed the world.

The other thing to remember is that straying from narrative traditions doesn’t always work. The examples I have given, and those you can think of, are the ones that were successful and memorable. As many as we might think of, I’m certain they represent a minute fraction of those that have been attempted. The vast majority likely fell flat. And even those that are part of successful works are not always worth emulating.

The end of The Lord of the Rings (the books, not the movies) actually has two climaxes. There is the final battle with Sauron’s army which coincides with Frodo and Sam’s final ascent of Mount Doom and the fight with Gollum over the fate of the Ring. From there the book starts to wind down, with the coronation of Aragorn and leave-takings and resolutions to so many relationships. But then the hobbits return to the Shire and we have the second climax, “The Scouring of the Shire,” which sees Frodo, Sam, Merry, and Pippin having to rally their fellow hobbits to defeat Saruman and Wormtongue. The books were successful obviously, but that is not a structural quirk I would recommend for any beginning writer or established author.

Islevale compositeWhich is another way of saying that innovation for the sake of innovation is not necessary or advised. Yes, it’s fun and challenging to write books or stories that don’t conform to simple linear narrative. I learned that with the Islevale Cycle, my time travel/epic fantasy series. And if you have ideas for playing with chronology or otherwise changing up your narrative style, by all means give it a try. But don’t feel that you have to. There are plenty of books, movies, plays, and stories out there that conform to regular old narrative form, and they do just fine. Better to write a story in the normal way and have it come out well, than to change things up just for the purpose of doing so, and thus leave your audience confused.

Keep writing!!

Monday Musings: A Strange Post In Times Of Personal Struggle

This has not been the best week for my family and me. It was, actually, the sort of week that not so long ago would have convinced me to take a break from blogging at all, to say “I need some down time” and withdraw from the social media world.

I’m not going to do that. After the last time, I pledged to all of you — and to myself — that I wouldn’t do it again, and I intend to live by that pledge. The fact is, as a self-employed writer, I have the luxury of being able to slip away when I want to, to take as many mental health days or personal days or vacation days as I please. Put another way, I am spoiled rotten.

I look at Nancy, who is dealing with the same things I am, and who goes to work every day to complete projects and interact with people, and I marvel at her strength. I look at my younger daughter, who also faces the fear and grief as well as issues of her own, and who also goes to work each day, in the health care industry no less, being reminded constantly of our own family struggles, and I am amazed by her resilience and self-composure. I look at my older daughter, who lives in the center of the storm, coping with this cruel, relentless illness, and who still manages to live her best life, and I am humbled by her courage, her resolve, her spirit.

And I think of the rest of you, who face challenges of your own — emotional, physical, familial, socio-economic, cultural, and more. Obstacles are thrown in our paths every day. All of us face them. Few are as privileged as I am in terms of the freedom I have to grapple with them on my own terms. The fortitude I see around me on a daily basis blows my mind and inspires me to do better.

Yes, my family and I are working through a lot right now, and it’s not going the way we would like. But we have the resources we need to face our problems, and too many others in this country, in this world, don’t. We have friendships old and new that sustain us when things get rough, and too many others have to meet their challenges alone. We have one another to offer love and support, to share laughter and tears, and we are so fortunate in this respect, as well.

This is an odd post, I know. My apologies for that. In the past, this would have been a post in which I tried to explain, in vague terms, why I was stepping back from my blog and my various accounts. And since I DON’T intend to step back this time, I thought maybe it would make sense to explain how I came to that choice. And the short answer is, it’s because of the amazing people around me — family, friends, colleagues, fans, acquaintances. You all have given me a standard of strength and bravery to which to aspire.

So, I will continue to write and edit. I will continue to blog and comment. I will go about my regular routine as best I can given the circumstances. I am getting help. I am taking care of myself. I am taking steps to maintain and improve my emotional health. I am enjoying time with my newly-liberated-from-an-overwhelming-administrative-position spouse. I am chatting regularly with my beloved daughters. I am reaching out to friends and extended family. And we have some fun stuff planned for later in the summer, which will help in all sorts of ways.

If you are struggling right now, facing obstacles of your own that seem insurmountable, I wish you peace and strength, comfort and compassion. Life throws all manner of stuff our way and none of us is immune to its vagaries and difficulties. One of the hardest things for me is something I listed in the preceding paragraph — reaching out to people, to my support network. None of us likes to be that person, the one who always seems to call with terrible problems. And so we pull back, waiting until we feel better, believing on some level that we ought to be able to get through this stuff on our own. Asking for help takes courage, and too often I shy from it.

