Hey all – I was invited by the gracious and thoughtful folks at Indie Beginnings to participate in a podcast interview, and I love where they took our conversation. If you’re interested in having a listen, here ’tis:
(originally published 7/19/2017)
I’m not going to write a fourth. I’m just not, even though I’ve been thinking about it for six months and have opened up what I call a “slushy pile” of notes and bits of narrative – and even though I’ve already picked out a name for it and have an outline. Because writing books is a pain in the a– and I refuse to do it and will stop right after I launch the third. Yep.
HOWEVER, just to keep this little lie I’m telling myself afloat, I’m including a tiny bit of set-up for the fourth in my third. By doing this – and by sharing an excerpt here, I shall exorcise myself once and for all of this ridiculous endeavor! So let the exorcism begin:
***SPOILER ALERT ***
PROLLY DON’T WANT TO READ THIS IF YOU HAVEN’T READ THE SECOND BOOK, BREAKWATER ‘CAUSE DEAD CHARACTERS SHOULDN’T TALK.
Xanthe approached Griffins Bay – and the real object of her visit, Peter – from the ocean, having decided to search out her former colleague for a chat about her unrelenting work problems. No, that wasn’t true. She hadn’t decided anything, was following this particular urge on instinct, not reason, although she thought a conversation with the former prince might resolve her ever-deepening anxiety over the shifting center of her life. And Peter knew her and her professional commitments as well as anyone.
Earlier that day, she’d sensed he was near the Blake home, and this thread of perception, slight though it was, had given her adequate impetus to leave her offices on Shaddox and undertake her current swim. She’d had to be sneaky in her escape from the palace since others there continued to ask her about him, hadn’t stopped since they’d learned of his resurrection seven years earlier. Peter apparently didn’t want to communicate with anyone, which stopped none of them from trying to wheedle a meeting with him out of her.
They were kind of cute, often inventing some weak but plausible need for reconnection with their one-time regent – would he like any personal items from his life before exile? So-and-so had been an intimate and was frantic with worry for him, and could he or she get in touch? Surely she, Xanthe, could facilitate an encounter.
She couldn’t, but she didn’t blame any of them for trying. She understood their artless attempts, which were a combination of genuine concern and rabid self-interest none of them could help, both of which would be alleviated if Peter would deign to visit the seat of siren government and show his face. He wouldn’t and didn’t.
At first, she’d tried to persuade him by contending he’d be left alone sooner if he’d cater to his former subjects in this matter, if he’d let himself be seen and answer a few questions to allay everyone’s curiosity. “You’ve been the center of our common life for over a century, and the drama surrounding your return is too seductive,” she’d argued. And it was true: even the most stable among them yearned to ferret out for themselves the truth in this part of their collective history, to establish a more definitive resolution than the one they’d been given. Or at least come up with a palatable way to consider all that had happened since his faux suicide.
Peter hadn’t disagreed, but neither did he comply with his community’s requests for an audience. “I’ll think about it,” he’d answered off-handedly, in a way that made Xanthe believe he couldn’t care less what anyone else wanted, her included. After her attempts to lure him into a public appearance failed, she hadn’t known what to say to sirens who solicited her for a connection. At this point, she just wished they’d stop pestering her.
“I have no influence on him,” she’d stated again and again. “I don’t know when – or even if – he’ll visit Shaddox. Ever.” Their eager nods were not acknowledgments because they acted as if she hadn’t spoken. She continued to be approached by folks who thought she had a unique in with Peter Loughlin.
She suspected she had more of an in than Peter let on, though, since while she never had any indication where he was when others asked, she did sense him when she wished to locate him herself. Perhaps because he allowed her this access? She wondered.
“Why can I always find you?” she’d inquired.
“I will talk with you anytime,” Peter replied… and that was all he’d say on the subject. She studied him to determine what he might be hiding.
She couldn’t tell if there was anything, couldn’t be sure of his motivations. Although he’d confessed he’d been lonely for his own kind when she’d come upon him murdering their viceroy all those years ago. He drew her attention back to him. “You have nothing to worry about from me, Xanthe,” Peter claimed. “We’ve known each other a long time, and talking with you is a pleasure of mine. My motives are that simple.”
“If you say so…?” Since she also felt the easiness between them, she was inclined to believe him. Although she couldn’t help but feel wary around him given his past, epic deviances.
“Truly. You are always safe in my company,” he insisted.
“Mmm,” she responded uncertainly.
But back to her current personal crisis and the reason behind her impending visit to her one-time boss. She’d elected to search for him in Griffins Bay on the same whim that brought her to him every time, no matter where he was, although she was aware he often dropped by the Blakes’ to check on Gabe, Kate, and little Henry. And sometimes Carmen and Michael when they were beachside, which they usually weren’t since they’d moved to Shaddox.
Just outside the reef protecting the bay, Xanthe grabbed a waterproof pack with land supplies from one of the designated caches in the rock face.
She saw Peter from underwater just before she surfaced… and she felt his grin, his anticipation. He sat on the end of the dock by the Blake house in Griffins Bay, shirt unbuttoned, pants rolled up as he dangled his feet in the sea. “Ah, moonflower, it is lovely to see you,” he told her when her face broke the waves. She hooked an arm around one of the dock posts to anchor herself.
The overhead sun left his face in shadow, making her unable to read his expression. But this time, she didn’t need to rely solely on her observational skills to determine his frame of mind, because she absorbed his emanations cleanly. Peter’s emotional output today, usually missing altogether, was almost like that of a normal siren.
