Showing posts with label fantasy. Show all posts
Showing posts with label fantasy. Show all posts

Thursday, January 25, 2024

Deities in Fantasy Worlds

Recently T. Kingfisher published the fourth book in her "Saint of Steel" series, PALADIN'S FAITH. (The others are PALADIN'S GRACE, PALADIN'S STRENGTH, and PALADIN'S HOPE.) Also in the same setting: The Clocktaur War duology (CLOCKWORK BOYS and THE WONDER ENGINE) and the stand-alone novel SWORDHEART. These works may be broadly described as sword-and-sorcery romances in a late medieval or an early steampunk milieu.

The premise of "Saint of Steel" is that the deity in the series title died, from a cause so far unknown. His paladins felt his violent death. The few who survived the cataclysmic trauma struggle to carry on with their lives despite a void where the bond with their god should be. Two gifts of their divine patron remain, the "voice" that empowers them to persuade anyone of almost anything (provided the paladin sincerely means what he or she says) and a battle frenzy called the "black tide," which grants them superhuman strength and speed but leaves scars on their souls. The surviving paladins have been taken under the protection of the temple of the White Rat.

The stories in this fictional universe feature three principal deities, although others are mentioned: The Saint of Steel, whose warriors fight evil and protect its victims; the pragmatic White Rat, whose temples are noted for exercising charity and correcting injustices, many of whose devotees are lawyers or investigative accountants; and the Dreaming God, whose servants specialize in exorcizing demons. As illustrated by a scene at the climax of PALADIN'S FAITH when the Saint of Steel speaks to a large crowd through the mouth of a character, everyone knows and takes for granted the existence of the gods. In the face of incontrovertible evidence, nobody disbelieves in supernatural beings. If there are any "flat-earth atheists" in this world, we don't meet them:

Flat-Earth Atheist

The background of the Dungeons and Dragons games is similar, but even more so. Everybody knows that multiple gods exist and that clerics acquire their magic spells by praying to their patron deities.

What would it be like to live in a world where the existence of deities is a routinely accepted truth? Faith in the sense of intellectual belief would be unnecessary and nonexistent. You don't have that type of "faith" in something definitely known. No matter how powerful, divine entities would be as mundane a fact as the sun and the moon. Faith in the sense of trust, of course, would be an entirely different matter. Granny Weatherwax in Terry Pratchett's Discworld doesn't approve of believing in gods; it only encourages them.

The rare person who experiences an epiphany like the characters in the aforementioned scene would presumably react with awe. Most ordinary people, lacking either a personal divine encounter or Granny Weatherwax's strength of character, would probably regard the gods as powers to be approached with caution, placating them but not getting too deeply involved. Rather like living next to a forest infested by semi-tame tigers, maybe.

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Thursday, January 18, 2024

WEIRD TALES Centenary Tribute

I've recently finished reading an anthology called WEIRD TALES: 100 YEARS OF WEIRD, edited by Jonathan Maberry, current editor of "The Unique Magazine." As the subtitle implies, this book was published in honor of the magazine's 2023 centennial. It hasn't operated continuously all those years, having lapsed and been revived several times, but its present incarnation claims continuity with the venerable pulp zine famed for showcasing the early works of H. P. Lovecraft and many other classic twentieth-century horror and fantasy authors. The contents of the anthology consist mainly of fiction (plus a few poems) but also several essays. One of the latter, "Swords and Sorcery: WEIRD TALES and Beyond," by Charles R. Rutledge, is a reprint from the November 2022 issue of the periodical. The others, original to this volume, explore topics such as the history of the magazine, the evolution of occult detectives, cosmic terror, shared world authorship, and some sources of Lovecraft's visionary horror.

As for the fiction, I was mildly disappointed to discover that this isn't exclusively a reprint anthology. Stories from the actual magazine are outnumbered by new ones. In addition to two pieces from twenty-first-century issues, "Up from Slavery" (2021) by Victor LaValle and "Jagannath" (2011) by Karen Tidbeck, we get eight "classic reprints." The vintage authors comprise H. P. Lovecraft, Robert E. Howard, C. L. Moore, Isaac Asimov, Ray Bradbury, Tennessee Williams (under a pen name), Richard Matheson, and Allison V. Harding. While I thought it was a bit of a cop-out to choose what's probably Lovecraft's best-known and most often reprinted tale, "The Call of Cthulhu," to represent him, several other "classic" entries may be new to many readers, as some were to me. And one can hardly complain about the original stories, given their uniformly high quality. This compilation offers abundant thrills for lovers of weird fiction, however we define the term.

Horror fans in general would enjoy the anthology, and for devotees of WEIRD TALES, it's a must-read book. The numerous illustrations and ads reprinted from the magazine practically justify the purchase price in themselves.

I count as one of my most treasured writing milestones a story published in WEIRD TALES (September-October 2003): "Manila Peril," featuring Filipino vampires in southern California.

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Friday, November 24, 2023

Karen S Wiesner: {Put This One on Your TBR List} Book Review: The Ladies of Grace Adieu and Other Stories by Susanna Clarke


{Put This One on Your TBR List}

Book Review: The Ladies of Grace Adieu and Other Stories by Susanna Clarke

by Karen S. Wiesner


 

In my past review of Jonathan Strange & Mr Norrell, I talked about how the author Susanna Clarke signed up for a writing workshop in which students attending were expected to come with a short story they'd written. All Clarke had were "bundles" of materials for Jonathan Strange & Mr Norrell. She extracted a piece of it about three women secretly practicing magic who are discovered by Jonathan Strange. That story is the title one in this collection of eight short stories, The Ladies of Grace Adieu and Other Stories, set in the same world as the larger novel, a fictionalized 18th/19th century England in which magic is becoming popular again, thanks to the efforts of Mr Norrell and his pupil (and later rival) Jonathan Strange. In that very in-depth novel, the duo themes are 1) that magic is given or bargained for from powerful and not necessarily moral beings that exist in another realm (faerie) and 2) that magic sometimes manifests in ways the wielder isn't intending.

In all the stories in this "off-shoot" anthology, the overwhelming themes are 1) the commonalities of magic in different time periods, 2) the undeniable (and, at times, even more diabolical) power of "women's magic", something that was taboo in this world, and 3) the ways in which faerie folk infringe on the real world--as if their own isn't exciting enough (and that may well be the case, considering their mischievous deeds).

In the title story, Jonathan Strange visits his brother-in-law, a country parson, where he's challenged by three female magicians. The author has said of this story that she wanted to find a place for these characters within the larger novel but, having read it now, I'm convinced it simply didn't and couldn't fit there. As a short story on its own, it has a compelling connection to the novel that made the author famous.

