So…I kind of accidentally started working on the eighth book in the Caitlin Ross series, The Sun and the Moon. Here’s a brief excerpt to pique your interest! Remember, if you’re new to the series you have SEVEN books to catch up on before you’re ready for this one.That should get you through a major portion of your Goodreads challenge for the year! Enjoy!
I’ve written seven novels in my Caitlin Ross series now, and unless the coming release of The Well Below the Valley changes things, the one that has prompted the most divisive opinions among readers is The Parting Glass. There are a lot of reasons I’d expect this to be the case–my PoC characters rely too much on tired tropes, for example. But that’s not what I hear. Simply put, reader response falls into two camps: Those who like Romance novels love it, and those who don’t, don’t. They see the entire second act, which focuses on Caitlin and Timber’s developing relationship, as a distraction from the main story. If they’ve started at the beginning of the series, which most have, they’ve read three books of magic and action by this point. They want more magic and action, not this icky love stuff, thank you.
This interests me.
When I started the series, I didn’t set out to write Romance. In fact, I set out NOT to write Romance. (I didn’t set out to write a series, either, but that’s beside the point, I guess.) I did, however, have two specific agenda. First of all, I wanted to portray a true-to-life Witch rather than a sensationalized one. As you’ll know if you’ve read the books, I did end up giving Caitlin some extraordinary powers because doing without them became far too complicated and adding them kept things interesting. For the most part, though, I stick to the thought process, actions, and world view one would expect from a long time practicing Pagan. I also wanted to present exceptional Tarot readings, because at the point where I began I was sick to death of every Urban Fantasy author inserting an obligatory Tarot scene when they obviously knew nothing whatsoever of the subject beyond reading the little pamphlet that comes with the deck.
Second, I wanted to show a realistic relationship between a stable, long-term couple who, though they disagree and even argue from time to time, actually communicate pretty well. That’s why I started the series with Caitlin and Timber several years into their marriage. I wanted to avoid the inevitable “sorting out” period every relationship goes through. In fact, I didn’t want the book to be about their relationship at all. I wanted the relationship to be part of the setting, like the house or the town: an interesting backdrop for events, rather than an event in and of itself.
I had numerous reasons for wanting to do this. I enjoy the occasional Romance, especially those that are well-written and/or have an interesting premise. However, stand-alone Romance novels tend to rely on certain tropes I’m not fond of. Even those with “strong” heroines often fall back on traditional gender roles. The hero may start out as kind of an asshole, at least on the surface, and it’s up to the heroine to pierce his soft center and get him to recognize her equal standing. Disagreements can usually be traced to lack of effective communication. I find this frustrating. I don’t mind when characters have secrets like “Honey, I’m from the future,” or “I conned my way into this social position.” Major revelations require a level of trust not usually present at the start of a relationship. But refusing to share pertinent information because the author needs to sustain the conflict is a sure turn off for me.
I created Timber MacDuff as a man who specifically does not balk at communicating. He has his share of flaws and secrets, sure. But when it comes to his relationship with Caitlin, he talks openly and honestly. He has to, because Caitlin is more than normally sensitive to nuance and hidden subtext. If she fails to call him on obfuscation, it’s because she has her own issues clouding the matter. More, they’re both self-aware enough that they don’t need the constant release of fighting over trivial matters to prop up avoidance of underlying conflict. If Caitlin reminds Timber to please rinse the sink after trimming his beard, he doesn’t take it as a personal affront and need to escalate to the point of a power struggle. He just rinses the sink. On the other hand, if Timber recommends against a course of action, Caitlin may not like it, and she may do it anyway, but she doesn’t question his motives. She trusts he has her best interests at heart, and isn’t trying to exert dominance by controlling her. I made their partnership as equal as I possibly could while grounding it in reality. Caitlin’s forthrightness and practicality balances Timber’s occasional emotional outbursts, and Timber’s wisdom tempers her tendency to take risks.
So what does all this have to do with the topic of this post, writing the female gaze?
With the exception of Demon Lover, which alternates between Caitlin’s point of view and Timber’s, I write the series from the Caitlin’s first person perspective. Being inside her brain, as it were, it doesn’t take long to see that she’s Timber’s equal sexually as well as intellectually. Getting back to The Parting Glass, the first time she lays eyes on him she goes weak in the knees. She thinks he’s hot. She wants him. We see this in other books as well. When the series begins, they’ve been together almost eight years, and the fire hasn’t burned out. She likes looking at him. She makes no bones about it. He has a fantastic ass; it turns her on. It’s not a huge part of any of the books except for The Parting Glass, but it’s there. And I’ve received more than a handful of reader comments leading me to believe that people find this uncomfortable. Things like “Caitlin objectifies Timber too much” and “Timber only exists in this book as a sex object.” None of this feedback, by the way, came from male readers, of which I have several. They all came from women.
