This rewrite of Fires of the Djinn is something new. I'm going slow on purpose, to give myself time to think about what I'm doing as I go along.

The book is fine the way it is. I like it.

But I'm trying to figure out how to make it better. Up to now, I've had two different reactions to my books. Either they didn't work and they needed work to bring them up to standards--and I have about 9 books sitting in my computer that are like that. Or I've written books that I thought were fine, some needed a little work, but mostly the stories were good, and those I have published or plan to publish.

This is the first book I've written that I thought was up to standards, maybe the best thing I've done, but which I also see ways where I might be able to significantly improve it through some pretty big changes.

One thing I notice when I read is that it feels a little flat--which is deadly. It occurs to me that I just don't have enough character conflict. Now one of my pet bugaboos about stories, especially on TV, is phony conflict.

But it does serve a purpose, even if it doesn't hold up to examination. Arguments and bickering add a little tension in a scene that wouldn't ordinarily have it.

I'm perfectly willing to add "action" scenes that aren't totally necessary to spice up a story, so why am I leery of adding character conflict?

If the conflict is inherent in the characters, then I think it's good. In order for that to happen, I think I need to delineate the characters a little more. I've gotten in the habit of making most of my characters "likeable." I think that's important, but that doesn't mean they have to be warm and fuzzy. I think back to Barbara in Tuskers, who was a hard-ass, but ultimately a likable character.

So I've been going through all the major characters and sharpening them up and looking for where they conflict, and I think I've figured it out.

I'm also thinking of cutting several chapters that feel fuzzy to me. I like them, I impart a lot of information in them, but I think I can dispense with them. I've thought of a way to add an action scene where the story has slowed down.

These are the kinds of changes that can disrupt the whole book. As I said, a perfectly fine book.

It scares the hell out of me.

I'm going to go ahead and finish this rewrite before I attempt that. Bank this version, then see what I can do. If I fuck the newer version up, which is more than possible, I can always come back to this one.

That was a little scary. My main laptop wouldn't let me post anything on my blog.

Thing is, if this became permanent, there wouldn't be anything I could do about it. My old computer lets me do it, so it maybe a problem with my computer.

But the point is--there is no human at Google to contact.

A few years ago I wanted to add ads to my blog and they turned me down, no explanation.

I'm pretty sure it was because they couldn't believe all the material on my blog was original. That I was some kind of aggregator.

Ironically, ALL of my material is original. But when you post entire books along with a blog or two every day, it probably LOOKS suspicious.

But I couldn't contact a human and reasonably explain. This is the most worrisome part about our glorious tech future. A robot decides and you just have to accept it.

Took a stab at a synopsis of "Fires of the Djinn."

"In the tradition of Michael Crichton, "Fires of the Djinn" suggests an all too possible near future "what if".

After ten years of drought and budget cuts, the western U.S. is a tinderbox. Two survivors of the tragic Indian Wells fire in Oregon have become rivals. Big Mike Norris is convinced the National Wildfire Service is relying too much on technology--satellites, cameras, and drones. While agreeing that manpower is more important than tech, Cory Cantwell has chosen to work from the inside.

But someone else is paying attention. Terrorists have figured out that "One man, one match" can do more harm to the US than high tech bombs.

As the west explodes in flames, the terrorists strike. Bigger than the Big Burn and the Great Tsecho fire, the cities of the west are in the path of firestorms with the potential to be larger than any ever known or imagined."


I'll refine it later. :)

I'm about a third of the way through the first rewrite. I still like it, a lot, but I think I was doing it a disservice to call it a "thriller." It's a bit more thoughtful than that. I have quite a bit of research into wildfires and climate change and such, that I think are interesting and add verisimilitude.  I also spend the first third of the book developing characters. So it doesn't start off with the pulse-pounding immediate danger of a Lee Child or John Sandford book. That's not the book I set out to write.

But the last half of the book is all action!

There isn't as much wrong with the book so far as I imagined. I have to pay attention to the timeline from here on.

The research I'm planning to do will have to be measured. That is, I can't overload the book with these details. 

I'm going to take the first 3 chapters to writer's group and send them to Lara and get them as good as possible and then send them to agents. No harm, it's easy to do. So far most agents aren't even sending me rejection letters. Just nothing. 

How can agents ignore the combination of terrorism and wildfires? Easy, I guess, but I think they're missing a bet. Both subjects are going to be in the news a lot over the coming years.

Anyway, if nothing happens, I will probably publish this myself in May or so. It kills me that what I think is a pretty good book is likely to be ignored, but that's the state of the business right now.


Suggestion for the synopsis from a Facebook friend, Jerrod Balzer.  Not bad. 

"Ten years of drought and budget cuts turn the western U.S. into a tinderbox. While two rivals struggle over the best actions to take, terrorism creeps in to strike a match. In the tradition of Michael Crichton, "Fires of the Djinn", this powerful "what if" engulfs the landscape in a firestorm the United States has never before seen."

