Home to SM Reine, dark fantasy author of Death's Hand and Six Moon Summer. Head Cheese of the Army of Evil. Really enjoys fondue.
Monday, July 23, 2012
Dark Union has arrived :)
Every fifty years, the most powerful ethereal and infernal beings convene on Earth to resolve conflicts with mediation by kopides--humans born to police relations between Heaven and Hell. They're meeting in Elise Kavanagh's territory this year, and she used to be the greatest kopis in the world. But she's not invited.
An old friend, Lucas McIntyre, asks her to attend the summit in his place. When she arrives, she discovers that a human faction called The Union has taken charge of the summit, and they're not playing nice. Worse yet, someone has killed a prominent Union member, and now they're demanding blood.
Elise has to bring justice to the summit in DARK UNION, a 33,000-word (120 page) urban fantasy novella featuring a decrepit ghost town, angry men with guns, and even angrier angels.
Yup. It's here. :)
Let me know if you guys read it--I'd love to hear what you think. I feel a little funny releasing a novella in between books, but I think (hope) it works, so your feedback is mucho appreciated.
Tuesday, July 17, 2012
I don't write romances.
Let's talk romance novels.
This is how a typical romance works: Boy meets girl, boy and girl are kept apart for 90% of the book by circumstance, and the story is concluded when boy and girl get together. There are certain expectations about romances which the author must keep in mind while navigating these swoony waters.
Romances must have a happily ever after (HEA) or happy for now (HFN), for instance, to be classified as a "romance novel."
Once the hero and heroine hook up, they're generally not allowed to hook up with anyone else. It's strict monogamy from there on out. And if there's a love triangle, the heroine will usually end up with the first guy she meets (who is usually The Good Guy, because there's no love for Bad Boys out there).
Loyalty is hugely important. Studies have shown that romance readers are more forgiving of a hero who rapes the heroine (because he desires her so much that he must have her, consenting or not) than a hero who cheats on the heroine with someone else. That is a whole can of worms I won't touch today. Suffice it to say, romance readers have spoken: they love One True Loves.
Despite having all these rules, it's hardly a formulaic genre. There are a lot of great ways to approach this structure. It's not easy keeping love interests apart for twenty-some chapters, and it takes a skilled writer to pull it off.
I enjoy reading paranormal romance, but anyone who's read my books can tell that I'm not interested in writing it. My stories do not have HEAs or HFNs. The plot does not resolve with the hero and heroine kissing and hugging or whatever it is you kids do nowadays. Yet I think a lot of readers go into my books expecting these things, and it's led to some disappointed reviews.
These days, the line between romance novel and paranormal is... hazy. Urban fantasy is often seen to be synonymous with paranormal romance. YA paranormal is usually about how a girl falls in love with a smoldering paranormal boy.
I completely understand why people might pick up my books expecting to see these things.
So let me say this now: I don't write paranormal romance novels.
At its roots, urban fantasy is a mashup of detective noir and fantasy. YA paranormal shares teen issues through the lens of speculative fiction. They can be romantic, but they don't have to be.
And my books definitely are not. In The Descent Series, I'm hoping to accomplish epic fantasy in a contemporary setting. And the Seasons of the Moon series is more of a family drama with a girl who turns hairy and eats people.
Definitely not romances.
Given that the majority of Kindle owners are adult women, and that the population of Kindle owners also skew toward the romance-lovin', my life would probably be a little easier if I did write romance novels. I know that many readers would be happier with my books.
The problem is this: I don't like One True Loves. I also don't believe in soulmates. I think there are a lot of people who can complete us in a lot of different ways, and that we can love someone intensely, passionately, and deeply, then move on to love someone else just as passionately if that first relationship ends. It's a totally normal, totally okay part of life.
Plus, I feel like romances -- particularly those with the "one true love" thing -- completely miss how tough real relationships can be, and how that's actually a really good thing. Good relationships take work. You don't just click with someone and live happily ever after. You have to communicate, respect each other, and work on meshing your lives together.
Bad things happen. Good things happen. You fight to stick together and handle it as a team. The end result is (ideally) an ever-growing, ever-changing partnership with another human being, and it's awesome. But it doesn't always end that way! Sometimes things go sour, and that's okay too. That's a normal part of life and growing up.
That's what I hope to write in my books: Flawed relationships between people who work to conquer things together, or... don't.
So please allow me to apologize to all the people who have been bummed out to pick up one of my books and find it ends with the heroine running off on all fours and leaving the hero behind (Six Moon Summer), or that the heroine is sexually compatible with her boyfriend, but not romantically compatible (The Darkest Gate), or that the heroine falls out of love with the hero because he didn't treat her well and they don't get back together (Monsters).
There might not be one true loves in my books, but there is one true butt-kicking. I hope that makes up for my transgressions a little. ;)
What say you, friends? Do you prefer your paranormal with or without a heaping serving of romance?