Now, I’ve read a great many books where the male protagonist thinks or voices similar opinions of the female protagonist, and unless it’s taken to extremes, very few people comment on this behavior when it’s coming from a man. From a man, it’s flattering, expected, even admirable. I’ve never been criticized for Timber expressing his desire for Caitlin. He can throw her over his shoulder and carry her to bed or say outright that he wants her and means to “have” her, and no one raises an eyebrow. This leads me to wonder if the underlying reason for people’s discomfort is not the expression of desire and attraction in itself, but the fact that it’s coming from a woman.
We all know–or at this point we should know–that most entertainment media caters to the male gaze, the cisgender, heterosexual male gaze in particular. Female characters possess a specific kind of beauty, the big-boobed, small-waisted variety, with or without a shapely booty, depending on preference. Most leading women are under the age of thirty. Even those marooned on mysterious islands without modern amenities or stuck in the middle of the Zombie Apocalypse have mysteriously smooth legs and armpits. Male writers of “strong female characters (TM)” dwell on details like the sensation of moving breasts and the slide of silk over newly-washed skin in a way real life women seldom do. Men can be loud, dirty, and combative without much personal consequence, but women can’t. Not and remain “attractive.” A dirty, loud woman is presented as flawed. A woman stepping outside the role of peacemaker is ridiculed; a woman reaching for power falls; a woman acting upon her sexual desires is punished.
But women have sexual desires and urges. Women look at men they find attractive (Disclaimer: I’m speaking specifically of het women). They like butts, and abs, and shoulders. They like bellies and beards and feet. Anyone who’s spent any amount of time around a group of women knows this. Anyone even peripherally aware of the many, many fandoms revolving around shows with gorgeous male stars–Outlander, Supernatural, and Arrow, to name a few of the current ones–should know this. Men can be beautiful. Their beauty takes infinite forms, just as women’s beauty does. People in sexual relationships are attracted to one another. Isn’t it about time to admit it goes both ways?
Caitlin thinks Timber is beautiful. Sure: It’s the first thing she notices about him. Haven’t you ever seen a stranger and thought, “Wow, what a hottie!” I know I have. It’s Caitlin’s first impression, and it’s all she knows. As they come to know each other better, however, she adds to that first impression. He’s smart, talented, a craftsman, a shaman. Caitlin’s attraction doesn’t cause her to discount those things, as it would if she saw him as no more than a sexual object. And familiarity, if anything, deepens her attraction rather than diminishes it. After years of marriage, she still thinks he’s hot. It’s as much a part of their relationship as the magic.
It may be that women critique Caitlin’s sexuality and the way she views Timber because women are more overtly aware of sexual objectification, being more subject to it. I think, though, that there’s an aspect of internalized sexism in the act. All too often we still cram women into the virgin/whore dichotomy. We expect our female characters to behave certain ways around sex, to be the one acted upon rather than the actor. A woman who’s up front about her sexuality, who picks and chooses and directs instead of going along, is a challenge to our self concepts and our own relationships with carnality. In claims that Caitlin treats Timber as a sex object, I hear the echo of a patriarchal standard warning us that if we own our bodies and our desires, we must necessarily treat the men in our lives the way women have been treated: as lesser beings, unfit to be equal partners.
When you release a book into the world, you lose control over it. People interpret stories differently than you intended. They project their own issues onto your characters and read deep meaning in the most innocent actions (One reviewer had a real problem with Caitlin not wearing makeup on a regular basis because it was “obviously meant to show she’s superior to other women” and decided that despite Caitlin’s relative insouciance about her appearance “the reader is supposed to know she’s always the hottest girl in the room.”). I know this, and yet the claims of Timber being objectified because his wife likes the way he looks and enjoys having sex still bother me. They show we have a long way to go before women’s points of view become normal and women’s sexuality, in all its many forms, becomes as acceptable as men’s.
Those of you who follow the Caitlin Ross Adventures have been waiting a long time for the seventh book in the series, and I have news at last! As you may know, this was an exceedingly difficult book for me to write. Over the last two years, I’ve started and stopped many times, and discarded half a dozen potential plots and tens of thousands of words. Even after I stumbled on the right plot, I had to rewrite over and over to integrate all the various elements. Now I can tell you The Well Below the Valley will be released this coming August 2nd, which is, by strange coincidence, the date the book itself begins. Let’s see what it’s about.
Six months after the birth of her daughter, Caitlin Ross’s life is in a tailspin. Still suffering from what he endured at the hands of his former lover, her husband, Timber MacDuff, has drawn away. The gods have stopped speaking, except for vague hints in bad dreams. Unwilling to face reality, Caitlin goes about her daily routine as if nothing has changed while deep inside she longs for distraction.
When the county sheriff asks for help with a puzzling situation, Caitlin believes her prayers have been answered. A rancher has drowned in the middle of a desert, and the means appear supernatural. The case is right up Caitlin’s alley, but her interest pits her against Timber, who insists getting involved is too dangerous now that she’s a mother. Neither he nor Caitlin realizes a greater danger awaits. Strange events in Gordarosa have brought the area to the attention of a group known as Shade Tracers. Mundane mortals, they’ve taken it upon themselves to protect humanity from magic—with deadly force, if necessary. One holds Caitlin responsible for a personal tragedy, and will stop at nothing to see justice done.