But the thing is, speaking now as a friend, a brother, a father, spouse, I NEVER mind when the people I love seek my help. I am always eager to lend love and support. And I know the people I rely on feel exactly the same way. In the end, I think it’s about pride, which is silly. I know this, and still I struggle. I’ll work on that, too.

Anyway, thanks for reading this. As I say, a strange post, but one I felt I needed to write.

Wishing you a wonderful week.

Professional Wednesday: Beginnings, Middles, and Endings, part V — What Makes a Good Ending?

Continuing my Professional Wednesday feature on “Beginnings, Middles, and Endings,” (previous posts can be found here, here, here, and here) I now turn to endings. And I will begin by stating the obvious: The ending to our story is likely the most important part of the story arc. Yes, the beginning hooks our reader, which is crucial. And the vast middle carries the plot and the character arc, which is even more essential.

But a book can recover from a weak beginning if its narrative and characters are strong enough, and a flaw in our plot line can be overcome with compelling character development. There is, however, no recovering from a poor ending. Even if the rest of the story is perfect, a narrative climax that fails to fulfill the promise of those early pages and/or a denouement that leaves readers unsatisfied can spell doom for a novel or piece of short fiction.

So, how do we get it right? What are the necessary components of a “good ending?”

Time's Assassin, book III of The Islevale Cycle, by D.B. Jackson (jacket art by Robyne Pomroy)Those are not easy questions to answer. As with beginnings and middles, there are as many ways to approach an ending as there are stories to be written. Different authors like to do different things with their closing chapters. And so, again as with the other parts of story structure, we can learn how to write good endings, in part, by reading as many books and stories as possible. Guy Gavriel Kay’s stand-alone fantasy novel, Tigana, has one of the finest endings of any book I’ve ever read. It is haunting and beautiful and — surprisingly — uncertain. But it is incredibly effective. Of all the endings I’ve written, I believe my favorite is the closing to Time’s Assassin, the third and final book of The Islevale Cycle, my time travel/epic fantasy trilogy. Why do I think it’s the best? Because it ties off all the loose ends from my narrative. It hits all the emotional notes I wanted it to. My characters emerge from those final pages changed, scarred even, but also in a place of growth and new equilibrium. Also, it’s action-packed and, I believe, really well-written.

And speaking only for myself, since I am but one writer, I would say that those are the main things I want my endings to accomplish. Let me list them again, with a bit more explanation:

1) Offering a fitting, exciting climax to my narrative. This can be considered as the ending of the middle, or the beginning of the ending. I include it here because I think of it as the latter. Most of us are pretty comfortable with writing this part of our story — it’s something many of us anticipate with relish. All that hard work we do on the middle is done in the service of setting up the climax. To my mind, our narrative climax and the crucial moment in our protagonist’s character arc, should basically coincide. The lead character should achieve their full potential as the story is coming to that big moment. And so, when writing stories in any sort of magical setting, I like to have my protagonist’s magic fail them in the final “battle,” forcing them to draw instead on more relatable (for my readers) human qualities — courage, resilience, intelligence, creativity, etc. Just a personal preference.

The Loyalist Witch, by D.B. Jackson (Jacket art by Chris McGrath)2) Tying off various narrative loose ends. The most important story element is the central conflict, which the climax should either settle (if the book is a stand alone or the last of a series) or advance in some significant way (if the book is a middle volume of an extended series). But there are often other narrative threads that need to be concluded to the readers’ satisfaction before our audience will feel at peace with the story’s ending. These can include unresolved relationship issues (strained friendships, burgeoning or troubled romances, conflicts between siblings or a parent and child, etc.), missing information and/or secrets that could not be revealed before the climax ran its course (this is especially common in mysteries like the Thieftaker stories), or character arc and narrative arc issues involving secondary characters and storylines. Part of the so-called “denouement” involves wrapping up these additional story threads.

3) Hitting those final emotional notes. In a sense, this is part of #2. But I list it separately because I believe it to be so important to what we do in our final chapters. Readers don’t simply want the story to wrap up in a nice, neat package. They want emotion. They want something cathartic and moving and memorable in those last pages. I’ll be blunt — I strive in the final pages of my book to make my readers choke up. And usually I can tell if I’ve done this because if the scene works on that emotional level, I choke up while writing it. As Robert Frost once said, “No tears in the writer, no tears in the reader.”

