Sommer Marsden has graciously invited me to post my paranormal book blurb on her blog, along with a little poem for halloween….
I was in the Basque speaking area of Navarra last weekend, up in the hills.
We went to visit a museum made by a very interesting guy called Iñaki Perurena, whose famous in the region for having Guinness World Records for lifting stones, among other things.
He has some amazing sculptures and lots of interesting paintings of characters from Basque Mythology on huge rocks dotted through the woods.
The Basques have a lot of strange characters that live in the woods. A much richer diversity than the simple fairy and leprechauns of Ireland, to be honest.
They have a type of Faun, mermaids, goblins, their own Santa Claus character, a cyclops, giants…
And…. another creature who you might bump into while walking the woods in such remote areas where houses are separated by large tracts of land, and visiting your neighbour involves a trek up a mountain.
Gizotso, is werewolf in Basque, and is said to be an extremely strong savage beast that lives in the woods and is made by sexual intercourse between humans and wild animals.
I’ve a long-held interest in werewolves, of course, and my kids speak Basque in school, but I’d not heard of this particular thread of the great tapestry of werewolf tales.
It’s fascinating how many different versions there are of this story. One of the things that unite all human societies are the similarities in our fireside tales of others who live just outside the light spread by our hearths. And the werewolf is perhaps the most ubiquitous of all, more than even the dragon.
At the same time, it’s disturbing how easily every society can alienate others and reduce them to the status of “savage animals.”
Perhaps it not so difficult to see how such stories of werewolves can spring forth in our imagination from simple ingredients such as deep woods, woodland dwellers, people we don’t like, and people we desire.
Of course, nowadays, nobody believes in werewolves.
So, I know it’s been a while, but things have been as hectic as a 2-year-old in a new playground. Literally.
My final chapter of the Silver Nights Trilogy is out now, and so I thought it a good time to recap what I learned in the process of writing it.
1) Things take longer than you think…
Especially when you think you can squeeze side projects in there between…
I always knew I’d finish my trilogy (I advocate the finish your shit mantra) but I thought I’d have it done a couple of years ago – around six months after the first novel came out and I realised just before publication that it was going to be a trilogy. The nuclei of the second two parts came to me very clear and I reckoned that I’d have them both done by Christmas – I had a part time job and summer in between, after all.
But then I got the idea for a novel about Loch Ness, and that just grabbed my attention like a talon clutching my balls, insisting I go along with it. So I thought it best to comply. The first draft spun out easily, but then there were drafts to go over before I submitted, and another project popped up. This was going to be easy – my publisher put out a call for erotic romance novellas set in one night in any city, for a series called City Nights. Well, I had a long short story set in Madrid that could be refitted in a jiffy. Or not. The challenge of writing erotica wasn’t half as hard (fnarr!) as shaping it into a longer story that was still under 25k words. Anyway, despite it taking me several rewrites I got the bug and did 2 more cities since, Pamplona and Boston (for these the story was simple, starting from scratch always is simpler) published under the name JD Martins – yes, I am a school teacher. Then there were edits for a YA paranormal and a children’s fantasy novel to go over for publication (yes, I’d a drawerful of old novels that I finally found willing publishers for). And of course, real life did it’s usual trick of getting in the way. Our daughter was diagnosed diabetic at two and a half, so I spent a lot of time cycling across town to inject her at lunchtime, we had another sprog six? months ago… all that great stuff. But the sequels kept simmering away in the meantime, slowly taking shape… of course, people kept asking when they’d be ready and I kept telling them a date not too distant in the future – three months or so, by this Christmas, as soon as submissions reopen, I’m sending both books straight away…
2) Think before you decide to write a trilogy.