Past and present converge in Caitlin’s darkest adventure yet. With her own life at stake, she must journey through time to uncover the truth behind the Shade Tracer’s obsession. Success could provide the key to solving the local mystery. Failure will doom her to a life on the run, forever hunted.
Artist Matt Davis* has outdone himself with the cover for this one. I know you’ll love it as much as I do. And here it is!
In case that hasn’t got you excited enough, here’s a brief excerpt.
Just then, some odd flickers from the BLM land adjacent our property caught my eye. Shading my brow with my hand, I squinted into the distance. A flash. A beat, and then another. No regular rhythm. They seemed to originate from the low hill from which we often watched the moonrise.
Some kids dicking around with a mirror. BLM land was public property, and this section lay convenient to town. Bored local teens partied there. Timber and I combed the ground a couple of times a month, picking up the trash they left behind.
I bent to retrieve my basket. As I straightened, the light flashed again, this time with a distinctive quality hard to define. Less like a mirror. More like a flame. I’d just settled on the difference when something whizzed past my left ear, and a cluster of berries fell off the rowan tree at the center of the garden. A split second later, a sharp CRACK! rang through the air.
My jaw dropped. What the hell? I lifted my eyes from the rowan berries to the hilltop in time to see the light flash again. At the same time, panicked voice shouted not three feet behind me.
“Jesus Christ, Caitlin! Get DOWN!”
A heavy object struck my back, knocking me to the ground. My basket flew from my hand, spilling my harvest. I hit the earth with a shock that drove the wind from my lungs. An I lay there, cheek in damp soil, the intense, green scent of bruised tomato vines clogged my nose. A foot from my head, a pepper plant exploded. CRACK! Understanding washed over me, and I began to shake.
Someone was shooting at me.
Who’s shooting at Caitlin and why? And who may her mysterious savior be? You’ll have to read the book to find out.
*For more information on Matt Davis’s work, follow @GreyDevil13 on Twitter, or contact him at firstname.lastname@example.org.
Last week, I did a “Meet My Main Character” blog profiling the heroine of my supernatural adventure series, Caitlin Ross. Since then, a number of people have requested that I do a follow-up profile focused on the hero of the series, Timber MacDuff. I told my friend, Jennie Davenport, that I’d do Timber if she did Henry, the hero of her upcoming novel, Hemlock Veils. (Obligatory plug: Hemlock Veils is NOW AVAILABLE FOR PRE-ORDER FOR KINDLE!) Well, she did. So I guess I’m obligated to uphold my end of the deal.
Say hello to Timber MacDuff.
I’m going to skip the questions of “is this a fictional or historical character?” and “What’s the setting?” because Timber shares these things with Caitlin, so you can look at her post if you like. Some stories covering bits of Timber’s early life, a few of which you can find under the “Timber MacDuff” menu in the sidebar of this blog, are set outside of the universe of the novels, in Portland, Oregon; San Francisco; and Los Angeles, California.
What should we know about Timber?
It’s funny, but sometimes, writing mostly in the first person, I feel like I know other characters better than I do Caitlin, whose point of view I’m voicing. I think this is because when you write in the first person, you take on your point of view character’s thoughts and sensations, so you end up spending a lot of time describing what she sees and feels. More than you generally do addressing your POV character’s inner world and attitudes. In this way, it can be a challenge to paint a distinct picture of your POV character except inasmuch as she views the world around her.
Take that, all you people who think writing first person is for amateurs.
Timber Alasdair MacDuff was born in Dunvegan on the Isle of Skye in Scotland. He’s the oldest of six siblings, all of whom his woodworker father, with a peculiar sense of humor, named for trees. “I got the generic,” Timber says of his own name. He grew up speaking Gaelic until he was seven, and in fact was named in Gaelic: Fiodh. About that time, his family decided to emigrate (his mother’s brothers already had), and the family started speaking English exclusively. Timber doesn’t remember a lot of his childhood language, except for bits hanging around in his subconscious and a rather extensive vocabulary of profanity (which his uncles took care that he should remember).
Timber had a lot of trouble adjusting to the United States, with the result that he got in a great many fights and was kicked out of school on a regular basis. He started running away at twelve, and at fourteen left home for good. For the next three years, he lived on the streets of various cities. Shortly before his eighteenth birthday, a family friend tracked him down and dragged him back to Oregon. This family friend was a shaman, and he took it upon himself to train a reluctant Timber in the shamanic practices of healing and making spiritual journeys. He also insisted Timber complete his education and go to college.
After this intervention, Timber did straighten up and fly right for the most part, although he still has a temper and has been known to take a flexible stance when interpreting the law. At heart, he’s a good guy. He’s good with children and animals–in fact, he has a remarkable ability to communicate with “creatures.” He gets along with most people, and can be exceptionally charming when it suits him. An attractive man, he likes women and women like him; these days, however, he is devoted to his wife, Caitlin, of whom he is fiercely protective. A risk-taker himself, he finds it infuriating when Caitlin puts herself in danger.
