As I have mentioned before, my second novel, “Fire in the Ocean,” is coming out from Diversion Books in February 2018. Diversion’s art department came up with a spiffy new cover for “The Obsidian Mirror,” which will be re-issued along with the debut of “Fire in the Ocean”:
“Fire in the Ocean” is the sequel to “The Obsidian Mirror,” and features the same cast of characters. New twist, though–the book is set in Hawai’i on the islands of Moloka’i and Hawai’i (the Big Island).
Why, you might ask, Hawai’i? When I wrote “The Obsidian Mirror,” I drew upon strictly New World mythologies, folk tales and traditions–Native American, MesoAmerican and Voudún, avoiding the supernatural traditions that essentially migrated to the Americas from Europe. I started it as a kind of experiment after reading one of Robert Jordan’s “Wheel of Time” novels. I just wanted to see if a fantasy could be crafted that entirely eschewed the standard fantasy tropes of caped adventurers, swords and sorcery–elves, vampires and trolls need not apply. To my surprise, the experiment turned into a book.
Although I wanted to continue the adventures of Sierra and her friends, I didn’t want to repeat the setting, plot, or other key elements of “The Obsidian Mirror.” So I picked Hawai’i as the venue for the sequel because: 1) I love Hawai’i ; 2) Hawai’i is also “New World,” and therefore fit into the strictures I had placed on myself; 3) it was an excuse to go back to the islands to do research. (And an amazing and wonderful trip it was, as those of you who have followed my blog for a while know!)
Why Moloka’i? Well, it turns out that Moloka’i in ancient times was known as the island of sorcerers. The island has its own take on the mythology and its own unique legends. Moloka’i proved to be a rich source of information and experiences, most of which were incorporated into “Fire in the Ocean.” As for why I chose the Big Island for part of the story–you’ll have to read the book.
Diversion Books just sent me the cover design for “Fire in the Ocean.” What do you think?
Recently I finished editing the first draft of “Fire in the Ocean,” the sequel to “The Obsidian Mirror.” I sent it off to my alpha readers and editor, and I can finally relax and think about something else for a while.
Such as promoting “The Obsidian Mirror.” While I was in the throes of writing the sequel, I did next to nothing about promoting my published work. A writer’s work is never done, I guess.
Why should you read “The Obsidian Mirror”? Short answer: because it’s a fun read. I read largely for entertainment. I like books that take you away and let you live someone else’s life for a while. I wrote “Obsidian” to be that kind of book: a diversion, a book I would love reading myself. It’s probably not a coincidence that the second publisher of the book is Diversion Books—they specialize in just that kind of novel.
Another reason to read “Obsidian” is because it is based on the mythologies and folklore of the Americas, which makes it a bit different. The idea occurred to me after finishing one of Robert Jordan’s “Wheel of Time” novels. I loved the book, but started wondering why so much fantasy is based on proto-European, pre-Industrial Age tropes such as elves, faeries, dragons, and caped adventurers. The Americas have thousands of mythologies, folk tales and traditions that are largely ignored by fantasy writers.
I began writing “The Obsidian Mirror” as a kind of personal experiment. Meso-American gods and Coyote the Trickster, an Inuit ice demon and a mannegishi named Fred are some of the characters. What I did not anticipate is that I would fall in love with my characters and be driven to finish the book. Having done that, I felt compelled to get it published.
I don’t have much to brag about. I’m not a best-selling author. I have won no prestigious awards for my fiction writing. But I do have one thing that gives me modest bragging rights.
I have heard authors talk about receiving hundreds of rejection slips. One writer said he had a drawer filled with 450 rejection slips for his novel. That didn’t happen with “The Obsidian Mirror.” I approached perhaps 10 publishers and/or agents before AEC Stellar agreed to publish the book. When AEC Stellar bit the dust, I approached about five publishers before Diversion Books picked it up, re-published it and agreed to publish the sequel.