My take:


Ten years of drought and budget cuts turn the western U.S. into a tinderbox. While two rivals, survivors of the tragic Indian Wells fire, warn of the danger and struggle over the best action to take, terrorism creeps in to strike a match. In the tradition of Michael Crichton, "Fires of the Djinn", this powerful "what if" engulfs the landscape in a firestorm bigger than the United States has ever seen.





https://www.amazon.com/Tuskers-III-Omnivore-Duncan-McGeary/dp/1941987591/

Tuskers III is live at last!

It's been a long wait for the ebook. This was supposed to come out in October, 2015, but my publisher, Ragnarok Publications got all ambitious and decided to distribute in bookstores, which set the whole process back.

The physical version of this book came out about a month and a half ago, but I know the vast majority of my readers are ebook readers, so it's been frustrating.

I hope people haven't lost interest in my pig saga. The evolution of Tuskers and the devolution of man continues, leading to the big climax of Tuskers IV.

My book sales are at their lowest point since I started. I think it's easy to lose momentun unfortunately, so once again I'm asking my faithful blog readers (I have 53 followers at least) will buy this book. Please.

And you might enjoy it!

Love you all,

Dunc

Ideas often come to me in just little wisps of thought, like a slight breeze that you wouldn't ordinarily notice.

I have to pay attention. After already having done the rewrite of chapters 1 and 2, I had some further ideas and worked on those yesterday. I especially improved the character motivations in chapter 2, which has been a problem chapter from the beginning.

I decided I needed to introduce Nasim, the main terrorist protagonist in the third chapter, started to read the chapter, couldn't find much to change. By then, I was through for the day.

So really, didn't do what I set out to do, still stuck at 23 pages.

But just wandering around the house, (too cold and wet for my walk) a tiny little sliver of thought came to me--use only one of the flashbacks in the chapter, and save the second flashback for the next chapter featuring Nasim.

It's a thought that could have come and gone without notice, if I wasn't hypertuned to this kind of thing these days.

Ideas don't come solid and announced, they come as fleeting notions.

Often, they'll return. I had the idea of showing Cory's burns a few days ago, then forgot, and then yesterday remembered again.

It's interesting to me in this it is completely subconscious thought--given out of sequence, and that it doesn't announce itself firmly, but just as sort of "well, there's this..."


My original plan was to research for a couple of weeks and then give "Fires of the Djinn" a full rewrite. But it's been over a year since I wrote the first half of this book, so I decided I needed to familiarize myself with the story.

So I'm going through a full rewrite, adding 5 telling details per -page, THEN I'm going to do the research and add the elements as I come across them, and THEN do another (less intensive) rewrite.

Should take me between a month and a month and a half. I don't seem to be able to do more than about 25 serious pages of rewrites in a day. I don't know why it is so draining. But my brain just stops cooperating after 3 or 4 hours. I always think I'm going to take a few hours off and come back and do another 3 or 4 hours, but I rarely do.

Like I said, this work.

But really, I can see the improvements, to both the writing and the story. There is no excuse not to do it.

These are going to be boring blogs for a month or so--or at least, more boring than usual.

I'm rewriting "Fires of the Djinn." (The current favorite title, over "Lucifer's Forge.") I'm contemplating the tagline, "One terrorist, one match."  It's my firefighters versus terrorists thriller.

The dreaded rewrite. Linda says I should quit saying I "Hate" rewrites, because it makes it a self-fulfilling prophecy, but to me it's just confirmation.

The rewrites are absolutely necessary. Not only that, but they are part of my effort to improve my writing. Give the rewrite due consideration, lay out some time between finishing the first draft and rewriting to gain some perspective, and then systematically do the rewrite, giving it the time it needs.

Try not to ruin it.

I think the first draft is fun for me, but maybe not as fun for the reader. The second draft isn't fun for me, but probably produces a story that is more fun for the reader.

Managed 20 pages yesterday. That seems to be my limit, more or less, when I'm not just browsing. When I knuckle down. I set a goal of adding 5 "telling details" to each page, and I mostly did that.

I can see why the second chapter, which was originally the first chapter, didn't work. But it is totally necessary, so I've just got to try to make the characters more sympathetic and the action more interesting.

It has also become very clear to me that the introduction of the main villain needs to happen in the third chapter, not the seventh.

So...onward.

Wrote the first chapter of "Lucifer's Forge," so the first draft of the book is now complete.

I had this vague notion of trying to duplicate the feeling I got when I read "Young Men and Fire" many years ago, but the book wasn't what I remembered it to be. It was much more matter of fact than I remembered.

The artistic part of the book was impossible to copy, because he layers the same event over and over again from different angles. He creates motifs that only work because of that layering. For instance, he calls the significant physical locations "Stations of the Cross" which is brilliant in concept and execution. Very emotive because he has laid the groundwork.

I've always wondered how to telegraph great emotion in a few words or images. The best example I've ever seen of that is the first few minutes of the Pixar movie, "Up." Hell, any movie that can get me to cry about characters that I've only known for a few minutes is pretty brilliant.