And he really was pleased to see her. She was awash in the loveliest tenderness from him, a restorative balm that blanketed her and soothed away the worries she wore these days like a second skin. When she reacted with her own sweet outpouring – an automatic response usually not possible with Peter Loughlin – she perceived a freeness within him she’d never felt before. He was relaxed… and almost open.
This was not anything she attributed to their rogue, duplicitous prince, so she stilled, combing him with her intuition for evidence of deceit. She inquired within herself as well, checking for the backlash of emptiness, the sour echo of loneliness she considered a trademark of any interaction with Peter. His usual impediments weren’t there this time, or maybe they were, but penetrable for once.
“You’re happy,” she remarked with surprise.
(originally published 6/4/2017)
Perhaps the very most fabulous thing about “beach reads” is, well, everything. Going somewhere warm when it’s 20 below? Think of the plethora of bookish escapes that await you! Too caged up in the winter-ness of it all in January? Pick up a beach read! Heading to the lake/ocean/park and need a book?
You know what you want.
Problem is, there really are a gazillion choices out there, and how does one wade through them all? Plus, not everyone’s sensibilities are aligned, so a book that makes one person swoon with joy has another holding her nose and dropping the thing in the nearest trash bin. How to discern?
I recommend triangulation. If you have a book you love, search for others like it, using phrases such as, “books like Outlander” or “novels like In Cold Blood.” You can be more specific, too, by adding the term “inspirational” or “erotic” or “literary” according to your preferences. The reading community is so generous, and you’ll find tons of options, which you can further research before you decide. Another favorite resource of mine is Listopia on Goodreads, which slices and dices genres every which way imaginable. For illustration purposes, here are lists that contain my first book, Updrift: https://www.goodreads.com/list/book/25114259/
Yet for all the dazzling internet tricks out there today vying for your book-buying dollar, the best is still personal recommendation imo. By far. I haven’t always agreed with the staff picks at the stores I frequent, but those selections have always made the choosing process more digestible, and they’ve always led me to something I’ve enjoyed. Book clubs and subscription services can help on this front, too. Hope this helps!
(originally published 3/7/2017)
Updrift is first and foremost a love and adventure story with a little mythology mixed in, not a treatise on ideal womanhood or feminism… But. I did write in a theme addressing the challenges modern women face concerning work, family, and love; and I included the backdrop deliberately with the goal of enriching the narrative. The theme is not there to cast aspersions or further divide us, however. Quite the opposite.
In a nutshell, my heroine, Kate, is the daughter of a single, working mother. As Kate grows up, she looks to the three most influential women around her – her mom; her aunt, the corporate go-getter; and Alicia, the stay-at-home mother of her best friend – to try on the incarnations of adulthood each represents. She changes her mind twice in Updrift, changes her mind again in the sequel… and if I were to focus solely on Kate throughout the series, which I don’t, her circumstances and how she applies her values in light of them would change many, many more times.
I took this approach because real women who juggle real, whole lives, don’t have the luxury of adhering to one, pure professional or biological ideal. Real women adapt, with considerable intelligence and strength, to accommodate all the dichotomies inherent in having a job and family and lovers on the side; and they live richer, more communicative lives as a consequence. They’re also, in my opinion, a lot more relatable than the idealized women represented on either end of the spectrum in commercial literature, ones who I don’t think much exist.
If you’re like me, you’ve seen literally dozens of what I call anti-heroines come out of traditional publishing in the past ten years. The last book I read in what’s become a veritable slough of them had the hero and heroine falling in love because of their ability to physically harm each other, with the heroine (of course) being the superior fighter. It was very well written… but I find this trope every bit as one-dimensional and limiting as the damsel trope it’s meant to replace. I also find the arguments in favor of such scenarios too facile, certainly disingenuous, and worst of all, unkind.
Telling a young woman she needs to develop her combat prowess to be a competent romantic partner is no better than insisting on weakness for the same reason. If you don’t know a woman who wrestles with how to have a family and pay attention to it while holding down a job, you don’t know any women. If you think brandishing the banner of ‘either/or’ should be the goal of fiction aimed at young women, I would ask you to approach the idea of womanhood with more expansiveness, more empathy, and more love, both for yourself and for girls coming into adulthood.
This perspective led me to ponder in my writing, “What does ‘and’ look like instead of ‘either/or? What does it feel like inside a real character?” I gave Kate her professional passions because they are a part of her personhood and therefore her womanhood, and she sets aside her romantic compulsions for the man she loves in favor of professional discipline before she commits, which I believe can be hard for some girls but is a worthy choice to illustrate. I make sure Kate feels the friction between duty and love, as many of us do. I do not make her figure everything out at age 20 because I wouldn’t expect that of her, and because life in the real world doesn’t happen that way.
And I just wouldn’t do that to a sister.
Kate’s story contrasts with different heroines in the trilogy, which was drafted entirely before Updriftcame out. For those who are truly interested in this issue and where I take it, I’m happy to provide the following spoiler alerts: Kate will return to her professional interests in Breakwater, where she figures out how to accommodate motherhood and her career ambitions, but on her terms. Breakwater’s heroine establishes her own business and is professionally developed well before engaging with her guy. And in the third, Outrush, the heroine completes medical school and is processing a failed marriage before her romance takes off.
Maybe you disagree with my approach and have good reasons for doing so. I welcome your comments and invite you to share your perspective. And if you have a different story to tell that expands on the ideas I laid out above, I invite you to write the story out, publish it, and share it with the world. I think we need a broader selection of novels than the ones we have. The ones I’ve written, I’ll admit, are based on my musings and mine alone. What would be your theme?