The second story, "On Lickerish Hill", is an interesting retelling of Rumplestiltskin. The unfortunate, young bride is placed in the demeaning role of wife to a monetary-seeking groom and has to find a clever solution to save herself. While the "archaic spellings" of the plucky heroine's speech were hard to read and decipher, the twist on one of my favorite fairy tales was particularly satisfying.

In "Mrs. Mabb" (the Queen Mab),  an abandoned woman is determined to get her fiancĂ© free of black magic while everyone around her assumes she's hysterical (after being jilted) or insane, which was very common to presume about women of the day.

Interestingly, "The Duke of Wellington Misplaces His Horse" is actually set within the village of Wall, which has its origin in Neil Gaiman's Stardust novel. (For those who didn't read my review of Jonathan Strange & Mr Norrell, the workshop co-host that read the extraction of Susanna Clarke's work from her novel was so impressed by her work, he sent an excerpt to his good friend, fantasy author Neil Gaiman who was astounded by her "assurance" as a writer: "It was like watching someone sit down to play the piano for the first time and she plays a sonata."). In this particular story, I was fascinated by what was considered common women's work being utilized by a pompous duke to bring about a fantastical conclusion.

"Mr. Simonelli, or the Fairy Widower" was a favorite of mine in this anthology, as an amoral faerie aristocrat has to be put down (by his own bastard son!) in order to save five sisters that strongly resemble the distinctive Bennetts from Jane Austen's Pride and Prejudice.

Three other tales cover fairy culture, including a fictionalized account of Mary, Queen of Scots, learning how to use magic to undertake her political machinations, along with featuring a central character in Jonathan Strange (John Uskglass, aka the Raven King) as Christian peasants revolt against pagan faerie.

While Jonathan Strange & Mr Norrell was both compelling and unforgettable, this anthology of parallel stories that were published (separately) while the novel was being edited and prepared for publication and later (after the novel became a hit) collected in one place are much lighter and certainly more subtle--nevertheless, they're undeniably enchanting in their own right.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor 

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, November 10, 2023

Karen S Wiesner: {Put This One on Your TBR List} Book Review: Dune by Frank Herbert



 {Put This One on Your TBR List}

Book Review: Dune by Frank Herbert

by Karen S. Wiesner



In previous books I’ve reviewed for my “Put This One on Your TBR List” series, I included a summary and background details for the book I spotlighted. However, Dune (or the Dune Chronicles) is touted as the bestselling science fiction novel in history, has become a franchise in its own right, and a book description and premise is probably unnecessary here, given the sheer amount that’s been written about this saga already. So this is strictly a review (as much as I’m capable of making it anyway) of the first book.

I first heard about Dune in association with the 1984 movie that starred Sting, the rock star, and all the movie posters I’d seen looked about as hokey, cheesy, and downright silly as it got. I assumed this was some overblown space opera not to be taken seriously. However, when I saw the preview of the 2021 remake starring Timothee Chalamet and Oscar Isaac (among other worthy actors), I started to get curious about this series. Anything that’s been around as long as this has (first published in 1965—nearly 60 years) and has this huge of a following seems like it might actually have endured as something beloved for good reason.

I found a beautiful, like-new trade paperback copy for only $6 at a used bookstore. I won’t lie, the size of it was intimidating. 689 pages! I looked through it before I started reading the story. The first thing I noticed was that there were no chapters, per se. Each section was prefaced by epigraphic excerpts offered up from a fictional character within the series universe (which is called, hilariously, the Duniverse by diehard fans). I love the idea of making a series and a setting so insular, it becomes like something real that has historical and cultural significance. These types of commentaries, biographies, quotations or philosophies serve to ground the story in almost archival weight.

Inside this trade paperback, I found three “books” which made up the first Dune. There were also four appendices—the stuff lore lovers devour. I was amazed at the author’s thoroughness. This is the kind of world building you can only stand and marvel at the scope covered. The first appendix was like a fictionalized account of the ecology of Dune as told by Pardot Kynes, the first (fictional) planetologist of the main setting in the story. Next, the religion of the series was covered along with space travel. Most science fiction avoids the idea of religion as if science will eventually become the religion of the future. Although a lot of the religion in Dune does come off as superstitions or ways to manipulate the masses, I appreciated that it was included at all. Like it or not, humans are spiritual creatures, even if that doesn’t always imply morality. The third appendix was presented from the point of view of the fictional character Jessica, a member of the Bene Gesserit, a kind of religious organization that could be a cross between witchcraft and the stealthiest spies that employ voice control as one of their weapons. The next appendix gave information about the noble houses featured in the series. There were also sections with a dictionary of terms and cartographic notes along with a detailed map (I love this!!!). Finally, there’s an afterword provided by the author’s son Brian, which was very enlightening.

I was duly impressed by all this, so I started reading. It’s a slow-moving story, but I was instantly confronted with the inaccuracies of my presumptions about the story. This was no mere space opera, and there was nothing hokey about it. It’s a science fiction saga, yes, set far, far, far in the future (smart!), but the tone of the story (when it eventually settles into the main setting Arrakis, a barren desert planet with a merciless climate) conveyed a classical fantasy feel to me. The society of Arrakis is populated with scattered bands of native Fremen who are the only ones who really know how to survive in such a desolate, harsh place. They live like nomads without much by way of technology. Their religion and unique philosophy rule their lives. Water, as you might expect, is their most precious resource and it’s their currency. However, the irony is that the place they call home is the only place where melange spice can be mined—but only at great peril…for multiple reasons (ranging from giant sandworms to weather instability to the ban on “thinking machines” to intergalactic feudalism that fuels the political in-fighting that overshadows the universe). Melange holds dominion over everyone and everything. This drug extends life and expands the consciousness. Additionally, it allows for the folding of space, which has made interstellar travel possible. I admit, as a major plot in this series, I was bothered that something that could be considered a hallucinogenic drug could hold such sway over the entire universe. But I suppose that isn’t unrealistic, considering how popular drugs are these days.

As for “overblown drama”, I found no suggestion of it. I was compelled to keep reading all through the three books of the first Dune story. I was so impressed, in fact, that before I was half done reading it, I bought the entire boxed set of the first six novels written by Frank Herbert. After his father’s death in 1986, his son Brian teamed up with sci-fi author Kevin J. Anderson (I’ve read some his Star Wars books) to co-author other Dune installments which include prequels that fill in the gaps of what happened previous to the events of the first Dune book, as well as those that fit into the middle and end of things and finish the entire series.

Dune is extremely well written and authentic in every aspect. The worldbuilding is impeccable. The author left nothing out. That said, I think the drawback of this saga is the same that tends to plague many larger-than-life sagas. The world is so big, there’s no way an author could possibly give every character in it, even the main characters, the space needed for true, deep development. One of the signs that depth is lacking, in my opinion, is the over-the-top head-hopping that takes place in this novel. I’ve never witnessed any author do it with such unabashed boldness. Usually, an author will yank the reader out of one character’s head, into another’s, but that’s as far as it goes. Herbert knew no boundaries in this story. Every scene contains head-hopping all around the room. Every character included in a scene is given “head space” within that same scene.