Anyway, I wrote the chapter using some of the events of the Mann Gulch fire, such as the foreman lighting his own fire and laying down in the ashes, who lived. The speed of the fire, the run for their lives. Trying to sketch their personalities in a few sentences so their deaths mean something.

Tough to do. Probably didn't pull it off, but it's still a better beginning than what I had before.

10 Year Anniversary of Blog

Ten years ago, I was so concerned about housing prices in Bend that I Googled "Housing Prices" and "Bubble" and discovered that there were such things as "bubble blogs" and that there were several in Bend.

I read them for awhile, then made the joke that I was going to start my own and it would be titled "The Best Minimum Wage Job a Middle-aged Guy Ever Had" which was a joke I'd been using for years in my store when people asked "How are you doing?"

Then I went and did it.

I've never had trouble writing stuff. Hell, I restrain myself, mostly.

I wrote every day for the next nine years. EVERY day. It was only this  year that I finally let a few days go by without a posting. I probably still hit 95% of the days.

The nature of the blog has changed a lot over the years. First it was about the housing bubble, then it was about my business, and finally about my writing. With each change I shed a bunch of readers and picked up a few readers.

But this was always about self-expression more than anything. I'd been keeping business journals for years before I started the blog. The journals were probably a bit more candid, or at least there was a lot more bitching and moaning (believe it or not) because they were designed to relieve my need to tell everyone about everything. (Especially Linda, who'd hear me say the same thing a thousand times with small variations.)

But talking or writing this way is how I figure things out. On the tenth reiteration, something unexpected may happen, which sets me off in a whole new line of thinking.

A little obsessive and self-analytical, for sure. (You think?)

I still enjoy this, and people have been unexpectedly kind to me.

So I figure I'll just keep going.


The purgatory between books. Such a strange feeling, not to be writing.

So the sooner I start again, the sooner I'm out of purgatory.

The task of making "Lucifer's Forge" realistic--or at least, plausible--has been intimidating. But I like the characters and the plot, and I especially like the premise (wildfire fighers versus terrorists.)  It's not like that premise won't remain topical.

I just need to have faith that it will all come together.

This is the first test of my new process. I took a full two months away from this book, so hopefully I come back to it with a new perspective. I intend a full rewrite, beginning to end, devoting almost as much time to the rewrite as I did to the first draft.

This is about upping my game.

I think there are three stages  affecting the quality of a book.

Stage 1.) How much time and planning I put into it before I start.
Stage 2.) The actual process of writing.
Stage 3.) The rewrite.

All three stages are affected by how much time I devote to each one.

Stage 1, I still haven't managed to do much about, mainly because my writing tends to be rather impulsive.

For instance,  after He-Who-Shall-Not-Be-Named was elected, I looked up "All Along the Watchtower by Bob Dylan because it had the right amount of foreboding to it. I posted it on Facebook with the line: "Bob Dylan: Seer."

For some reason, a short story started coming to me based on the song, so I wrote it. Than a second chapter, and before I know it, I'm writing a novella.

Most of my books seem to start with just these kinds of impulses, and I'm not sure I want to change that.

However, I do occasionally mull over a bigger idea, and for those books, I really need to just pull myself up short and spend a week or two writing notes. For instance, the next Virginia Reed book is going to be about murdered Chinese gold miners in Oregon. So, knowing that, I should sit down and think about it.

Stage 2: I'm happy with this. I've adjusted how much time and how many words I spend each day, how I incubate my creativity, how I fit my real life into the process and so on. I tinker with this, but mostly, I think I've found a very productive method.

Stage 3: This is where I think I can have the most effect. I already know that rewriting is always helpful. I already know that taking time to let it sit is helpful.

So I just need to follow through on this.

The trick for me to to find the proper balance between improving the story and ruining the story. By that, I mean I have a tendency to become rather obsessive, rewriting until I've ruined the story for myself.  It doesn't seem to ruin it for others, strangely...it may even improve it. But I can't ruin my own stories and keep on writing, so that is something I have to watch out for.

So...giving it time, both for perspective and to make it not drudgery, is really important. I think a fairly light touch on rewriting is what is needed, not going in and throwing out entire portions or changing things around excessively.

Each time I read a story, I find things to change. But if I do it too often, the words tend to lose meaning, the story fades. Above all, I want to avoid that.

So Stage 3 is a work in progress.

Coming soon? An audio version of "I Live Among You," narrated by Cameron Saunders?

I'm trying to break out of the limbo I've been in. To bend the arc of reality in my direction.

I've been wanting to wait for Tuskers IV from Ragnarok and Snaked from Cohesion to come out before I do anything.

Well, I've kept writing. I just finished "Said the Joker, to the Thief." Sent it to Amazon Singles, though I'm not expecting anything. But just sending something off was exhilarating and I realized I was missing that. The consideration, even if a longshot, the daydreaming while I wait for rejection...heh.

Anyway, I really like the novella, and I'm going to keep it that size.

Meanwhile, I've decided to publish "I Live Among You" next. I've had in mind something for the open slot of March, 2017 for a long time, and I was just trying to figure out which book is should be.