At least, think before you tell everyone, and have the second and third pretty much ready to go before you tell everyone. Sure, the idea for the second and third novel might come to you real quick and seem pretty safe and secure, but they need to tie together like a trilogy, and, more importantly, people are going to be waiting on them – some won’t even read the first part till they know the second and third are written and out there for them to read straight after – hands up who’s waiting on Game of Thrones to finish it’s run before even starting? Only me? Oh… anyhow, though the ideas might seem pretty solid, they have to lead directly from the first to the second and into the third and though there might be three books, hence trilogy, a series can have three books, too – you just don’t write the fourth book, and nobody’s going to feel cheated. Are you? It’s not that the second and third novel aren’t solid, but the challenges facing the characters can’t be the same, and things that happen in the sequels need to have a coherency with the first, so perhaps write them all at the same time, rather than have one done and decide to add two more
But definitely write part two and three together. It might piss off those waiting impatiently for the second to come out, but it’s better in the end. Also helps keep all those characters in your head at the same time – werewolves have big families, dammit, especially when they’re trying to build up their numbers after centuries of persecution.
3) Stick to your original vision
I wrote the first novel in this trilogy, Leaving the Pack, twenty-five years ago. The time in between turned out to be very useful. I was inspired by Whitley Strieber’s novel Wulfen, and to honest, I never really read much about them since then. I liked my werewolves (almost as much as Strieber’s) and I didn’t much like the movies I occasionally saw or the few books I read. Having a book out before you write the next leads to the temptation to take reader’s opinions into account as write. But making everyone happy isn’t a possibility and if the reader didn’t like the first book, it’s pointless to try please them in the second, or the third. Besides, when I looked around at some of the other werewolf novels out there, I realised their tastes were more aligned with the books I wanted my story to stand out from – the real tribe who engendered the original myth.
4) Don’t bother reading in-genre – it’s probably not your genre, and there’s some weird shit out there.
I did read a few other books over the years, but reading other werewolf novels was a bad idea. They filled my head with stuff that I didn’t like, making me second-guess the world I’d created – a real world where shifting is just as physically impossible as it is in ours.
In tandem with their physiological lunar rhythms, these people worshipped the wolf, had an affinity with their four-legged brethren that had led their enemies to assume they turned into beasts.
As a zoologist, I knew that wolf mating is similar to dogs, where they are unable to separate afterwards for a while. I went to double-check the term (knotting) in the final edit and discovered a sub genre of werewolf novels that was eye opening, let’s say.
5) The real world has changed, and so must your characters.
Even though my werewolves are first found roaming the city during the late Eighties, when homosexuality wasn’t nearly so visible in our cities, and I have no interest in writing gay sex scenes – and I doubt I could make them hot enough for the readers of werewolf knotting – I totally agree that we need more diversity characters in our novels. The werewolves are an ancient tribe, and the poster boys for patriarchy, but even they have to evolve to deal with the way things are nowadays, including equality for their daughters. But such changes are a joy to write, to put your characters in awkward situations. One thing that has not changed for the pack, however, is they still hate vampires, and real vampires are not so nice as they’re made out to be.
You can get all three books here….
So, after much quiet, the howl returns…
As I said in a post longer ago than I thought it was, I’ve been living in the real world these last many months.
But I’d done a year or more inside my imaginary city, the setting for the Silver Nights Trilogy.
I’m ready to publish the second and third instalments now.
Leading the Pack is out on Pre-order as of today!
you can get it for just 99c until publication on March 15th from Amazon….
and Unleashing the Pack will be edited soon and the cover is nearly done…
It was a pleasure to return to the characters, but working on the two novels in tandem was a struggle while I was immersed in them, and I hope I’ve done justice to my original vision of the werewolf story.
The question I feel I have to answer, before anyone even reads part two, is, “why go back?”
Because I didn’t need to.
The first book, Leaving the Pack, didn’t have an open ending. It was a stand-alone novel.
But I couldn’t leave it alone.
I had to go back and expand on the idea.
So I hope I’ve done the right thing. I hope I’ve not made a mess of the story.
One thing I hate is when writers and moviemakers go back just for the sake of it.
One of my favourite movies is Highlander, and I’ve seen it many times. I hate the sequels. I hate the series. Stupid films that made a mess of a great original story.