Those who have read my writing reference titles know that this is my foremost pet peeve. In Dune, it’s true that some of the main characters are given more “head space” than others, and you get to know them slightly better as a result, but I didn’t feel I came to know any of the characters in Dune even remotely as well as I would have liked. As I said, I’m not sure it’s possible to get in-depth in a saga this vast. What happens when the scope of a story is too large is that readers are only selectively shown what the author wants them to know about the main characters. We don’t know what they really feel and think about so many things, nor do we get more than a skewed taste of their past, present, and future dimensions (those who’ve read Dune will truly understand the irony of that statement, given what the spice drug does to the minds it enslaves). We only get one-dimensional characters, including the main ones. This makes it very hard to root for or even like most of the people populating this world. I think the only character I truly liked in this book was Duke Leto Atreides. The rest filled the roles the author gave them—no more, no less. Even Paul, the duke’s son, and what most would consider the main character of Dune, wasn’t someone I continued to be compelled and sympathetic toward. By the middle and at the end of the first book, he became little more than a monster, driven (contradictorily) calmly and ruthlessly insane by the drug spice.

I was also bothered by the strange character growth in Dune. They changed so much in this first book. It’s divided into three parts, I think, so the writer could skip over the character growth that changed characters from one thing to another. In this way, a lot of the development felt convenient to the plot. The author needed them to do something in a certain way. Yes, Herbert built in strong religions and philosophies, training rigors, etc., but in part because none of the characters are developed deeply, the alterations in their personalities are stretched almost beyond belief, are logical but mildly distorted, and ultimately brush against the dreaded deus ex machina as close as it gets without actually entering it.

All these things said, I enjoyed the story enough to be intrigued and interested in continuing to learn more. I’m glad I decided to read it, despite my earlier presumptions. I’ve also watched about a third of the 2021 remake movie, and I’m finding it follows the novel very closely (as closely as it can and still make sense of the scope). I also intend to watch the sequel when it comes out in 2024. Both of these encompass the first and second parts of the first novel. There are a lot of other media associated with this franchise. I’m not sure how far I’ll delve into this universe (the sheer breadth of it feels intimidating to me), but for now I’m determined to at least read the author’s original stories and watch these two film adaptations.

In the afterword provided by the author’s son, Brian Herbert talks about having asked his father if his magnum opus would endure and hearing the modest assessment that only time would tell. Given its popularity for nearly 60 years, I’d have to say endure it has—endured and flourished! If you haven’t already wandered into the Duniverse and been captured by its distinctive spice, Dune is definitely worth a try.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog 

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, October 13, 2023

Karen S. Wiesner {Put This One on Your TBR List}: Piranesi by Susanna Clarke


{Put This One on Your TBR List}

Book Review: Piranesi by Susanna Clarke

by Karen S. Wiesner



Published in 2020, Piranesi by the celebrated author of Jonathan Strange & Mr Norrell, Susanna Clarke, is labeled a fantasy, but it's far more than that. I purchased it because I love the previous novel by this author, which I reviewed earlier in my Alien Romances Friday column Put This On Your TBR List.

It's hard to even know how to review this story. It gracefully evades attempts at accurately describing and pinning down its premise or true nature, as the main character Piranesi himself does. Set in a strange, labyrinthine world called the House, there are seemingly infinite halls and vestibules that are filled with one of a kind statues, clouds, an ocean, along with a being called by Piranesi "the Other", a mysterious man who provides useful items from the outside world, though never explains where all these things come from (and Piranesi never seems to wonder, nor question where the Other disappears to half the time). Incidentally, I pictured the Other as The Architect from the Keanu Reeves' movie The Matrix and didn't trust him from the very first mention of him, though I couldn't really be sure at that point whether he deserved my swift judgment.

Piranesi fills his days exploring, gathering food and the items he needs to live, tracking the tides, and indexing and writing about his home and simple life in journals provided for him by the Other. This being has asked Piranesi to help him search for the Great and Secret Knowledge--whatever that is. In the process, Piranesi discovers journal entries in his own handwriting that he doesn't remember writing. The Other has told him that the House erodes memories and personalities, and that a being called "16" will seek to cause madness in Piranesi if they don't kill him. But Piranesi is a gentle soul, content to live where and how he does, in isolation except for birds that come and go, the tides that only he knows the rhythm of, and searching for signs of the 15 other beings that once lived in the House (two of whom are long-dead skeletons Piranesi cares for).

To say nothing is as it seems in the novel Piranesi is to imply that we ever truly know what reality is in this unique world. Readers will only ever glimpse fringes of such a thing through Piranesi's diary and the fragments of discovery he comes across on his journey.

When I picked up the story, I was keeping company with two people who were watching a football game I had absolutely no interest in. Would I have become so engrossed in the book if not for that? I don't know, but I'm so glad I did read it at that time when there was nothing else to do and therefore I could allow my interest to blossom slow but sure--because that's the unfortunate thing about this wonderful tale: It starts so incredibly weirdly, so sedately, I think anyone who doesn't give the story time and force themselves to push past page 100 may not continue reading. That would be a tragedy. It isn't until after the first and well into the second part of this tale that Piranesi and his unsettling life, as he begins piecing together a troubling mystery, really becomes something a reader can't put down.

The Los Angeles Times called the protagonist one "with no guile, no greed, no envy, no cruelty, and yet still intriguing." Piranesi as a character devastated me the further along I got into his story, discovering troubling truths, but more to the point, I agree with Lila Shapiro who said in her review of the book that "Piranesi will wreck you."

I can't recommend this tale highly enough, and, if I could giftwrap it and silently hand it to every reader, so (as Erin Morgenstern has said of it) "they can have the pleasure of uncovering its secrets for themselves", I would. In a way, that's what I'm doing here. Piranesi is an unforgettable treasure you may never recover fully from reading.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, October 06, 2023

Karen S. Wiesner {Put This One on Your TBR List}: Wildwood by Colin Meloy; illustrated by Carson Ellis


{Put This One on Your TBR List}

Book Review: Wildwood by Colin Meloy; illustrated by Carson Ellis

by Karen S. Wiesner



Wildwood is the first book in The Wildwood Chronicles, a 2011 children's fantasy series written by Colin Meloy (a member of the indie folk-rock band The Decemberists), illustrated by his wife Carson Ellis.

I found this beautiful little book with quirky artwork in an even quirkier bookstore. When I initially started reading it, I was reminded of a similar English children's series that I'd read to my son when he was young. Although it came out around the same time the Series of Unfortunate Events books were being released, I can't find them in my own library or in any successful internet search. In any case, the point is that I've never forgotten these uproariously hilarious stories filled with unlikely, improbable, and outlandish characters and situations. Everything in these tales was so ludicrous, there was nothing to do but laugh until you felt like your sides would split.