What's interesting about "I Live Among You" is that it lends itself to an audio version, and the idea of doing that--the adventure and newness of that--is what has decided me.

I approached my Pegasus Books manager, Cameron Saunders, to be the narrator. I think he'll be perfect for it. And his involvement is already paying dividends. He suggested that I cut the last two chapters, and when I looked it over, I realized he was right. So I wrote a few new paragraphs for a new ending and it worked much better.

Why this is a good book for audio is that it is simple and straightforward, in first person, somewhat lighthearted with lots of dialogue. It's also only 50,000 words. It just feels right. I've sent it to my editor, Lara, and asked Cameron to look at it from the viewpoint of how it sounds. Come around mid-January, I'll give it one more rewrite and off we go.

So that will be a new experience.

But up next, the rewrite of "Lucifer's Forge."

Rewriting "Sad the Joker, to the Thief" was actually fun. The novella was an unexpected detour and unexpected pleasure.

I'm hoping I can carry that attitude into my bigger book. I'm way out there in the need for accurate details of firefighting, so I may be over my head, but all I can do is try. One thing I know. Wildfires and terrorists are both going to be in the news a lot over the coming years, and having something topical can't be a bad thing.

Anyway, I feel like I'm moving forward again.

I went through the entire 105 page manuscript of "Said the Joker, to the Thief" in one day. Which is pretty amazing. Usually I can't go through more than 20 pages without my brain turning to Swiss cheese.

It didn't need a lot of changes. I managed to shave about 550 words.

This seems like the perfect little story. Of course, I'm well aware it ain't perfect, but right  now it feels like it is exactly the way it is supposed to be, which is pretty rare for me. Usually I have something about a story I don't quite like but which I can't change.

However, it can't be a good sign that the first chapter had over 100 views and the last chapter had only 30. But, well, on my own terms, I think it's good. I think I get a little better with each effort. (On my own terms...)

The whole process of trying to shave words has been a great exercise. I usually feel like my stories are too spare and need more. I think this kind of rewriting is something I can do. It's where I try to change things that I get in trouble, but refining what I already have, that I can do.

Now that I'm done, I've decided to keep it as a novella, and move onto the next thing.

I've gone ahead and sent this to Amazon Singles. I know there isn't a chance in hell, but there isn't any harm in it, I guess. They wanted a "detailed" description, and I sent them one line, so right there I've probably blown it.

But for fuck's sake. The file is right there. Read the first page and if you don't like it, fine. If you do like, read the second page. Repeat.




"Timeless" review.

Linda and I always seem to settle for one or two formulaic network shows, which have just enough of something interesting to keep watching. For a long time it was "Castle," which had Nathan Fillon's comedic charm.

This year, I'm rather fond of "Timeless,"  a updated version of "Time Tunnel." (How many of you remember that show?)

Yes, it has plotholes big enough to drive a tank through, and yes, it is completely formulaic.

And yet...and yet...

The characters are deepening a little as the show goes on, including the bad guys. And they actually throw in a few interesting and accurate historical details in each episode (admittedly along with a plethora of anachronisms.)

The "conspiracy" element (which every show apparently must have these days) isn't overly annoying or overblown. At this point, I'm actually interested to find out what Rittenhouse is. I'm somewhat trusting that the showrunners have thought this through.

The biggest downside for me, (and what is common in lots of TV dramas), is the willingness of the protagonists to do horrible things for "loved ones." So a character wants his wife back, or her sister back, and because of that they're willing to betray everyone else.

The other huge plot hole for me is the way the antagonists seem willing to blow up history for reasons that seem awfully murky.

But that's just it. It's a time-travel story, so EVERYTHING can be explained.

Whether it will be or not, that's the question. It's probably moot, because the very fact that I'm writing a review probably means the show is doomed to cancellation very soon. 


The Novel as a Platonic Ideal.

The philosophy of Plato, especially insofar as it asserts ideal forms as an absolute and eternal reality of which the phenomena of the world are an imperfect and transitory reflection.

Before I start writing a novel, I have a chance to direct it. Maybe my last chance. I can decide what genre it will be, the tone I want to take, the themes I want to explore. I can figure out whether there might be an audience for it. I can think about how much research it will need.

But once I start writing, the novel tells me what it wants.

I have a theory that there is a Platonic Ideal of the novel--the novel in its perfect form, and my job is to try to find that form as much as possible. The closer I get to the Platonic version, the more I feel like I've done my job.

By then, it doesn't matter if it's commercial, or if anyone else will ever read it or like it. The book is the thing, and I'm in that world trying to figure out what the novel wants me to say.

Obviously, I don't do outlines. The story tells me where it wants to go. My job is to coax it out of the ether.

At this point in my writing, I'm not listening to anyone else about what I should write or how I should write it. (I do seek out critique that will help me reach the Platonic Ideal of the novel.) The idea that there is a mechanistic formula that makes a book better is anathema to me.