So I may not have sold a million copies, but I never had any problem finding a publisher. As a matter of fact, years after I originally submitted the manuscript to their slush pile, Baen Books got back to me and said they were interested in it. The early bird gets the book, Baen.
So why am I proud of this? Because I have some independent assessments that people will enjoy reading my novel. Add to that, the several four- and five-star reviews on Amazon, and you might conclude that you would enjoy it, too. To make it super-easy for you to find the book, here it is: http://amzn.to/1MQBvkd
I did warn you.
It’s been a while since I have shared what I am working on. I blogged extensively about my research visit to Hawai‘i in January of 2015, but I’ve been on radio silence about work ever since.
Part of that is because if I say too much about the story, why would you want to read it when it is published? Another issue is providing detail about a story that might very well change so drastically in the writing process that it becomes unrecognizable.
I did mention that it has been much easier writing with a plot outline than without one. And that was certainly true until I wrote up to the intended climax of the story—and discovered that it wasn’t actually the climax after all and I needed to extend the story (for which no plot outline yet existed).
Part of the problem was that I hit the putative climax at about 65,000 words into the story. That means that I would have wrapped it up in about 75,000 words, which is a bit light for a novel like this. “The Obsidian Mirror” was about 100,000 words, and I am aiming for a similar length for this novel.
So I hit a rough patch as I floundered around trying to figure out what comes next in the story. I hesitate to call it “writer’s block” because I wasn’t blocked. I knew where the story was going, I was just missing a piece. Sort of like Indiana Jones crawling across a rope bridge across a steep chasm and there’s ten or fifteen planks missing in the middle. And crocodiles (my publishing contract and deadline) waiting below.
And then there was getting sick. Then the holidays. El Niño came for a visit last week and flooded the basement, soaking our family photos, my oil paintings, family historiana, and a lot of other stuff. I spent this past week gently prying apart photographs and arranging them on every available surface to dry, turning them over, grouping them, and tossing the ruined ones away. I did no writing at all.
Among the things I found was a packet of letters, all dated around 1879. They were written by someone named Carrie to her cousin, William Smith of Roxbury, NY. (Mr. Smith was one of my ancestors, which is how I came by the letters, but I haven’t looked him up to determine exactly what the relationship is.) They were written in a delicate copperplate hand, very legible, the India ink still clear and sharp despite their age and the complete saturation of the paper.
I reluctantly decided I would have to throw them out. There were so many of them, and my priority was rescuing my thousands of family photos before they stuck irretrievably together. I read a few of the letters and they were fairly mundane, though written with clear affection for the recipient. I felt guilty. They had been kept perfectly for 110 years, and I was the one who trashed them.
However, I found a poignant little poem in Carrie’s spidery copperplate. Here it is:
You I will remember
And in this heart of mine
A cherished spot remains for you
Untill (sic) the end of time.
When this you spy
And think of me that is very shy.
When this you see
And think of me that thinks of thee.
Where ‘ere you tarry.
And think of me
That will never marry.
The last stanza was enclosed in brackets. What do you think? I don’t mean Carrie’s gifts as a poet, which are slight, but the heart of it. I think Carrie was in love with William. I have at least saved her poem, which must have cost this shy woman a great deal to share with her adored cousin.
That much of Carrie I am keeping, safe for now.
Getting back to my current book, I am firm on the title of “Fire in the Ocean.” It is set in Hawai‘i, which was built—and is still being built—by fire in the ocean: volcanoes. It also touches on the Great Pacific Garbage Patch, where billions of tons of particulate plastic are swirling around out there like peas and carrots in alphabet soup. Hawai‘i is smack dab in the middle of it. The slow dissolution of chemicals from the plastics is another form of “fire in the ocean,” poisoning sea life. And, of course, Pele, the goddess of volcanic fire, is a featured character in the book. Those of you who followed my blog from Hawai‘i know why I couldn’t leave Pele out of the story.
I am back on the job writing. El Niño is paying another visit, but we have pumps going and sandbags. All my rescued photos are safe and dry now and my oil paintings are drying out in the bathtub. Good time to write!