A carpenter by trade, Timber enjoys fly fishing and shooting pool. As well, he’s a mean hand with a broadsword and practices daily. When inactive, he gets bored easily and fidgets, which drives Caitlin up the wall. (And now this sounds like an on-line dating profile, so I’m just going to stop.)
What’s the main conflict? What messes him up?
Timber’s main conflict is finding a balance between the two sides of his personality, the warrior and the healer. He’s a larger-than-life personality, who should really have been born in an earlier time, when mayhem, bloodshed, and edged weapons were more the rule. He often feels too big for his surroundings, and he has a hard time keeping his inner violence in check. He hates to admit defeat or lack of ability, and this tendency has gotten him into trouble more than once.
Timber has a great many things messing him up. He doesn’t feel he fits in the world. He despises the injustice he sees all around him and feels powerless to address it in any meaningful way. During the course of an eventful life, he’s done things he wishes he hasn’t had to do. He doesn’t precisely regret them, but the memories torment him.
As the series progresses, we learn more details about Timber’s past and the true source of his conflict. When he was a child he almost died from a severe illness. During his delirium, he experienced a vision of his future which greatly disturbed him, in which he saw himself doing something he does not want to do and facing something he does not want to face. To date he has never told anyone but his shamanic teacher about this vision. Not even Caitlin, although he expects she’ll have to know about it sooner or later. (Right now, I plan to resolve this situation for Timber in what will be book ten, tentatively titled “Over the Sea to Skye.”)
What is Timber’s Personal Goal?
Timber’s not a very goal-oriented individual. He lives almost entirely in the moment. At most, he plans a little way ahead, to the next battle, the next job, the next confrontation. If he could have anything for himself, it would be to escape the future he saw, but he has little expectation that will be possible. In the meantime, it’s enough for him to love and care for his headstrong wife–as much as she lets him.
That’s as much as I can say about Timber without revealing too many of his secrets. If you want to find out more, read the Caitlin Ross series. Timber also has his own collection of short stories, The Fits o’ the Season, available here.
I hope you have enjoyed this profile. Thanks for taking the time to read it!
Welcome to the Meet My Main Character Blog Tour! My friend, Sonya Craig, invited me on this outing. Sonya is the author of the Taiga Chavez adventures, a science fiction series about the struggle between a plucky heroine with a rude mouth and a mind of her own and a corrupt planetary government with visions of empire that threaten the galaxy as we know it. She’s also a classic car nut with a wicked sense of humor and a talent for art. So check her out!
My books are the Caitlin Ross Adventures, so, as you might expect, my main character is…Caitlin Ross. Caitlin is a Witch, both by natural talent and philosophical bent. Her talent gives her the ability to use non-physical energy sources to create physical changes in her environment. For example, she can bend light around herself to become invisible, or create a barrier between herself and a threat. She also engages in ritual magic and spell-work when appropriate, and is an exceptional Tarot reader.
Is she a fictional or a historical person?
Caitlin’s adventures take place in the “real” world, but she is mostly fictional. I say “mostly” because she keeps showing up at my house and raiding my fridge.
Where and when is the story set?
The series covers a lot of geographical territory and a number of years. Most of the books take place in Gordarosa, a fictional rural town in Western Colorado. The series also visits Boulder, Colorado, and Detroit, Michigan, as well as various Otherworldly locations. The time is “Present Day,” with the first book, THE UNQUIET GRAVE, covering events in the summer of 2007. The rest of the series proper has so far gone through winter of 2009, with the exception of the fourth book, a prequel novel, which is set in the summer of 1999. A related collection of short stories takes place in the fall of 2001.
What should we know about Caitlin?
Caitlin sees herself as reclusive, shy, and reserved. She also thinks of herself as relatively normal. She likes to garden and do various crafts, like embroidering and crochet. She’s musical, and when we first see her, she’s the leader of an Irish group, Red Branch, in which she plays the flute and sings. She loves her husband and her cats, but isn’t close to many others in her community. She doesn’t believe her supernatural abilities have anything to do with this, although she sees the world in a far different light from those she terms “Mundanes.” She never intends to get involved in the weird incidents that insist on barging into her life, but somehow she always does. Her curiosity is insatiable, and she can’t stand not knowing the answers to questions and not trying to solve any problem that presents itself. Sometimes she takes risks that put her in danger (much to the dismay of her husband), but she views this as the practical thing to do at the time. She feels responsible for those around her, whether or not she has any close connection to them.
What is the main conflict?
When we first see Caitlin, she has refused to use her powers for a number of years because a supernatural entity once warned her that doing so would have consequences she would not like. Caitlin has always had a love/hate relationship with magic. She’s most herself when she allows herself to be the Witch that she is, but magic has also been the root of problems in her life, especially with her emotionally abusive family, who consider it a symptom of a socially unacceptable disease. in THE UNQUIET GRAVE, a series of strange events at the bar where her band is performing require her to reevaluate her position. Although there is an antagonist she will need to confront, the main conflict is between Caitlin’s desire to return to living a magical life and her fear of what will happen if she does.