I've told this story before, but someone joined writer's group for awhile who was a convert to a certain book about how to write. To him, there was a right way to do it and a wrong way, and if you weren't planning out every detail, weren't following the dictates of the first act, the second act, the third act and the final act, then you just weren't doing it right.

Wow. I couldn't have disagreed more.

Thing is, commercially he may be right. There probably is an technique to gain the most followers. I'm sure Micheal Bay follows it religiously. Ugh.

What I've noticed in my own business career and now in writing is that I follow a certain path. First, I seek out as much information as I can. I'm open to all ideas, I read how-to books, I seek out advice.

The second step, which is much longer, is trying out all these different ideas. I'm no longer seeking new information, (such as taking classes or reading how-to books) but I gather it as it passes by. I see which of the advice is good and which is bad. It's a process of trial and error.

The third phase, is I simply go my own way. I've figured out to my own satisfaction what works and what doesn't work, and I quit paying attention to everyone else. I try to leave the door open for paradigm shifts, but other than that, I'm pretty self-contained.

This is when my business finally became profitable. I learned through study and experience what worked, and then followed my knowledge and instincts.

I'd like to think I'm that way with my writing. I've done the first two stages, now it's a matter of pursuing the Platonic Ideal, of applying what I know. When I'm writing a novel, I'm not thinking about who else may read it, whether it is commercial or literary or whatever. I'm just trying to envision the best form of that story.

Not saying I know everything. Not saying I'm succeeding. But this is the path that helps me create the novels that are closest to what I envision the ideal to be.

This may come across as naive or idealistic, but all I'm saying is, when I'm in the middle of writing, I'm trying to get the story that is coming to me down on paper as best I can. I've run into very hard headed writers, and I admire them. Maybe I'm just an amateur playing with mystical ideas.

I can and often do have all the doubts in the world after I'm finished. I can chastise myself for not coming up with a more commercial idea. I can try to do better the next time.

But I gauge the success of the story on how close I perceive it to be the Platonic Ideal of that story.


The fourth flashback chapter that will be placed somewhere in the middle of the story.

2 chapters left, with 4000 words available. If I go over a little, I'm planning to go through and really cut down on any extra words. (Normally, I'm adding when I rewrite.)

I purposely set out to write a Novella, and it's been a nice exercise.

-->
16.) The Pilgrim without a Bell.


Pernitius stood with his back to the wall, blending in. It wasn’t just a matter of not calling attention to himself, but somehow finding the rhythm of the room, moving in the same beat, becoming part of the flow even as he was still.
But he couldn’t help himself. He stared up at the dais, drinking in Lysandra’s loveliness. She looked the same as when he first met her, even down to the simple but elegant gown. Her dark red hair was up, tied in a ribbon, the same color ribbon that had held up her hair at the Pilgrim’s Ball.
Not just any Pilgrim’s Ball, but one held in my honor.
He remembered the awkward yet graceful girl dancing in Prince Quin’s arms. He’d thought her an innocent, who was unaware that she was yet another trophy, no more important than the medals on the Prince’s chest. He’d stepped forward to save her from such a fate.
I thought I was a man of the world. I didn’t realize what a fool I was. I didn’t know that I was in even more danger than Lysandra. I couldn’t protect myself…much less protect her.
She seemed to sense his gaze, for she turned her head his way. He quickly averted his eyes, just in time to see the Toad King moving toward him with his strange hopping stride. Alarmed, the Thief hid behind a servant girl laden with a tray with dirty dishes stacked two feet over her head. But when the girl moved aside, there stood Horense with his wide-mouthed grin. Before Pernitius could stop him, the squat little man was embracing him, squeezing with surprising strength.
“How are you, old friend!” the Toad King cried, finally letting Pernitius go.
Pernitius looked around to see if anyone had noticed, but it appeared that no one thought the hug remarkable.
“Oh, quit worrying, Pernitius. Those who know who we are don’t care…and those who care don’t know who we are.”
“If they knew who you really were, they’d be running for the doors,” the Thief acknowledged. It was hard to believe that the Toad King could so easily blend with the crowd.
I have seen his true shape.
Even now, Pernitius didn’t see a jovial rotund man, but instead a creature that could be mistaken for human only in the darkest of nights, after several jugs of wine. “I should have known you’d be here at the end of all things.”
“Surely not the end of all things,” Horense croaked. “The Mirror God must have someone to reflect, otherwise His existence has no purpose. Someone will have to survive to start over.”
“You, for instance?”
“I am immune to the Mirror God,” the Toad King proclaimed. “We come from the same place, you know.”
“Truly?” Pernitius blurted before he could stop himself.
Horense laughed, as if delighted that the Thief would ask such a question, not so much because Pernitius had been credulous, but because he hadn’t been incredulous.
“Never mind,” Pernitius said, sighing. “It has been far too long since I met someone who lies more than I do.”
“You were always a quick study,” Horense said. “You were my best student. Why, I was starting to get jealous. People were beginning to speak more of the great Thief than they were of the Toad King!”
“I’m sure that it is a terrible thing to have all the attention taken off you,” Pernitius said. And with that, the familiar habits of his old and rather peculiar friendship with the Trickster fell over him like a warm and comfortable cloak.
Believe the opposite of whatever the Toad King says, he reminded himself, and it will be closer to the truth.
He glanced again at Lysandra. She knew who and what he was, and yet talking to the Toad King in her presence made him uncomfortable.
“I’m not talking to you here,” he muttered. “Come with me.”
The Toad King laughed. “What are you worried about? No one believes the Toad King really exists.”
“No one used to believe that the Mirror God existed either.”
He led the Trickster out onto the battlements. Horense complained about the cold breeze, but still followed. They found shelter behind a guard tower.
“All right, Horense,” Pernitius said. “What do you want of me?”
“I merely wanted to greet an old friend!” Horense said. “We had wonderful times together.”
Wonderful times? Pernitius thought. Is that what the Toad King thinks?
Horense had saved him at his lowest point (as often happened with the Toad King) so there was that.
But there was no coming back from what Pernitius had allowed the Toad King to turn him into. The Blue Pilgrim was gone and in his place was the Thief, banished forever from the Thirteenth Principality.