4) Leaving my lead characters at a new equilibrium. If our stories matter, if the narrative we have woven carries weight, then our central characters ought to emerge from them as something more than what they were at the story’s outset. They should not just be the same people at its end. That diminishes the significance of what our readers have experienced. The characters might bear scars — physical and/or emotional — from what has happened to them. They might have grown in some way. As with so much of this, the changes we put them through are story-dependent. The important point, though, is that the events of the story have left their mark. And for fantasy or science fiction tales, this is true not only of main characters, but also of settings. Think of Frodo at the end of Lord of the Rings, and think as well of the Shire, and of Middle Earth. There is continuity, but there is also lasting impact from all that has occurred.

5) Hinting at what is to come. Clearly, this can pertain to middle books in a series. We want our endings of those middle volumes, or of stand-alone books in an ongoing serial (like Thieftaker), to offer some glimpse of what awaits our heroes. We don’t have to do a lot of this. I’m not suggesting ending on a cliffhanger. Indeed, I don’t like cliffhanger endings at all, in any context. But we do want at least to nod in the direction of what might happen next. And to my mind, this is true of the final volume of a series as well. Most stories end with key characters still alive and looking to the next “chapter” of their lives. What might those chapters look like? We don’t need a lot of such information. But a hint — the continuation of that burgeoning romance, a better relationship between characters who have been at odds. The last line in Casablanca — “Louis, I think this is the beginning of a beautiful friendship.” — is exactly the sort of thing I’m talking about. We know Rick and Louis will be fighting for the Resistance. We don’t know precisely what that might mean, but we are happy to be left with the image of them as brothers in arms.

This is a long post, but I managed to get in much of what I needed in order to cover the topic of endings. Next week, some final thoughts on story structure.

Until then, keep writing!

Monday Musings: Humans Behaving Stupidly

In real life, it’s not so easy. When actors in life’s drama do dumb things, we can’t revise the narrative to avoid disaster.

We’ve all experienced the frustration. We’re reading a book or watching a movie or television show, and one (or several) of the lead characters in the story does something that’s just plain stupid. Blind to the peril before them, unwilling to heed the advice and warnings of others who know better, they rush headlong into danger, placing themselves and their loved ones at risk. We shout at the screen or curse the pages, knowing that terrible consequences will result from this patent idiocy, but on the characters go, compounding foolishness with carelessness and neglect and hubris until calamity befalls them. Deserved calamity. Chickens coming home to roost. Just desserts.

As a writer, I have to guard against doing this. Because the fact is, often bad choices by our lead characters can feed our narratives. “If only Character X would do this, then Characters Y and Z could do THIS, and wouldn’t THAT be cool!” Good editors — and I’ve worked with several — point out these moments and tell me to make certain Character X has a REALLY good reason for doing that not-so-smart thing. Because if they don’t have a good reason, this action will tick off my readers, putting them through that frustration I mentioned above.

And as an editor, I often have to flag moments in the manuscripts of my writers (or my clients) where they have led their protagonists down a foolish path, making them do things that serve the plot but not their own self-interest. “Make sure this is a reasonable, rational course of action,” I’ll say, “because otherwise this moment feels contrived, like something no clear-thinking person would do.”

Usually, in a fiction manuscript, the fix is fairly easy. We can get the characters to where the narrative needs them to be in a way that doesn’t feel so foolhardy and reckless. We can rewrite until it makes sense AND makes for a good story.

In real life, it’s not so easy. When actors in life’s drama do dumb things, we can’t revise the narrative to avoid disaster.

This past week saw climatologists record the four hottest days in human history. Monday’s record global temperature was measured by the U.S. National Centers for Environmental Prediction at 17.01 degrees Celsius (62.62 degrees Fahrenheit), exceeding the previous record, which was set back in August 2016, by about .09 degrees Celsius, or .16 degrees Fahrenheit. That might not seem like a lot, but for global averages that usually vary in tiny increments, this was a significant jump.

Monday’s record lasted one day. Tuesday was hotter. Wednesday was hotter still, and Thursday was even hotter than Wednesday. Thursday’s global average reached 17.23 degrees Celsius, exceeding Monday’s record by nearly .22 degrees Celsius, or more than twice the margin by which Monday’s global average exceeded the old record.