Subsequent books in the series follow Caitlin as she solves various magically-rooted problems and matches wits with adversaries both human and supernatural. The arc of the series as a whole deals with Caitlin facing the consequences of reclaiming a magical life. The books are also, in great part, about interpersonal relationships, both Caitlin’s with her husband and that of the world as we know it with the world unseen.
What is Caitlin’s personal goal?
Caitlin just wants to be left alone! She wants everything to be tidy and quiet, so she can get on with life. Unfortunately, her fate is to have a messy life, and a number of entities have plans for her.
There are six books in the Caitlin Ross series so far: THE UNQUIET GRAVE, SHE MOVED THROUGH THE FAIR, A MAID IN BEDLAM, THE PARTING GLASS, THE CRUEL MOTHER, and DEMON LOVER. I am currently working on the seventh volume, DEATH AND THE LADY, which I hope to publish in the late spring or early summer of 2015. All the books are available both in print and for E reader, and you can view or download excerpts from Smashwords. For more information, you can check out my Amazon author page, my Smashwords profile, or my Goodreads profile. You can also stay up to date on Caitlin’s adventures by signing up for my newsletter.
Next on the tour:
Niko Staten is a Reader, Writer, Mother, Dreamer, Part-time sleeper and full-time geek. Pescatarian, former Vegan, former Child, former Human. Married. Redhead. Also possibly alive.
Both will be continuing the tour the week of October 20th, so stay tuned!
Hello, and welcome to another Blog Tour post! This week it’s the “WIP Lines” tour. My friend Sonya Craig tagged me to follow her post from last week. Sonya is one of the foundations of my Twitter crew, a funny, talented, and creative lady who writes Old School Science Fiction with a spunky and snarky heroine. She’s also an amazing artist and you should definitely check her out.
So, what is this WIP tour? Well, it’s a chance for me to tell you about what I’m working on at the moment and share some lines–the first line or two of each of the first three chapters, to be precise–to get all you fans excited, so that you, in turn, can haunt my Twitter feed and encourage me to keep going. Or possibly make scathing comments about how I don’t write fast enough, but I’d prefer the former.
I happen to have a special treat for all you readers: I’m working on not just ONE WIP, but TWO!!! So I’m going to tell you a bit about each of them.
The first thing I’m working on these days is a trio of novellas about everyone’s favorite Scottish shaman, Timber MacDuff. Depending on whether or not you’ve read any of the Caitlin Ross novels–and depending on which ones you’ve read–you may know our estimable Scot was rather a problem child in his youth, who started running away from home at the age of twelve and left for good at fourteen. For the next three and a half years, he lived on the streets, until the man who would become his teacher dragged him 0ut of squalor by the ear and knocked some sense into him.
Timber as a character has always fascinated me. I find that writing primarily in the first person, as I do, the stories become as much or more about the people the POV character interacts with and how she feels about them as they are about Caitlin herself. So, in a way, we come to know Timber very well. And yet, he retains a certain mystery. I’m not one of those authors who sits down and writes a huge back story for every character; I let the back story reveal itself as needed. And although I knew Timber had had a difficult time as a young man, I never knew quite why someone with a loving family like his would go the way he did. I wanted to explore this in more detail, so in May of 2013 I started writing. I’ve been working on this project in fits and starts since then, and am currently about halfway through the third novella, tentatively titled “Eyes Full of Stars.” Early versions of the first two novellas, “How He Left” and “Into the Void” are available under the Timber MacDuff sidebar of this blog, in case you’re interested. The three stories explore the circumstances that caused Timber to leave home in the first place, a series of events that shaped the person he would be for the next few years, and, finally, Mitch’s rescue and Timber’s decision to embrace the shamanic path.
How He Left
“For the Lord’s sake, Timber! Will ye not at least get a haircut?”
He scowls up at his mother from beneath the lock of hair that always seems to be falling into his eyes. It annoys him, but he’s never going to let her know it.
“I dinna believe Jesus Christ gives a damn about the length of my hair,” he says, watching her cross from stove to sink.
Into the Void
He stares in the mirror and thinks about how he’s aged.
It’s not in his face so much. He’s thinner, so his face is thinner, too. But that’s only made his features finer. His cheekbones stand out like blades. A pimp in the Tenderloin broke his nose last month. He caught the bastard threatening one of the girls he knows and called him on it, which was stupid because the bugger was armed and could have done him worse damage if he’d cared to.
Eyes Full of Stars
Summer in LA: Hot and dry, with a dust-filled wind whipping around the corners of buildings and ripping crumpled newspapers from overflowing trash bins, sending them skittering down the streets like artificial tumbleweeds. A smell on the air of gasoline and baked asphalt mixes with the brown fug of exhaust and smog. Somewhere to the west, the ocean rolls in ceaseless breakers up to beaches where sun-warmed girls in bikinis flirt with the waves and bleached studs play volleyball, showing off for the girls.