***

Pernitius sat shivering on the banks of the Danjar River, staring into the black waters, trying to catch a glimpse of the shimmering gold. It seemed to him that the golden bell had floated for a time, which was impossible, of course. He meant to throw himself into the current immediately after the bell, but decided it was fitting he should suffer a few more minutes, if only to appease the Mirror God.
He’d never believed in the Mirror God and apparently, the Mirror God had never believed in him. The farther he traveled, the less the people seemed to believe in the Covenant.
Or the less they pretend to believe, he corrected himself, for it was clear to him now that the first four Principalities had believed only in the pomp and ceremonies that legitimized the rule of Princes.
He’d been robbed before he left the Fourth Principality, beaten in the Fifth Principality, ignored in the Sixth Principality. Here in the seventh Principality had come the final indignity. As he wandered down a country road, he’d been struck from behind, and even his blue garments were taken, leaving him with only the golden bell
Devout thieves, apparently, or at least superstitious ones, for it was said that anyone who took a golden bell from a Servant of the Watchers would face the Mirror God and see all that was evil in His reflection.
Pernitius hadn’t eaten in days.
He’d lost his way hours ago, when—unable to slake his thirst from the muddy puddles--he’d strayed from the road at the sound of running water. The cascading sounds of the river had teased him for most of the day before he’d finally won his way to their banks.
There, instead of drinking the water, he sat down, overcome by despair. He’d failed in his pilgrimage; he had nothing to offer the Mirror God. He was naked and ashamed.
He couldn’t go on without offerings, nor could he return home like this. Not to his family and friends. But most of all--not to Lysandra. In the beginning, the thought of Lysandra waiting for him had sped him in his journey. Now he felt only shame.
He could not finish the journey. He was done.
In his frustration, he pulled the golden bell from his neck and heaved it into the river. Impossibly, the golden bell floated for a second, and then plopped from view. In that single impulsive moment, his life changed forever.
A sick dread filled him, like the slow dripping of a poison.
What does it matter? he asked himself.
He was just waiting for the right moment to dive into the frigid waters, whether to find the golden bell or to join it, he himself wasn’t sure.
The smell of roasted meat brought him to his feet. He slipped down the muddy bank toward the waters, but to his surprise, he saved himself. He scrambled back up the bank and into the dark woods.
A campfire flickered like the eyes of an animal through the tangle of branches.
As he approached, rain was falling so hard that it was like walking through curtains of fine beads, yet as he poked his head around a tree, the campground appeared clean and dry. A huge canopy stretched between the trees. Colorful carpets covered the ground, surrounding a fire with a halo of steam over it. Branches suspended a large black iron cauldron above the fire.
To one side was a small wagon, with a mule contentedly munching from a pail of oats.
A man with a wide belly sat with his back to a tree, covered in a blanket, munching on a hank of meat, holding papers up to the light of the fire and reading.
Pernitius saw a black cloak hanging from the end of the wagon, and he circled around to it quietly. The smell of food had drawn him, but now the cloak looked more tempting.
Food won’t matter if I freeze to death.
He snatched the cloak and ran. Something whooshed overhead, crashing through the dark branches. As he stared upward, the roots of a tree sent him sprawling. He scrambled to his feet, but a creature stood blocking his way.
For a moment, Pernitius saw the true shape of the Toad King; squat, with two beady eyes and a wide mouth, legs bent in an odd direction, webbed fingers and toes.
Then the vision vanished and he saw the man from the campground.
“How…” he sputtered. “Who…”
“Put the cloak on,” the man said. “I can’t understand what you’re saying if you’re going to chatter.”
Pernitius stood beside the fire, the warmth reviving him. His hands and feet tingled. For the first time, he realized he was going to survive.
But the poisonous dread returned, the vision of the sinking bell disappearing just as surely as his old life.
The man introduced himself as Horense. Rooting around in the back of the wagon, he found wooden crate and brought it over for Pernitius to sit on. He dipped into the cooking pot and fished out a bone covered in meat.
It is said that the Toad King eats his victims, came the thought.
Pernitius looked down at the meat and took another bite. His body wanted to survive and he had no willpower to overrule it.
He looked up at his host, who was hovering over him as if contemplating his next meal.
“Why are you helping me?” Pernitius asked. It had been so long since anyone had been generous or friendly that he’d forgotten what it felt like.
“That is a good question,” Horense said. “But I have to say…you are the first human in a very long time that I haven’t been inclined to rob. Probably because you are the first person in a long time who doesn’t have a thing to steal!” He let out a guttural sound, the Toad King’s laugh. “But if you wish to repay me, I would be satisfied with your story.”
So Pernitius told him his story, from the beginning of his journey to now. The Toad King interrupted only once—when Pernitius told of throwing the golden bell into the river.
“Then you are cursed,” Horense said. “As cursed as I am.”
“Then what I saw was true…you are the Toad King,” Pernitius said.
“I thought so!” Horense exclaimed, sounding delighted. “You saw through the glamour! That makes you special…special and cursed. But you are a terrible thief. I think, dear boy, if you are going to survive in this world, you need to learn a skill.”
“Are you offering to teach me?”
“To apprentice a Servant of the Watchers would be my pleasure. I never much liked the Mirror God. He’s a little too self-righteous to me.”
Once, Pernitius would have been horrified by the sacrilege. Now it had the ring of truth.
He fell asleep under the tree, listening to the patter of rain on the canopy. Something woke him late, and he saw the Toad King by the fire, dripping with water.
“Did you find it?” Pernitius asked.
“The current is too strong,” Horense said, unsurprised by the question. “It’s probably washed down to the Cormat Sea by now.”
“I thought toads didn’t swim,” Pernitius said.
“They don’t,” Horense said. “But the Toad King does. Now go back to sleep.”