The crazy humor of the characters in Wildwood was a bit like that, enough to hope that good things were coming. But the thing this unforgettable series that I ironically can't remember the names, titles, or author of had one thing that I didn't find in Wildwood: There was a built in believability factor to them. I can't really explain why it was in that outlandish series other than that the reader was just never given a choice about swallowing the premise or any other part of those books. You went with it, and the fun insanity of it all carries you through the story without questioning the events that transpired.

Undeniably, Wildwood was well-written and I especially liked the unique illustrations interspersed throughout the off-beat tale. But the introductory scenario was one I just couldn't accept. In the opening chapters, a 13-year-old girl named Prue was handed off her baby brother by their parents to care for all day and night. This is done as if 1) it's Prue's job to do so, and 2) she has the degree of responsibility to do such a thing, whether she volunteered or not. Prue has a weirdly shocking sense of humor, which was appealing, and her laidback attitude was also a good setup. However, she had a blasé attitude about her brother. She thrusts Mac (an infant from what I'm understanding) in the naked "bed" of a red wagon which is attached to her bicycle. Prue proceeds to pull the wagon like a bat out of hell all over Portland. Readers are apparently supposed to believe no children could be seriously harmed in this way.

I found it harder and harder to suspend belief as the reader followed Prue around on her careless trek with a brother she didn't seem to want to be taking care of, nor really exercised any care in babysitting. I wasn't surprised because the back cover blurb of the book told us that Mac was stolen, plucked right out of wagon, by a murder of crows and taken into Portland's Impassable Wilderness.

I have a sense of humor. But, if any of this was supposed to be amusing, it simply wasn't written that way. But that's not the end of it. Add to this disturbing scenario yet another, equally unsettling and unbelievable one: Prue decides the best course of action after her brother is kidnapped is to go home, fool her parents into thinking Mac is already asleep in his crib, and she'll get around to rescuing him tomorrow.

First, I couldn't imagine the parents of an infant not checking on him personally before retiring for the night themselves, instead taking their teenage daughter's word for it that he was fine, fed, and off in la-la land, not to be woken by fawning parents.

Second, that Prue didn't think to involve her parents, immediately, who should have called the police, immediately, put me off entirely for anything like a fun, breathtaking fantasy fairy tale with a protagonist fitting the description of a young girl with an "admirable and amazing independent streak". (Prue is based on the author and illustrator's niece, who has these qualities, according to them.) While I was initially intrigued by Prue, I found that she didn't develop as a character in the ways I wanted her to. Yes, she did go after her brother eventually, proving that maybe she cared for him, though she initially seemed more concerned about getting in trouble for losing him, from what I could tell.

Perhaps Prue's unwelcome sidekick, Curtis, would have been much more sympathetic, compelling, and worthy main character, but he did get his share of pages in this first book of the series.

Explanations that could and should have come earlier in the story probably would have convinced me to invest more in the story, to see it as hilarious and entertaining instead of negligent and alarming. I think people of various ages who have no children might enjoy this sometimes violent, shocking story, but that begs the question: Who is the target audience? I wasn't entirely sure at any point, least of all now.

Aside from those aspects, the fantasy setting of Wildwood, which is based on the real Forest Park and much of its actual terrain, should delight lovers of Neil Gaiman-like, parallel world fiction. There are two more Wildwood series titles available now, along with rumors that it's being made into a stop motion film, coming in 2025 boasting a cast of all-star voice actors.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog 

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, September 15, 2023

Karen S. Wiesner {Put This One on Your TBR List} Book Review: Rooks and Ruin Trilogy by Melissa Caruso


{Put This One on Your TBR List}

Book Review: Rooks and Ruin Trilogy by Melissa Caruso

by Karen S. Wiesner



Per my usual, I came into author Melissa Caruso's high fantasy work through the back door. In other words, I read the second trilogy before realizing there was even a first, also set in the world of Eruvia where there are two main established powers. In the first trilogy, Swords and Fire, the Serene Empire has an elected doge, a Council of Nine, and a general assembly. Raverra is the central city-state there. The second trilogy, Rooks and Ruin, the one I read, which takes place 150 years later, is set in Vaskandar, a domain ruled by Witch Lords (essentially, mages). These two empires are in conflict. However, the author intended for the two series to be "largely unrelated" aside from taking place in the same setting. She made sure there were no spoilers for the first trilogy within the second. She's said that the focus of Swords and Fire is "more political intrigue and fancy balls" while Rooks and Ruin has "more magical secrets and spooky castles". Caruso recommends reading the trilogies in order, but says either way works, which I did find to be the case.

Rooks and Ruin features Ryx as the main character. She's the Warden in her home domain, Morgrain, ruled over by her grandmother. Four hundred years earlier, the Nine Demons came into the mortal world and thrust humanity into chaotic horror and suffering. Since then, the creatures were trapped behind a gate in the Black Tower of Gloamingard Castle, which ended the Dark Days. Ryx's family are caretakers of the gate the demons are trapped behind. Not surprisingly, someone wants to open the magically sealed Door and bring forth what was banished.


Ryx is an intriguing character. From an early age, her magic has been "broken". She drains life from everyone and everything she touches. Her home is as much a prison as it is a haven--and a lonely one for her at that. Rooks and Ruin begins with the villain succeeding in unlocking the gate and Ryx, along with the Rookery (a "magical troubleshooting squad"), having to clean up and contain the mess made. A lot of destructive, twisting secrets are revealed along the way to this goal. The cast is compelling while the world building caused me to seek out previous stories set in this world. That's when I found out about the first trilogy I'd somehow missed.

In truth, the first book, The Obsidian Tower, is the one that captured me the most with the magical mayhem I'm always on the lookout for, compelling me to want to finish the trilogy. The two novels that followed, The Quicksilver Court and The Ivory Tower, were well-written in every regard. However, I found my attention less transfixed with them. I suspect this was the case, in part, because of what one reviewer called "empire politics and political intrigue" dominating subsequent entries in the trilogy. Since the author self-described Swords and Fire as also being focused in the same way, I do worry I might find myself withdrawing from them as well, but I do intend to read them at some point. In any case, lovers of quality fantasy should love all the related books in this series.