The other thing I’m working on is the seventh book in the Caitlin Ross series, Death and the Lady. It’s October, eight months after the events of Demon Lover. Timber is still trying to cope with the trauma of having been imprisoned and raped, Caitlin is tearing her hair out over Timber’s reluctance to confide in her, and both of them are dealing with the realities of being first-time parents. When a wealthy acquaintance approaches Caitlin about putting a band together to play at her autumn wedding, Caitlin doesn’t feel she can refuse. And it turns out to be a good thing she and Timber are there, because when a friend collapses on the dance floor, Timber’s able to bring him back from the dead. What neither of them know, though, is that saving their friend is the beginning of a series of events that will reunite many of the supporting characters from previous volumes in a rush to solve a series of bizarre crimes before the energy of the Samhain season fuels a vendetta with Caitlin as its target.
I’m not very far into this one. In fact, when Sonya asked me to participate in this blog tour, I hadn’t yet written chapter three! But I got it done, I’m into chapter four now, and so, for your enjoyment, here are some introductory lines.
Death and the Lady
It began at a wedding.
It began with a death.
Autumn exploded through the Gordarosa valley in a burst of crimson and gold. The Harvest Festival at the end of September made way for an October of brilliant, warm days and crisp nights. The summer’s hay and corn had all been gathered in, signaling the season of yellow pumpkins and trees bent under the weight of apples and pears. All around town, anxious gardeners plucked tomatoes bursting with juice and crossed their fingers against the first frost, praying for the green globes yet on the vine to ripen before it arrived.
Timber roused enough when we got home to heave himself into the house and stumble upstairs, where he fell full length across the bed and passed out again without removing his boots. After the long day and its spectacular end, I felt like joining him. My energy had plummeted as soon as our house had come in sight, leaving me shaking in every limb, with black spots in the corners of my eyes.
I hadn’t seen Zee—nobody used his legal name, Josef Zdrojkowski, for obvious reasons—in seven or eight years. A wanderer who never stayed in one town longer than it took for him to figure it out, he’d left Boulder a few months before Timber and I had. We wrote, but rarely; keeping track of him was too hard for regular correspondence. Now and again a postcard reached us from some far-flung region of the North or South American continent, and once he’d sent a package from a village in Peru. But he’d never visited.
So there you have it: My two works in progress. Are you excited yet?
Next up on the WIP Lines Blog Tour is Angelina Williamson. A bleeding liberal and expert at using power tools moderately well, Angelina writes a variety of things including YA Dystopia. In addition to her Better Than Bullets personal blog, she keeps an urban homesteading blog at Stitch and Boots, and sells neat stuff in her Etsy store, for which I unfortunately don’t have a link at hand. She’s an amazing gardener who knows what herb will save you in case of a Zombie Apocalypse, and if she were a man, her balls would be skinned peaches. Just sayin’. Next week she’ll be sharing her WIP Lines with you, so be sure to check her out!
This blog composed to Poliça Radio on Pandora.
Demon Lover, the sixth book in the Caitlin Ross Series, will be released ONE MONTH FROM TODAY, August 2nd (which, incidentally, is hero Timber MacDuff’s birthday. But I digress).
Demon Lover takes place four months after the close of book five, The Cruel Mother, and finds Caitlin and Timber back home in Gordarosa, with Caitlin’s baby due any day. In late January, all either of them wants to do is stick close to home, put the finishing touches on the nursery, and enjoy their last, child-free moments together. You know, like normal people. Of course, they aren’t normal.
As a young man, Timber had quite a reputation with the ladies. Caitlin knew this, but she never expected one of his old flames to track him down. She gets a shock when she finds out the new dance teacher in town knew Timber intimately while he was a graduate student researching his thesis. Despite the fact that Timber and Caitlin have been married nearly ten years, she wants to pick up where she and the estimable Scot left off, and gets mighty pissed when he turns her down. What follows is a story of magic, murder, and the redemptive power of true love.
And now, the cover:
Why is this woman standing in the middle of a lake holding a watermelon? You’ll have to read the book to find out!
Demon Lover is available for pre-order as an eBook from Smashwords and in print from Amazon. You can also enter a giveaway at Goodreads. Don’t forget to check my Independent Author Network page for the rest of the series!
As you may or may not know, I’ve been contemplating new covers for all my Caitlin Ross books for some time. The covers I have are nice enough. Some of them I truly like. But, as still life, they lack the kind of pull I’d like to see for my books.
Well, events conspired to throw me together with a WONDERFUL artist, WolfenM. She’s a Pagan Geek who loves comics and everything Nerdy, and she “gets” the Caitlin Ross Universe. I am thrilled to reveal her first cover, The Unquiet Grave.
The new cover will be appearing on all versions within the next week or so. You can buy The Unquiet Grave on AMAZON, where purchase of a print edition includes a free Kindle download, or on SMASHWORDS, which has downloads in all e reader formats.
Stay connected with The Shadow Sanctuary for more of Wolfen’s covers, and visit her at deviantArt: http://wolfenm.deviantart.com/
Welcome to your next stop on the writing process blog tour! Sonya Craig invited me to be your host this week. Sonya is the author of the Outbound Science Fiction series. Her novels include OUTBOUND, EVOLVE, WATER DEATH and PAWN. The fifth book, ICED is coming soon. Space has never been more unpredictable than when Taiga Chavez and her fellow underdogs square off against the unhinged, totalitarian bullies of the universe.