***

They were constant companions for the next few years, until one day the Toad King turned to him and said, “I have nothing more to teach you, my boy. Why…at the rate you’re picking this up you will be better than me in a few years.”
“Surely not,” Pernitius said. If the Toad King said it, it probably wasn’t true.
“Well…I’d advise you to earn as much as you can while still young. Someday you’ll be old, but the Toad King will still be wandering the Principalities, hustling humans.”
Pernitius turned to reply, but Horense was nowhere to be seen. He sighed and looked upward. A brief shadow passed across the sun, and then the Toad King was gone.


***

“Why are you here?” Pernitius asked his mentor in the shelter of the tower. Over the years, they’d seen each other from afar, but by unspoken agreement had not tried to scam the same Principalities at the same time.
“There is nowhere else to go,” Horense said. “Besides…I have something to give you.”
Every golden bell has its own sound, and Pernitius recognized his immediately even before the Toad King completely removed it from his pocket. He reached out with shaking hands to take it.
“Why…why did you hide it?” he asked.
“Because you didn’t value it then,” the Toad King said. “You didn’t understand the importance. I’ve watched you over the years wandering the realms, trying to atone to the Mirror God even as you fleeced his worshippers. It is time.”
“It is too late,” Pernitius said.
“Oh, no doubt,” the Toad King agreed. “Far too late.”
The Toad King lied about everything, so if he was agreeing that meant…
The eighth stanza of the Mirror God’s Curse came to Pernitius: “They who are most mistrusted, shall be believed.”  

Hit my first roadblock chapter yesterday.

Just couldn't figure out how to do it. Tried three different ways.

The holidays are always a difficult time to get any focus on writing. It's amazing that any writing gets done at all. From about mid-October, when my taxes are due, until January 2, there are more things to do and places to be. The store requires more attention, obviously.

Four years ago, I ignored everything; three years ago, I was still ignoring everything. Two years ago, it took more effort.

This year, I've backed off a little from my writing obsession.

But it is still there. It is completely amazing that I walked away from writing for 25 years. The compulsion is so strong that I feel strange if I'm not writing. It just goes to show how hard the store was, and how much work and attention I had to spend on it.

But I doubt anything could happen now to stop me. (Knock wood.) This is my life now.

Anyway, woke up this morning having decided that the way to write the problem chapter was simply in sequence of events, rather than jumping around. Simple solution. I liked the dark beginning of the chapter, then the flashback, but then there was another flashback and that was one too many. I won't try to write today, and I plan on working part of the day at the store tomorrow, but then I hopefully have a few weeks to finish the book.

I'm pretty sure I'm going to turn it into a book. Not sure if I'll try to send a shorter version to Amazon Singles. I may, because it would be a one and done. Even if it got accepted, unlikely, it wouldn't contractually obligate me like an agent or mainstream publisher would.

I've mulled the possibility of submitting to agents and mainstream publishers for four years now, but have made little movement in that direction.

I was thinking yesterday that when I write a book, it's a Platonic ideal. The book tells me what it wants to be, and the closer I get to the vision of the book, the more successful it is.

That is, successful in my eyes.