I’m watching Lonesome Dove, after having read the book, and now I have discovered there are sequels and prequels, but I’m wary about even going there, given some comments I’ve read.
Why mess with such perfect stories? Why corrupt the vision?
If you go back, you have to have a reason, a need, something else to say.
In my case, I wanted to explain the werewolves from different angles. Firstly, from the viewpoint of a new generation. Paul’s pack, in Leaving the Pack, is a disciplined machine. Paul has complete control (mostly) of his power. But is such camaraderie innate in a race so apt to violence? What is it like to feel such potency for the first time. I wanted to explore the line between being the alpha and what I called the leash – does power necessarily come with responsibility or vice versa?
Secondly, how do werewolves adapt to a new millennium? The twenty-first century is a world that such an ancient tribe as my werewolves would have trouble confronting, in terms of our more open, permissive and public society. How can you remain hidden in plain sight with so many cameras watching? The world is changing rapidly for us; imagine for a race who live so much longer. And at the same time, if they can embrace the future, then so can any other culture.
Twenty years is a long time. But always take the time you need…
Now the second and third parts of The Silver Nights Trilogy are ready to be launched, I can reveal to you the new look of the Leaving the Pack cover….
This cover will tie the three books together with the same look.
The second part, Leading the Pack, will be published next month, and is going to be available for pre-order very soon. I’ll also have ARCs for my reviewers in a few days, so drop me a line at firstname.lastname@example.org if you’d like to read and review…
I’m participating in a blog hop for Christmas today…
Here’s a holiday photo..
Christmas is a complicated time for a writer. Both for his or her writing and for the characters in his or her head.
We generally have some time off over the holiday season. We writers generally look forward to it, imagining we’ll have long quiet mornings to get some serious word counts down, or plot a novel, or just scribble down ideas as we ponder the virgin snow in our gardens.
And at the back of our mind, we know that it’s as fictitious as the man in red. We’re surrounded by family, by food and preparations, by kids running around with toys that usually make noise, and require some putting together.
We do get some time, because as writers we make it. We get up early – perhaps not the night Santa Claus comes, just in case we bump into him in the hallway, but on other mornings. And we see the sun come up over the winter landscape as we scribble, or edit, or plot.
For our characters, our plots, our storylines, Christmas can be a crux, or a crossroads, or a cross we have to jump over or have our story impaled upon it. To move the story along it can help, or hinder. Characters who are not from the same place would logically separate for the holidays, go their separate ways, to their separate homes – even if they love one another very much, and I know because I left my girlfriend every Christmas until we got married. If their families are living close by, we are faced with the battery of family members who’d want to be introduced, and while it can be amusing to have some banter over the table, it can be too much, too complicated to include in a plotline that nowadays readers expect to be ever more streamlined and spare, free of unnecessary sub plots and minor characters.
So we skip it sometimes. We gloss over it. If we have to deal with it at all – sometimes the timeline nicely avoids the whole season. In my most recent adult novel, The Ecology of Lonesomeness, Kaleb the American scientist, stays in Scotland for Christmas, since he’s Jewish and isn’t expected back home by his parents. He’s going out with the daughter of fairly strict Scottish Presbyterian, which might have provided some laughs, but also some awkward moments, and it would have bogged down the story; we’d already found out much of what we needed to know about Jessie’s parents, and more would have become boring. So a few comments about how well it had gone and how good an impression Kaleb had made by just being there and attending morning service with the family sufficed.
In my only other novel that had to deal with Christmas, Leaving the Pack, the two main characters are also very different in their approach to Christmas. Paul, of a race of men who are the origins of the werewolf myth and who worship the wolf, has no familial obligations at Christmas, and is happy to accompany Susan, his “normal” girlfriend to her family for lunch (though he does make her miss morning mass… The rest of the day is leapt over, because Susan’s family, since they’re not werewolf-like, are very peripheral to the story line.