And thanks, of course, to J. Miles Wagner, author, blogger, and book reviewer for starting us off.
Who am I and why do I write what I do?
Hi! I’m Katherine Lampe, author of the Caitlin Ross series of Paranormal Adventures. Caitlin’s a witch in a small town in rural Colorado where she manages the difficulties that arise between the town’s supernatural and mundane residents. You can find the first five books in the series HERE. Book Six, Demon Lover, is slated for release 2 August 2014.
I didn’t set out to write Paranormal. In fact, I didn’t know it existed as a genre until someone else described my books as Paranormal. I knew about the Sookie Stackhouse books and the Anita Blake series and others of the ilk, sure. I’d even read some. But my brain just lumped those into a corner of the mystery genre and left them there. Besides, those books all involved vampires and werewolves, and mine don’t. It never occurred to me that the adventures of witches and shamans and spirit helpers and gods would fall into the Paranormal category. To me, those things are normal. More about this later.
Anyway, what I’ve always wanted to write is Epic Fantasy: the kind of “sweeping tapestry” of a novel that features momentous events and a huge cast of characters. I’ve wanted to write Epic Fantasy ever since I first read The Lord of the Rings (of course) in eighth grade (in the choir loft, behind my hymnal, during the sermon). And, except for an extremely derivative, 300-page, heroine-on-quest tale I churned out that summer, I’ve never been able to pull it off. I don’t have the kind of mind that’s interested in those huge plots. I like stories about people, and my books have always been character-driven rather than plot-driven. And the standard conflicts of Epic Fantasy don’t appeal to me, either. For years I tried to mesh my interests with Epic Fantasy and it just didn’t work.
Then I spent a year reading every Cozy in the local library. Without my intending it to, my mind took note of the similarities, of the formulas. I saw those simple plots—people solving problems in the context of their interpersonal relationships—as something I could do. So, armed with a fictional small town, some actual local history, and a few character names that began as an in-joke, I set out to write a Cozy.
I hit a problem almost at once. As my starting point, I had chosen a local building with a nasty history. Common wisdom was this building was haunted. In fact, I knew people who had actually seen the ghost. Great. My idea was to have my female amateur sleuth solve a decades-old murder and remove the baleful influence from the local bar.
Except. Except my female sleuth had other ideas. So did her husband. In fact, my whole fictional small town had other ideas. The case turned out not to be as simple as I had hoped it would be, and to solve it, or even begin to understand it, I needed magic. So, okay. I could do that. I wanted to write Fantasy, after all. I’d write a Fantasy Cozy. I decided to make my female amateur sleuth a Witch. Well, that also turned out not to be as simple as I had hoped, because I needed a good reason that this Witch didn’t just wave her hand and make the ghost and all the problems associated with it disappear. I didn’t want to go into that overused Fantasy trope about powerful people never using their powers because CONSEQUENCES or because having power necessarily implies you’ll abuse it. I needed something different. Something particular and personal to the protagonist, not some lame dogma.
It took me five years to solve the problem and explain the magic of my world to myself to my satisfaction. The end result was the first Caitlin Ross Adventure, The Unquiet Grave.
How does my work differ from other works in the Paranormal genre?
The most important way the Caitlin Ross Adventures differ from other Paranormal books is that they come from a Pagan world view. I’m a practicing polytheistic Pagan and have been for over twenty years, and I wanted my work to reflect my values and my ideas about the way the world works. I have read tomes and tomes of Fantasy and Speculative Fiction, and since I realized what genre I worked in, I’ve read tomes and tomes of Paranormal, too. One hundred percent of the Paranormal fiction I’ve read has come from authors working within a Judeo-Christian world view. Some of the Fantasy and Spec Fic I’ve read incorporates elements of Paganism, notably the works of Charles De Lint and Neil Gaiman. Gael Baudino, Diana Paxson, and Mercedes Lackey write Fantasy from a Pagan perspective. But there isn’t any Paranormal that does what I do, at least not any that I’ve found.
Why is this important? Well, when you come from a Judeo-Christian world view, you take certain things for granted. Demons have certain characteristics; it’s a given. Magic is limited by ethical and moral questions that just aren’t a part of Paganism. There’s generally a clear demarcation between right and wrong, and a clear line between good and evil. Now, this provides a handy template, both for the author and for the reader. Because the United States (and other parts of the world) is largely populated by those who, if not practicing Christians, have at least been raised in a Christian context, authors can plug in standard conflicts and situations without having to explain them in detail, and count on the readers understanding what’s going on.
Most Modern Paganism doesn’t operate the same way. My brand of Paganism definitely doesn’t operate the same way. In fact, a lot of the standard operating system looks nonsensical. This poses me a problem, because I have to find ways to convey a Pagan world view to a non-Pagan reader that they’ll be able to understand and relate to. But it also makes my work unique, because my characters constantly are challenged to make personal, situational moral choices, and the outcomes can be other than what you might expect. Since demons aren’t necessarily evil, a character might form a relationship with the local demon instead of automatically banishing it to the nether realms. Since there’s not a moral code that places human beings above other entities on the Earth, a character might, say, decide that the best way to deal with a human foe is to kill him. Or not. It depends. You never know. My characters tend to be a practical lot, and they don’t do a lot of moral agonizing.