It may not meet anyone else's standards at all. At first, I was writing horror novels because they seemed open enough and broad enough in scope to handle whatever ideas I had.

But my last two books were thrillers (Snaked is a creature book, but written as a thriller.) Lucifer's Forge is definitely a thriller. My current book is a straight out fantasy.

In other words, I want to write what I want to write when I want to write it.

All that argues against tying myself down with an agent or publisher. So far, I've only slightly pushed on the publisher's doors, and I've been opportunistic about my chances. I look at the monolith of the publishers and think, "No way."

So...unless some opportunity comes along, I think I'm better off writing away happily at what I want to write and then just plunking them out into the world.

So from this point forward, anything I write about on Mirror God won't make much sense, since it is me going back and filling in.

I've removed all but the last two chapters, because if I submit it to Amazon Singles, there is a rule about posting the story anywhere else.

3 million organized fictional words. That's about how much I figure I've written in my life.

At this point in my writing adventure, I'm more or less judging things by my own standards. I think I'm probably twice the writer I was when I started, and half the writer I want to be.

That doesn't mean that people are going to like my books twice as much though. It's just an internal gauge about how much I'm learning.

Most of the improvement comes down to the process of incubating my creativity and then letting it happen. The more relaxed I become, the better the writer.

That and just discovering through the trial and error of 3 million words.

At least, that's what I think.



Sometimes I struggle to find the connectors, the plot elements that tie the characters and plots together.

Sometimes, like on my walk on Wednesday, my brain just starts firing off connector after connector, so fast I can't keep track of them. I worry that they are a little too neat, but it's better to have too many and then cut than to have too few.

Why, oh why, do I write such complicated plots?

This book is basically all flashback.

Now, there is a grand tradition of such books. A group of disparate travelers gather at a castle and each tells the tale of how they arrived there. That is roughly what I am doing here, and it feels right. A series of almost short stories unified by a grand threat.

I'm trying to keep this at novella size, under 30K words, so I can submit it to Amazon Singles. I don't expect them  to take it, but no harm in trying. I figure I can probably handle rejection by now without losing hope.

So far I don't feel I've written a clunker chapter. I had one chapter that someone else thought missed the mark and upon examining it, I thought it could be improved by expanding it into 3 chapters. But other than that, I really like what I've written.

However, I'm realizing that not everyone probably is enamored. The number of readers declines with each entry, which means that people are dropping away and I've failed at grabbing them.

But again, I'm measuring progress by my own gauge, and I know this is much more accomplished than anything I thought I could do.

The backstory of "Said the Joker to the Thief" is sort of falling together.

I'm about 33 pages in, which is sooner than usual. Not all the backstory, but enough to give me some ideas.

I'm going back and doing the necessary changes as they occur to me. I think I can risk doing that now. When I first came back to writing, my #1 unbreakable rule was not going back and changing anything until I was finished.

But I think I've got a handle on my writing now, so I know just how much I can get away with.

It's a lot of fun to write fantasy again. Not sure why I stayed away from it for so long. I'm really not worried about writing the same old fantasy as everyone else, because I do tend to go off on my tangents.

I just wrote a chapter that was almost all dialogue, which I rarely if ever do. It's funny to be doing the scans of Star Axe. I was afraid of dialogue back then and avoided it whenever possible, even paraphrasing things that probably should have been dialogue. Much more narrative storytelling, instead of progressing the story by scenes.

I've come a long way.

Interesting, frankly, that Star Axe got published, but my current writing can't even get the attention of an agent. I think the field was just easier to break into back then, simply because it was so hard to get into back then, by which I mean, if you were willing to do everything you needed to do, there was a fair chance you'd get a fair hearing.

Nowadays, it's just too easy. Too easy to write, too easy to send, too easy to get ignored.


I approach fantasy differently than I do my other books.

Often I'm just trying to capture a mood, or an image. I don't really want to know where it's going. I want to be surprised each time I sit down to write. I want to find the fantastical, the unexpected.

This gets me in trouble, sometimes. Fantasy really does need a fully thought-out world, and I build my worlds through writing. So I write myself into corners sometimes.

I'm going through my scan of Star Axe, my first published book, hoping to put it out again in December. I'm trying not to be judgmental, but...well, I don't have any doubt I'm a better writer now.

But what I can see is that I really made the effort. The book could have used a good edit--and it never got one, even from the publisher.

I notice that I spend a fair amount of time on description...and that it isn't as off-putting as I might have thought.

I think reaching for fantastic images calls forth a more poetic language, which is what makes fantasy so alluring. While I admire the world-building medieval empires of popular fantasy, my newer stories seem more in the mold of fables, where I'm not really trying to explain everything, but hoping the mood and images carry the story.

Like I said, not much fantasy like that these days. People want extensive worlds, like Martin and Jordan and so on.  I appreciate more the Jack Vance type stories--though he certainly did the requisite world-building, it's more the beauty of the language, the tone, the images he evokes which attracts me.

Obviously, Tolkien does the world-building--no one better!--but it is the mood and tone I remember most. A kind of nostalgia for a world that never existed.