Check out my latest novel!

https://karenwiesner.weebly.com/bloodmoon-cove-spirits-series.html

https://www.writers-exchange.com/bloodmoon-cove-spirits-series/

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Friday, September 01, 2023

Karen S. Wiesner {Put This One on Your TBR List} Book Review: Jonathan Strange & Mr Norrell by Susanna Clarke

{Put This One on Your TBR List}

Book Review: Jonathan Strange & Mr Norrell by Susanna Clarke

by Karen S. Wiesner


Jonathan Strange & Mr Norrell by Susanna Clarke is an epic "alternative history" fantasy that was the author's debut novel. Clarke spent ten years writing the book, which has an interesting history of its own. Clarke first developed the idea while she was teaching English in Spain (lol). She'd had a waking dream about a man in 18th-century clothes…and felt strongly that he had some kind of magical background--he'd been dabbling in magic, and something had gone badly wrong."

Shortly after returning to her home country, she signed up for a writing workshop, co-taught by a man she would eventually become romantically involved with. Students attending the workshop were expected to come with a short story they'd written, but all Clarke had were "bundles" of materials for Jonathan Strange & Mr Norrell. As the tale goes, she'd extracted a piece of it about three women secretly practicing magic who are discovered by Jonathan Strange. (Later, this tale was published in the Starlight 1 anthology as well as included in the author's own collection called The Ladies of Grace Adieu and Other Stories.) The workshop co-host was so impressed by this work, he sent an excerpt to his good friend, fantasy author Neil Gaiman who was astounded by the author's "assurance": "It was like watching someone sit down to play the piano for the first time and she plays a sonata."

Interesting to note that Clarke's agent sold the unfinished novel in 2003 to Bloomsbury. They were so impressed with and certain it would be an international bestseller that they gave her a £1 million pound advance as well as printing an unheard of number of hardcover copies in three separate countries simultaneously while having 17 translations begun before its first English publication.

Learning how Clarke went about writing this book explained a lot to me. Apparently, she didn't write it start to finish but in fragments that she then had to "stitch" together. I found everything about this long novel meticulous and well-written, if a little slow moving and, at times, lacking in finely honed purpose and action. It was also written in the style of many 19-century books, like those written by Jane Austen. Not surprisingly, I love stories like these, and Clarke's felt authentic to me right from the first page, as it's set in a 19th-century "alternate" England around the time of the Napoleonic Wars. At the time the story opens, magic use has faded into the past, but Mr. Norrell intends to bring it back. How he does that involves raising a woman from the dead in a highly public way that puts magic back in fashion, as well as summoning an army of ghostly ships that terrify the country's enemy. Another novice magician (introduced much, much later in the book, other than in a footnote in the first chapter) emerges in opposition to the first, and one who is the very antithesis of Norrell.

In what I consider a stroke of genius, the author puts her own invented magical history in 200 footnotes throughout the book, something that apparently Clarke didn't expect to be published but which added an authenticity that the story might have otherwise lacked without it. The author believed that grounding magic in real life surroundings was what produced realism in the fantasy aspects of her story.

I don't deny that some reviewers and readers were put off by how "the plot creaks frightfully in many places and the pace dawdles" and insisted that trimming was necessary. Still, others like myself found it an engaging read filled with imagination and style. The origin and/or the source of magic has thus far almost always been left uncredited in countless works of fiction, as if somehow magic just appears in the fingertips of some people. How can that not beg a thousand questions about where it came from and what was done to put it there? Here in this novel, we're at last clued into the fact that magic is given or bargained for from beings that exist in another realm. That's one of the things I liked best about this book. Additionally, there's an exploration here concerning how magic sometimes manifests in ways the wielder isn't intending. These two concepts make Jonathan Strange & Mr Norrell the logical favorite of mine because there's an eerie backdrop that questions the morality and lack of responsibility magicians give their art as a whole.

One other slightly off-putting aspect of this story is the way it ends. To me (and other reviewers and readers), it felt like the story was started here; by no stretch of the imagination was it finished. After I read it, I was fine with that because I assumed the author intended either a sequel or a series. I've since learned that Clarke had begun a follow-up novel in 2004 (the year the first was published) set a few years after Jonathan Strange and Mr Norrell ended, continuing the tale. Because it took her ten years to complete the first, it made sense that the second might also take at least that long. But, with Clarke being plagued by chronic fatigue syndrome, she chose to write a simpler story that required less of her, and that became her second novel in 2020 (16 years after her first). As to the fate of the sequel, the author herself says it's still “a long way off” completion. Or it may simply not be forthcoming at all. I've made my peace with that, even if I hope the author has the strength to complete it someday. I suspect part of my disappointment with the way the novel ended was that I simply didn't want it to end. I wanted more of the characters and their story. However, that doesn't make the novel any less tremendous. It's one that lovers of magic and fantasy would be remiss if they didn't pick up. If the 1000-page-plus novel intimidates, the book was very faithfully adapted for a BBC miniseries in 2015, and that is also definitely worth watching.

Check out my newly released novel!

 

https://karenwiesner.weebly.com/bloodmoon-cove-spirits-series.html

https://www.writers-exchange.com/bloodmoon-cove-spirits-series/

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/


Friday, June 30, 2023

Karen S. Wiesner {Put This One on Your TBR List} Book Review: The Mrs. Quent Trilogy by Galen Beckett

{Put This One on Your TBR List}

Book Review: The Mrs. Quent Trilogy by Galen Beckett

by Karen S. Wiesner


Galen Beckett is the alter ego of fantasy author Mark Anthony, who's best known for his Dungeons & Dragons offerings in some of that series' most iconic settings. His original novel fantasy series, The Last Rune, proved his interest in witches in unexpected places with heroine Dr. Grace Beckett, who traveled from a modern setting into the alternative reality of Eldh and learned she was capable of manipulating the shape of natural energy called the Weirding. Similarly, the heroine in The Mrs. Quent Trilogy, Ivoleyn "Ivy" Lockwell, possesses a power that's forbidden in the time and place this sequence is set in. Women aren't allowed to do magic, but Ivy's been drawn to it since she was a child. As the unmarried, eldest daughter of a poverty-stricken family after her magician father inexplicably went mad, she's studied magical history for as long as she can remember, in part hoping to find a way to help her father, who lives his life in a kind of fugue that Ivy alone seems to be able to penetrate. Ivy's power is taught to her directly by the trees in the primal, partially sentient groves of the Wyrdwood (as in "weird"; the Old English term "wyrd" loosely translating as "destiny"; hence Ivy's ability is to shape fate).

The Mrs. Quent Trilogy could be categorized in many ways: A Victorian epic with fantastical elements, romantic historical gothic mystery, even "retro-modernist fantasy" fits. The author began the project by binge reading 19th Century novels, and that influence is very prominent here in each of the installments. In fact, it's what drew me to the first book, The Magicians and Mrs. Quent. As a teenager, I couldn't get enough of gothic romances with the dark heroes who could easily have been villains. In my late 20s, I fell in love with Victorian era novels that displayed an almost over the top picture of a society trying to balance polite formalities and courtesies against darker under dealings and even some political intrigue. I loved these stories with piquant humor, fashionably bedecked men and women that placed such a high import on money and social class, and elaborate dating dos and don'ts that rarely worked when combined with passionate, romantic temperaments. The settings were always so enchanting as well: From stylish streets in the city to windswept, rugged moorlands where sprawling family estates were many times dark and terrifying and populated with mysterious characters that made you wonder who was the hero, who was the villain.