The records don’t end there. June 2023 was the hottest June on record. 2023 is shaping up to be the hottest year in recorded history. The last eight years have been the hottest eight years ever documented. And of the twenty hottest years measured by climate scientists since the mid-19th century, all of them — ALL OF THEM — have occurred in the first twenty-three years of this millennium. Ocean temperatures are at record highs, sea ice volume is at a record low.

Scientists across the globe used words like “terrifying” and “unprecedented” to describe last week’s temperatures, and several pointed out that while measurements of global temperature only go back to the beginning of the Industrial Age, evidence from other climatological data suggests that global temperatures could now be at levels not seen in more than 100,000 years.

And yet, none of the scientists interviewed by the major news outlets seemed overly surprised by what happened last week. Frustrated, yes. Surprised, not so much. And who can blame them?

When I was a senior in college, I took an environmental science class that was geared toward non-science majors: “Major Issues in Environmental Policy,” or something of the sort. During the course of the semester, our professor returned again and again to the threat to the planet posed by global warming and the unchecked increase in greenhouse gases being pumped into our atmosphere by automobiles, power generation, manufacturing activity, industrial agriculture, and other human endeavors. He warned of rising global temperatures and the resulting consequences, which included more extreme weather, greater risk of flooding, drought, and wildfires, shrinking glaciers, rising sea levels, etc., etc., etc.

Everything he predicted in that class has come to pass. Everything.

I took the class in 1985.

To be clear, last week’s record-setting heat was caused by a combination of factors, some related to human actions, others naturally-occurring. The spike in global temperatures resulted from a confluence of decades of climate change and the warming effect of this year’s powerful El Niño, a cyclical climate fluctuation caused by warmer than average currents in the Pacific. But researchers believe El Niño and its sister phenomenon, the climate cooling La Niña, have been occurring for thousands of years. Human-induced climate change in the X factor here.

And we, I am sorry to say, are the infuriatingly myopic characters I mentioned at the outset of this piece. We have been warned of the danger facing us time and again by people who know better — by climate experts, by NASA, by NOAA, by the Intergovernmental Panel on Climate Change, by the World Meteorological Organization, by a scientific community desperate to head off looming cataclysm. For half a century or more we have been told that this day would come, that our planet is hurtling toward a crisis from which it may not be able to recover.

We have delayed and denied. We have made excuses and engaged in the worst sort of incrementalism. We have watched as “once in a century” storms become routine, as horrifying wildfires blacken our landscapes and turn our skies apocalyptic shades of orange and brown. We have ignored all the warnings, and have thus saddled our children and generations to come with the responsibility of cleaning up our mess.

The events of last week merely confirmed what climate scientists have known for some time now. Climate disaster isn’t our future, it’s our present. It is here. At this point, knowing all we do, there is no good reason to ignore the science. Our own self-interest dictates that we must take action now. Because unless we, the characters in this tragedy, act immediately to change the course of humanity, to convince our political leaders that we care about our land, our water, ourselves, our children, our grandchildren, we will destroy the earth. An act of foolishness, of hubris, of neglect and carelessness and ultimate stupidity.

And who will be left to curse the pages of human history?

Cover Reveal: The Chalice War: Sword

Here it is! The jacket art for The Chalice War: Sword, coming from Bell Bridge Books on August 4. This is the final volume in the series — The Chalice War: Stone and The Chalice War: Cauldron are already out and available for purchase!

Some of the action in this third volume takes place in Ireland and some of it is set in . . . (wait for it) . . . the Underrealm — the Fomhoire world! I’ve been to Ireland, and drawing on those experiences to write the relevant chapters was great fun. And so was imagining the demon realm and bringing that setting to life. A challenge, yes, but also so rewarding as the world took shape.

The book includes many of the characters readers have encountered and come to enjoy in the first two books — Kel and Marti, Riann and Carrie, Manannán and the Battle Furies. And, as you would expect, this newest book also introduces a new set of characters in our world and in the Below.

So without further delay, here is the jacket art, done once more by the amazing Debra Dixon, who is my editor and publisher as well as the genius behind the art:

The Chalice War: Sword, by David B. Coe

Professional Wednesday: Beginnings, Middles, and Endings, part IV — Keeping Our Plots Tight

Today, I bring you one more “Middles” post in my several-weeks-long feature on “Beginnings, Middles, and Endings.” You can find past posts in the series here, here, and here.