Leaving the Pack is part one of my Silver Nights Trilogy, the two other parts of which I am currently editing. My plan is to submit them to my editor and publisher in Tirgearr Publishing as soon as submissions reopen after the holidays. To this end, I have grand plans to work while I have some time off from my day job teaching high school science… of course, I have a 4-year-old who’s waiting to put up the tree, a 10-day old son who hasn’t yet figured out that his dad has other children besides him, most of which are imaginary but equally demanding to have their adventures written down,an extended Spanish family who will expect to see said son and me for their intensive three-day family celebrations, complete with Basque version of Santa, dinner on Christmas Eve, Lunch on Christmas Day and St Stephen’s day, as well as the serious gift-giving on Little Christmas when the Three Kings come… The only reason I don’t have to squeeze in a trip home to Ireland in between is because said son is too small to travel as yet (and hasn’t got the travel documents in time). But I will find some time, and get my submission in.
I’m offering a prize today of a copy of Leaving the Pack – a werewolf novel like no other you’ve ever read, written by a scientist about the truth behind the myth.
Leave a comment and let me know whether you prefer to read about Christmas in a novel or skip it to get to the other plot points to be put into the draw.
Blurb of The Ecology of Lonesomeness:
Kaleb Schwartz isn’t interested in the Loch Ness Monster. He’d enough cryptobiological speculation about Bigfoot while studying the Pacific Northwest forests. He’s in Scotland’s Great Glen to investigate aquatic food webs and nutrients cycles; if he proves there’s no food for any creature bigger than a pike, then so much the better.
Jessie McPherson has returned to Loch Ness after finishing university in London, hoping to avoid the obsession with its dark waters she had when younger and first discovered lonesomeness. She knows any relationship with a scientist studying the lake is a bad idea, but something about Kaleb makes her throw caution to the depths.
When Kaleb discovers Jessie’s lonesomeness refers not just to the solitude of the loch, he’s faced with an ecological problem of monstrous proportions. Can he find a way to satisfy both the man and the scientist inside himself, and do the right thing?
10% of the author’s royalties will be donated to WWF, the World Wildlife Fund.
Blurb of Leaving the Pack, Silver Nights Trilogy Part 1:
Nobody believes in werewolves.
That’s just what Paul McHew and his friends are counting on.
They and their kind roam our city streets: a race of people from whom the terrible legend stems; now living among us invisibly after centuries of persecution through fear and ignorance. Superficially Caucasian but physiologically very different, with lunar rhythms so strong that during the three days of the full moon they are almost completely controlled by their hormonal instincts, you might have cursed them as just another group of brawling youths or drunken gang-bangers. Now at the point of extinction, if they are to survive their existence must remain restricted to mere stories and legend, but, paradoxically, they also must marry outside their society in order to persist.
The responsibility for negotiating this knife-edge is given to Paul, who runs the streets with his friends during the full moon, keeping them out of real trouble and its resultant difficult questions. Having succeeded for years, he finds his real test of leadership comes when he meets Susan, a potential life-mate, to whom he will have to reveal his true identity if he is ever to leave his pack.
10% of the author’s royalties will be donated to WWF, the World Wildlife Fund.
David is a writer, ecologist and teacher from Dublin, Ireland, now living in Pamplona Spain. He has a degree in environmental biology and doctorate in zoology, specialising in deer biology and is still involved in deer management in his spare time.
As an avid wildlife enthusiast and ecologist, much of David’s non-academic writing, especially poetry, is inspired by wildlife and science. While some of his stories and novels are contemporary, others seek to describe the science behind the supernatural or the paranormal.
A long-time member of The World Wildlife Fund, David has pledged to donate 10% of his royalties on all his hitherto published books to that charity to aid with protecting endangered species and habitats.
To see others on the blog hop, click this link...
Fall to Forest Floor
When golden leaves strew the ground,
When wind turns swirling, frisking clothes and shoulders,
Then the deer seek company in copses,
And the wolf inside awakens, opening equally amber eyes.
copyright EmoRobotics (http://emorobotics.deviantart.com/)
Back to writing second drafts of my werewolf novel sequels as November rolls on into winter… don’t seem in too bad shape so far.