The Mrs. Quent Trilogy encompasses all that I've come to adore about these genres and stylized novels. With magic and ancient forces thrown in aplenty, I knew within moments of reading the very familiar first sentence ("It was generally held knowledge among the people who lived on Whitward Street that the eldest of the three Miss Lockwells had a peculiar habit of reading while walking.") that I would be captivated by this series. Beckett's motivation for the original story that carried into the two sequels was: "What if there was a fantastical cause underlying the social constraints and limited choices confronting a heroine in a novel by Jane Austin or Charlotte Brontë?" That is, in essence, the framework of this series.

Setting is one of the most fascinating aspects of The Mrs. Quent Trilogy. Long ago, Altania had been covered by the Wyrdwood, an ancient forest, and its rule was total until men in ships landed on the shore, intent on making room for settlements. The Wyrdwood fought back after witches awakened the power of the wood, compelling it to rise up. The forest's fury was only subdued by the first great magician of old. In the "modern times" the series is set, only a few ragged patches of the Wyrdwood remain.

On the island nation of Altania, reality is subtly different in part because of outlaw magicians dabbling with uncertain forces they seek to control. Ancient forces have begun to insinuate into the government, changing the world as arcane powers take hold. Days and nights are far from consistent. Each family consults an almanac that allows them to prepare for the unpredictable long or short umbrals, but, as forces prevail, the almanacs' forecasts begin to fail. I absolutely loved this detail that heightened the shift from lumenal to lumenal, umbral to umbral.

Befitting a saga of this type, three sisters--one romantic, one prophetic, and one studious--are coming of age. With the family fortune's dwindling and their mother without a head for budgeting and finances, Ivy must give up any romantic notions about marrying well, if at all, even after she finds herself charmed by a perfectly jaded rapscallion of a gentleman, Mr. Rafferdy, a very resistant descendent of one of the seven Old Houses from which all magicians originated from. Filled with the bitter disappointment at having her hopes for a match that could have been both beneficial to her family's financial well-being along with her own silent wish for true love dashed, Ivy is compelled to become a governess for the reclusive Mr. Quent and his charges at the country Heathcrest, which is directly in the heart of the Wyrdwood. Here, Ivy learns of her own magical power as well as discovering more about her family; much more about her father's mysterious, magic-related malady; and diabolical plots taking place in Altania's government involving an underground web of robbers, revolutionaries, illusionists, and spies.

The House on Durrow Street, Book 2, continues with Ivy entering high society based on her and her new husband's decision to act courageously to save Altania from those scheming to subvert it. Temptations and secrets infused with high magick amongst genteel society created a whirlwind of adventure and suspense that carried into the concluding volume, The Master of Heathcrest Hall, Book 3. To save her father, her family, and the world she loves from certain eternal darkness, Ivy allies with those that could be dangerous to mingle with and even speak of in whispers as the unrest claiming Altania's every corner spreads.

Each of the characters that make up this lush landscape is finely depicted and spellbinding, drawing intrigue and sympathy. Their courage and spirit were compelling. Even when I questioned the intentions of some of them, I couldn't help understanding the depth of their emotions and conflicts. I even loved how the author made me root for the romantic attachments which seemed utterly impossible at so many turns.

One aspect of fantasy novels that tends to be what I consider its greatest downfall and the thing that usually keeps me from reading more of them is the sluggish pace that strikes me as being at odds when juggled with the extreme bouts of action--as in, there is almost no middle ground between these two states of being. I will note that I'm not a huge fan of action-packed sagas that lack "downtimes", since that makes them both unrealistic and exhausting to me. As a general rule, most of the fantasy novels I've read are authored by writers with undeniable skill. Mark Anthony is one such author. His writing style is nearly flawless. In fact, it's part of the reason why, after only having gotten a few chapters into The Magicians and Mrs. Quent, I bought the next two books in the series as well as all the books in his The Last Rune Series. I read The Mrs. Quent Trilogy compulsively over the course of only a week or two, finishing them very quickly despite that each one is massive (the hardcovers I purchased were all in great excess of 500 pages). I was endeared to The Mrs. Quent Trilogy despite that it was a leisurely, sprawling story that took its time building momentum and suspense from one book to the next. Every page of the three books held my unwavering engrossment. It struck just the right balance with riveting characters, plot, and tension despite being such enormous volumes which might have otherwise been intimidating. I believe a lot of readers will love all of Mark Anthony's literary offerings and should try them. It was, however, his alter ego Galen Beckett's writings that ultimately captured my attention. This particular series makes me eagerly look forward to the prospect of future similar gifts from this alternate identity.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/


Thursday, April 06, 2023

Must Fiction Have Conflict?

I recently read FANTASY: HOW IT WORKS, by Brian Attebery, a distinguished scholar of fantasy and science fiction. In addition to the solid content, he has a highly readable style. While I can't unreservedly recommend this book to every fan, given the price (but still very reasonable for a product of a university press), anybody who enjoys in-depth analysis of fantasy in all its dimensions would probably find it more than worth the cost. Some topics include realism and fantasy, myths and fantasy, gender and fantasy (mostly focusing on male characters), and the politics of fantasy. Of particular interest to me is the chapter titled, "If Not Conflict, Then What?"

Advice to writers almost always maintains that a story can't exist without conflict. Attebery is the first critic I've encountered who casts doubt on that alleged truism. In fact, he flatly states, "This may be good advice for getting published, but it isn't true." Conflict, he points out, is simply a single metaphor, implying combat. Among other metaphors he suggests are dissonance, friction, and dance. He maintains there's only one "essential requirement for narrative," which is "motivated change over time."

This discussion intrigued and reassured me, since the necessity for goal-motivation-conflict in a properly structured story is usually taken for granted. Reflecting on examples of my own work, I realize some of my fiction contains what could be called "conflict" only by stretching the term almost out of recognition. Suppose we subsitute "goal-motivation-obstacles"? Marion Zimmer Bradley, after all, summarized the universal plot as, roughly, "Johnny gets his behind caught in a bear trap and how he gets out." Elsewhere, I've seen the essence of story encapsulated as: The protagonist wants something. What's keeping them from getting it?