I made the self-evident point a couple of weeks ago that the vast middle of any book is by far the largest segment, which is why I have spent a few weeks on the subject. At the same time, though, there are as many different ways to approach the middle (and the beginning, and the ending) as there are books to be written, which is to say there’s an infinite number. And so there are only so many specifics I can offer. This, it seems to me is especially true of the middle. Beginnings share a common purpose — we use them to hook our readers. Endings seek to cap off our narratives, tie off loose ends and, perhaps, hint at additional story elements to come in subsequent volumes.

The purpose of the middle is to tell the story. How’s that for vague?

As I say, the middle can take readers literally anywhere. That said, though, I believe strongly that every scene in the vast middle has to serve a narrative purpose. This is one reason why I tend to rely on an outline when I write. Even if that outline is rough and purposefully sketchy, it helps me organize my thoughts and plan out my story. I don’t do it because I’m OCD. (I mean, I am OCD, but that’s not why I outline. Or at least it’s not the only reason. Okay, moving on . . . .) I do it because I don’t want wasted pages in my manuscript. I want my pacing as taut and clean as it can be.

Shapers of Darkness, by David B. Coe (Jacket art by Romas Kukalis)I am currently reading through my Winds of the Forelands series, editing OCR scans of the books in order to re-release them sometime in the near future. Winds of the Forelands was my second series, a sprawling epic fantasy with a complex, dynamic narrative of braided plot lines. At the time I wrote the series (2000-2006) I worked hard to make each volume as coherent and concise as possible. Looking back on the books now, I see that I was only partially successful. I’m doing a light edit right now — I’m only tightening up my prose. The structural flaws in the series will remain. They are part of the story I wrote, and an accurate reflection of my writing at the time. And the fact is, the books are pretty darn good.

RADIANTS, by David B. Coe (Jacket art by Belle Books)But when I hold Winds of the Forelands up beside the Radiants books, or the Chalice War novels, or even my Islevale Cycle, which is my most recent foray into big epic fantasy, the older story suffers for the comparison. There are so many scenes and passages in WOTF that I could cut without costing myself much at all. The essence of the storyline would remain, and the reading experience would likely be smoother and quicker. — Sigh — So be it.

Again, the purpose of outlining, and the purpose of revising and editing, ought to be to make our work as concise and focused as possible. I can think of several books by big name authors that have in their vast middles scenes that meander, that serve little or no narrative purpose, that (in my opinion) actually detract from the larger story. I won’t name the books or authors, but chances are you have come across similar scenes in books you’ve read. Maybe you’ve encountered the same ones I’m thinking of. This is the sort of thing we want to avoid. Big name authors can get away with doing this occasionally. Authors seeking to break into the business, or mid-list authors looking to move up the ladder, simply can’t.

So, how do we avoid those superfluous, serve-no-purpose scenes?

Well, as I’ve said already, one way to avoid them is to outline. I know there are many dedicated so-called “organic writers” out there, and I respect that. Again, I outline loosely, precisely because I want to maintain the organic quality of my writing. Still, outlining really can help keep us from straying from our crucial plot points.

So can something called Vernor’s Rule. This is a writing principle I have discussed before in various venues. Allow me to explain it again here. “Vernor” is multiple Hugo-award winning author Vernor Vinge, who is best known for such books as A Fire Upon the Deep and A Deepness In the Sky. For a time, he and I had the same editor at Tor Books — that editor is the person who first told me of Vernor’s Rule.

Vernor’s Rule goes like this: There are basically three things we authors do as storytellers. We advance our plots, we build character, and we fill in background information. (Yes, this oversimplifies things a bit, but if you think about it you soon see that all we write can be placed under these three broad headings.) Every scene we write should be doing at least two of these things simultaneously. Preferably, each scene should do all three things at once. If a scene only accomplishes one of these things, or — heavens forbid — none of them, our narrative has stalled and we need to rework the scene.

Got that? If not, read the paragraph again — it sounds more complicated than it is. Really. It means essentially that writers need to multitask all the time. Every scene, every passage, ought to accomplish several things at once. That’s how we keep our narratives moving. That’s how we tackle the vast middle.

Next week we start endings. As it were.

Keep writing!