There are other differences in my work. The two protagonists are married, for example. I didn’t write about their first meeting until book four, when readers were beginning to demand the story. So, even though the books are grounded in their relationship, there isn’t the same kind of dance going on that you see in books where the protagonists are trying on different love affairs at the same time as slaying monsters. Some people will miss this. Many find it refreshing. Also, I just don’t deal with the main tropes of Paranormal fiction. I have no doubt that vampires and shapeshifters et al exist in the Caitlin Ross world, but we haven’t seen any. And the angels, demons, and gods of the world are far different than those in other worlds.
What is your writing process?
In a stunning twist, I generally start with the title. The one conceit of the series is that I take all the book titles from songs in the traditional Irish and Scottish repertoire. (I was the leader of a Celtic band, and I produced and hosted a Celtic Music public radio show for fifteen years.) Sometimes I’ll hear a song title and think, “Ooh, that would make a great book title!” I have a whole list of these titles. A few of the titles came later, but probably 75% of my books start from taking a title and wondering how it would apply to a book.
With or without title, I spend a LOT of time doing what Neil Gaiman termed “composting.” I think about where I left the characters in the last book and where I want them to go. I think about where they are in their lives and their relationships. I write self-contained stories that include elements of series-wide arcs, so I think about those. Sometimes I decide on specific events. For example, after I completed the second book, I realized that Timber had rescued Caitlin a couple of times, so I decided I needed Caitlin to rescue Timber next. I generally have a beginning and an end planned before I start. The middle is flexible.
Once I’ve composted what seems like long enough, I just sit down and start writing. I don’t do a detailed outline. At most, I make a bullet list of major events and, sometimes, make some notes about ideas so I don’t forget brilliant stuff I’ve come up with before I get to that part. I write the book from beginning to end. Writing is the most linear thing I do. I’ve tried jumping around and writing pieces as they hit me, but most of the time that doesn’t work (although I did write Timber and Caitlin’s first sexual encounter about two years before I wrote the rest of the book in which it appears).
I do the first edit as I go in that every day I look at what I wrote the day before and adjust it as necessary, but I try my best to run through the first draft without major stops. This doesn’t always work. Two-thirds of the way through A Maid in Bedlam I realized I needed to add a character. I didn’t feel like I could go on to the end as if the character had always been there, so I went back to chapter three and inserted him, which involved a lot of name-dropping, a couple scene rewrites, and a whole different chapter seven. I do try to write every day, but I don’t force myself if it isn’t there that day.
After I get through the first draft, I do a pass to eliminate words that I know I overuse (that, just, really, etc.). Then I let the draft sit for a couple weeks and do a third pass to eliminate unnecessary dialog tags and make the whole cleaner. Actually, I might do the second and third drafts concurrently with the first, if I get stuck and I have a couple chapters stacked up in my second and third draft folders. When I’m satisfied with the third draft, I send it out to beta readers, and then do a fourth draft incorporating their suggestions (or not). And then I’m pretty much done.
What are you working on now?
I finished the third draft of book six a couple weeks ago and I’m waiting on beta feedback. I know pretty much where book seven is going, and I’ve written a few paragraphs of the first chapter. But I promised myself a major break after book six. I got my characters past a major event in their lives—which took me almost three years—and my brain needs a rest. Right now I’m working on promotion and building my following. I also enlisted a cover artist, so over the next few months we’ll be seeing new covers for books one through five. I plan to get back to book seven after the release of book six in August 2014. If my brain lets me rest that long!
And that’s it for me! Your next stops on the writing process blog tour will be the week of May 12th, with these authors as your hosts:
Jennie Davenport, an author of modern fairy tales and the paranormal, is a wife and mother of three boys. She is represented by Beth Campbell of BookEnds, LLC and her first novel, HEMLOCK VEILS, comes out this fall from Swoon Romance, with its sequel arriving in April 2015! Jennie is a lover of words, to-do lists, nature, music, and anything that moves her. She is addicted to caffeine and hates crafts, and her ideal getaway would be one-on-one time with any form of nature (but a hotel would do). Follow Jennie on Twitter: @may_davenport and Facebook: http://facebook.com/jenniemaydavenport
Madeline Dyer is a fantasy and science fiction writer, whose fiction has been traditionally published by a number of presses. Her most popular short stories, ‘The Power Of Blood’, ‘The Photograph’ and ‘Stolen Memories’, appear online, in magazines, and in paperback and ebook anthologies in aid of charity. Having had seventeen short stories published, Madeline has been working on a number of novels in the last few years. Her upcoming book, ‘Untamed’, a YA dystopian novel, is currently under review with several publishers, one of which has already offered Madeline a contract.
Melissa A. Petreshock is the author of Fire of Blood and Dragons, NEW from Swoon Romance.