For example, my contemporary fantasy, "Bunny Hunt" (to be published as an e-book on April 10), features a protagonist whose long-range goal is to have a baby, a wish gaining new urgency because she and her husband are over thirty. Her problem is that they've been trying for a while with no result. The impediment, her possible infertility, might fall under one of the classic types of "conflict," person versus nature—if we count her own body as part of "nature." But that interpretation seems to strain the definition of "conflict." The short-term goal, to help a rabbit woman through a potentially fatal childbirth (no more details, sorry—spoilers!), involves problems that might possibly be labeled "person versus nature," but again that reading feels like a stretch.

For me, I believe thinking in terms of the more general formula "goal-motivation-obstacles" will make plotting future fiction projects easier.

Margaret L. Carter

Carter's Crypt

Thursday, October 13, 2022

Putting the Fact in Fantasy

I've just finished reading an essay anthology titled PUTTING THE FACT IN FANTASY, edited by Dan Koboldt. The contents, contributed by over thirty different specialists, explore a wide range of subjects writers of fantasy may need to know about in order to make their fictional settings feel authentic. The foreword emphasizes the importance of getting the mundane background right. Readers will accept the wildest flights of fantasy if they're grounded in a world that functions believably. Conversely, if errors appear in details supposedly faithful to how things function in the real world, the audience won't trust the author enough to suspend disbelief in the fantastic elements. As a famous line from THE MIKADO puts it, we need those realistic background features "to give artistic verisimilitude to an otherwise bald and unconvincing narrative." The introduction, titled “How to Ask an Expert,” contains practical advice on getting help from people with firsthand knowledge and experience.

Regardless of the depth and breadth of an author's research, flawless accuracy is seldom if ever attainable; minor goofs will inevitably crop up. Thus, the foreword bears the title "The Point Is to Screw Up Better." This book aims to help authors avoid errors in portrayal of environments, social structures, animals, weapons, etc. that might jar the reader out of the imaginary world. The anthology is divided into six parts, covering the broad areas of actual history as inspiration, languages and culture, world-building (e.g., money, food and drink, plants, ecology, politics, among other topics), weapons and warfare, horses, and wilderness adventure. Each category includes a wide range of sub-topics (aside from the horse section, which is more tightly focused). Entertaining as well as useful, the book could be picked up and dipped into in any order. The contents tend to consist of short, quick reads.

Therein lies its one drawback. Most of the essays comprise broad introductions to their topics. Some contain suggestions for further reading, but many don't. On the other end of the scale, some contributions list highly specific content such as popular myths about horses, fascinating material but touching on only one aspect of a wide field. Still, PUTTING THE FACT IN FANTASY, although subtitled "Expert advice to bring authenticity to your fantasy writing," includes information that could benefit authors in almost any genre. If nothing else, it's a fun read that may spark ideas for adding depth to the physical and social environment of your story.

Margaret L. Carter

Carter's Crypt

Thursday, March 31, 2022

SF Versus Fantasy

At this year's ICFA (which I wrote about last week), one of the free goodies distributed at meals was a copy of the March/April 2020 ASIMOV'S magazine. It happened to include a provocative article by David D. Levine called "Thoughts on a Definition of Science Fiction." The author takes an approach to distinguishing science fiction from fantasy that never occurred to me before.

Of course, this perennial and never-settled question has many proposed answers. And many works cross genre boundaries; SF is a "fuzzy set." Anne McCaffrey's Pern and Marion Zimmer Bradley's pre-rediscovery Darkover, although science fiction, have a fantasy "feel." S. M. Stirling's Emberverse series, beginning with DIES THE FIRE, clearly near-future or alternate-history SF, also includes something like magic. Diane Duane's Young Wizards series focuses on the protagonists' learning and using magic—which they prefer to label "wizardry" to avoid the implication that it can do anything, unbounded by rules—yet they visit distant planets and make friends with extraterrestrials. Cases like these are part of why the term "speculative fiction" is so useful.

Levine suggests that the distinction between fantasy and science fiction rests on a fundamental difference between worldviews. Science fiction arises from an Enlightenment worldview and fantasy from a pre-Enlightenment worldview. In SF, "the universe is logical, predictable, and understandable, governed by rules that are impersonal and have no moral dimension." Fantasy, on the other hand, inhabits a universe that "has a moral compass, and is governed by rules that, though they may be understandable, are not necessarily always consistent, logical, or predictable in their application." For example, fantasy contains swords that can be drawn only by the "pure in heart" (a moral dimension). As an extension of this definition, Levine focuses on the central importance of "the means by which characters affect the world," whether by technology or by magic. Using this principle, he maintains that the later Star Wars films, after the original movie, slip further and further into fantasy territory because of the way the Force becomes more powerful and less scientifically plausible (e.g., action at a distance).

While I admire his theory, it doesn't align completely with my own concept of the SF-fantasy divide. I've always seen the distinction as—perhaps too simplistically—primarily a matter of authorial intent as it appears on the surface of the text. If the text claims a scientific rationale for its phenomena, it's science fiction. If not, it's fantasy. Edgar Rice Burroughs's interplanetary adventures count as science fiction, even if most of the science is obsolete. Randall Garrett's Lord Darcy mysteries, set in an alternate-history England in a world where magic plays a commonplace role in society, are fantasy even though the rules of magic are systematic and predictable. What about works such as Madeleine L'Engle's A WRINKLE IN TIME and its sequels and spinoffs, invoking scientific principles, featuring visits to other worlds, and marketed as SF, but containing some elements of apparent magic as well as a religious worldview? Or C. S. Lewis's Space Trilogy, wherein the superhuman intelligences ruling the other planets are also identified as angels? The Wild Sorceress trilogy, co-written by my husband and me, starts as apparent fantasy, to be revealed as SF at the end of the third book. Well, that's where the flexible terms "science fantasy" and "speculative fiction" come in handy.

Margaret L. Carter

Carter's Crypt

Friday, December 03, 2021

Karen Wiesner: I Have Dreamed a Little Dream (Authors and Dream Inspiration), Part 4


I Have Dreamed a Little Dream, Part 4

by Karen Wiesner

"Believe in your dreams. They were given to you for a reason." ~Katrina Mayer

As a writer, the question I get most often is where my ideas come from a lot. While I can honestly say everywhere, more often than not, dreams play a huge role of my fiction writing. Something about that twilight between sleep and dreams is a veritable playground for imagination! Bloodmoon Cove Spirits Series is one of my series, in particular, in which many of the stories within it stemmed from a fragment of a dream that I was able to develop into a story. In a series of posts, I've revealed how these nightmarish gifts from the ether came to me. 

This is the final of four posts focusing on my Bloodmoon Cove Spirits Series and the vivid nightmares or ideas that inspired the titles.

Karen Wiesner's Bloodmoon Cove Spirits Series


** Nestled on Lake Superior in northern Wisconsin is a small, secluded town called Bloodmoon Cove with volatile weather, suspicious folk…and newly awakened ghosts.

Don’t close your eyes… **

What's coming up next in the series:

One of the things I love the most as I'm developing this series is that the characters from previous books make solid (i.e. not simply "glimpses" from one book to the next) appearances in later books. Considering how small Bloodmoon Cove is and how involved they are in each other's lives, it makes sense that the developing characters would be seen all through subsequent stories. I can hardly wait to write each one of these books in order to expand the world I'm creating with them. I hope readers will also be just as excited in seeing more from this series as I am.

BONE OF MY BONE, Book 7 

(release date estimate: April 2022)

** When Bennet was eight, he fell for Ice despite how she concealed who she was and where she came from. When they were 19, she disappeared. Still grieving a year later, he's floored at her return. Her comment about "how to bury what won't stay dead" compels him to solve her mysteries. But how does a mortal fight creation's first murderer when the entity bears an immortal seal and made a pact with the devil? **

I've outlined and I'm currently writing this novel. This is a newer idea I had for the series. At the end of 2020, I couldn’t stop coming up with notes for after a very vivid dream I had of the first “scene” in the story. I already had the title and had some very loose ideas about the story before I had the dream. At that point, I was sure that, with this much material, I could move right into outlining it. Past experience has taught me that, if I can complete an outline, I always know I can write the story. If I can't outline it, I'll either take it off my list of Works in Progress or simply reschedule the release date and work on it at a later time, when hopefully I'm more inspired after a great deal of time trying to brainstorm new ideas for it.

LOST AND FOUND, A Bloodmoon Cove Spirits Series 2-in-1 including "Lost", Book 8, and "Found", Book 9 

** "Lost": Damaris remembers nothing of the past 48 hours. A retired couple found her in their woods. Their remodeling efforts uncover a hidden enclosure that cages what they don't dare set free.

"Found": What does a lifelong bachelor do when the woman of his dreams steps into his sanctuary and he finds all he's been missing…but revealing the truth behind their meeting could tear them apart for all time? ** 

The main characters in both books (I'm unsure whether they'll be novellas or novels at this point) will work for the library, so LOST AND FOUND was a great title that played on that. The idea for "Lost" came from a nightmare I'd had about a woman whose car broke down on the edge of the woods and she woke up in a cabin deep in the woods owned by an older couple without technology who are digging up something in the basement of their home. The idea for "Found" came about when my sister was talking about a story she wanted to write about a ghost in a library. 

HELL HATH NO FURY, Book 10

(release date estimate: April 2023)

** Eager to get a cake decorating business up and running, Isabelle inherits an old house in Bloodmoon Cove that seems like a boon…until she pieces together the tragic story of a poor immigrant who lived in this house and the woman he scorned. When Kesara committed suicide over his rejection, her heart-broken mother plotted revenge. Newly awakened to the legacy Isabelle has inherited, two ghosts plan to finish what they started a hundred years before. **


This story came from another dream I had about a young immigrant who came over to America because of lack of opportunity in his own country and fell in love with the daughter of the man who employed him. The bakery angle with the man's ancestor being willed the house the immigrant and his wife lived in wove itself into the story, given my love for TV shows focused on baking.

 

HAUNTED LEGACY, Book 11

(release date estimate: October 2023)

** After a teenage pregnancy, Danielle and Andy unsuccessfully made a go of marriage. After the split, Andy started a business while Dani’s art career took off with the help of Douglas Marx, whose reputation is spoken of in the same hushed tones as black magic. When Doug invites her to join him in Bloodmoon Cove, Dani notices a painting that haunts her as the figure in the painting becomes familiar—more and more like her own… **


The idea for this story has been with me for many, many years, titled for most of that time GILDED PROMISES and a contemporary romance without any supernatural aspects. I had the idea to make the story a suspense with Dani’s art agent being a villain. A little later, the painting I had in the outline I'd started (though never finished) made me wonder how I could make this a supernatural kind of story. I love Susan Hills THE MAN IN THE PICTURE, and who isn't deeply disturbed by Oscar Wilde's THE PICTURE OF DORIAN GRAY? I wanted to put a paranormal spin on my original idea, and merging it into my Bloodmoon Cove Spirits Series seemed natural. The title changed, stemming from the concept that not only would Dani’s agent be a villain but he would have a supernatural aid in his villainy—a painting handed down from father to son for generations that “captures” and drains the life from a victim, thereby transferring it to this creature.


ELDRITCH JUSTICE, Book 12

(release date estimate: January 2024)

** Rafe Yager (of CROOKED HOUSE, Book 3) has settled in Bloodmoon Cove with his wife Corinne. Given his former ghost hunting, he can't put aside his paranormal past as easily as he'd like to. He's been following the trail of a law firm that caters to the dead with unfinished business. His quest leads to the sinister Thoth, scribe of the underworld and Ma'at, justice personified …and the weighing of his own heart on the scale against the feather of truth. **

Rafe and Cori's story started in CROOKED HOUSE, but I wasn't ready to let go of them when I was finished with that tale, nor of an intriguing plot thread that actually started earlier in the series about a lawyer that caters to the dead with unfinished legal business (RETURN TO BLOODMOON MANOR, Book 4).


GHOSTLY TALES FROM ERIE COUNTY including "Bad Blood", "Dead Man's Road", "The Haunting of Desolation Cottage", "Keeper of Grimoire", "Cappy's Cupid", and "The Ancient One"

(release date estimate: October 2024)

** Short, haunted stories set in Bloodmoon Cove and Grimoire, Erie County, Wisconsin. **

I knew as soon as I conceived of Bloodmoon Cove Spirits Series that I'd want to do a collection of ghost short stories with the volume covering some of the early years of the town as well as following up on the previous novels. The characters--main and secondary--introduced in all that came before will make appearances in the shorts.

Dreaming fragments of a story has happened to me so many times now that I've taken to having a tablet and pen in my nightstand so I can write down everything I remember immediately after waking up. The longer I wait, the more chance I'll forget something that will drift back into the twilight, never to be grasped again. I never know when these pieces might become full-fledged stories. Sometimes it feels a lot like I'm making lemons into lemonade with these gifts from the ether, but isn't that the essence of what being a writer is?

Do you have a pen and paper by your bedside just in case you wake from a compelling dream and need to write it down fast, before it floats away? Leave a comment to tell me about it!

Find out more about Bloodmoon Cove Spirits Series here:

https://www.writers-exchange.com/bloodmoon-cove-spirits-series/

https://www.amazon.com/dp/B08MLBJ7XP

Happy reading!

Karen Wiesner is an award-winning, multi-genre author of over 140 titles and 16 series. Visit her here:

https://karenwiesner.weebly.com/

http://www.facebook.com/KarenWiesnerAuthor

https://www.goodreads.com/karenwiesner

http://www.writers-exchange.com/Karen-Wiesner/ 

http://www.writers-exchange.com/blog/ 

https://www.amazon.com/author/karenwiesner