This is how a typical romance works: Boy meets girl, boy and girl are kept apart for 90% of the book by circumstance, and the story is concluded when boy and girl get together. There are certain expectations about romances which the author must keep in mind while navigating these swoony waters.
![]() |
| The very first romance I ever read. Yes, there was sexual assault, but not from the hero. (Thank goodness.) |
Once the hero and heroine hook up, they're generally not allowed to hook up with anyone else. It's strict monogamy from there on out. And if there's a love triangle, the heroine will usually end up with the first guy she meets (who is usually The Good Guy, because there's no love for Bad Boys out there).
Loyalty is hugely important. Studies have shown that romance readers are more forgiving of a hero who rapes the heroine (because he desires her so much that he must have her, consenting or not) than a hero who cheats on the heroine with someone else. That is a whole can of worms I won't touch today. Suffice it to say, romance readers have spoken: they love One True Loves.
Despite having all these rules, it's hardly a formulaic genre. There are a lot of great ways to approach this structure. It's not easy keeping love interests apart for twenty-some chapters, and it takes a skilled writer to pull it off.
I enjoy reading paranormal romance, but anyone who's read my books can tell that I'm not interested in writing it. My stories do not have HEAs or HFNs. The plot does not resolve with the hero and heroine kissing and hugging or whatever it is you kids do nowadays. Yet I think a lot of readers go into my books expecting these things, and it's led to some disappointed reviews.
![]() |
| In short, when reading YA paranormal, people expect something like this. |
I completely understand why people might pick up my books expecting to see these things.
So let me say this now: I don't write paranormal romance novels.
At its roots, urban fantasy is a mashup of detective noir and fantasy. YA paranormal shares teen issues through the lens of speculative fiction. They can be romantic, but they don't have to be.
And my books definitely are not. In The Descent Series, I'm hoping to accomplish epic fantasy in a contemporary setting. And the Seasons of the Moon series is more of a family drama with a girl who turns hairy and eats people.
Definitely not romances.
Given that the majority of Kindle owners are adult women, and that the population of Kindle owners also skew toward the romance-lovin', my life would probably be a little easier if I did write romance novels. I know that many readers would be happier with my books.
The problem is this: I don't like One True Loves. I also don't believe in soulmates. I think there are a lot of people who can complete us in a lot of different ways, and that we can love someone intensely, passionately, and deeply, then move on to love someone else just as passionately if that first relationship ends. It's a totally normal, totally okay part of life.
Plus, I feel like romances -- particularly those with the "one true love" thing -- completely miss how tough real relationships can be, and how that's actually a really good thing. Good relationships take work. You don't just click with someone and live happily ever after. You have to communicate, respect each other, and work on meshing your lives together.
Bad things happen. Good things happen. You fight to stick together and handle it as a team. The end result is (ideally) an ever-growing, ever-changing partnership with another human being, and it's awesome. But it doesn't always end that way! Sometimes things go sour, and that's okay too. That's a normal part of life and growing up.
That's what I hope to write in my books: Flawed relationships between people who work to conquer things together, or... don't.
So please allow me to apologize to all the people who have been bummed out to pick up one of my books and find it ends with the heroine running off on all fours and leaving the hero behind (Six Moon Summer), or that the heroine is sexually compatible with her boyfriend, but not romantically compatible (The Darkest Gate), or that the heroine falls out of love with the hero because he didn't treat her well and they don't get back together (Monsters).
There might not be one true loves in my books, but there is one true butt-kicking. I hope that makes up for my transgressions a little. ;)
What say you, friends? Do you prefer your paranormal with or without a heaping serving of romance?
Saturday, July 14, 2012
What makes success?
(Alert! Boring publishing numbers post ahead. Escape while you still have your sanity!)
Publishing has not been easy for me. This is entirely my fault. I dove into the process with no research, and decided that I would sell my books by hawking them to strangers on Twitter and sending them to book bloggers.
Take a moment to laugh. I'll wait.
Unsurprisingly, it took three months to sell the first 100 copies of Six Moon Summer. That was about $200 in royalties. At the time, the number seemed huge -- it was more than I had made off of writing ever before, anyway, and that meant there were about one hundred people reading my book. Gosh. Never mind that I had spent $750 producing and marketing the damn thing.
Thanks to success stories from authors like Amanda Hocking and Joe Konrath, many writers dove into self-pubbing at the exact same time. YA paranormal is a pretty good genre to be in, too, so quite a lot of writers entered it simultaneously. It's not typically a blockbuster genre (I would reserve that term for things like romantic suspense), but it's got a loyal base of readers, good crossover appeal, and high churn. Readers who enjoy YA paranormal tend to devour it and look for more.
So while I was selling 100 copies on Twitter, writers who were producing the same thing at the same time were zipping ahead to much grander milestones. They were popping out entire trilogies and reaching upwards of 10,000 sales in six months while I was still tweeting "#yaparanormal #pleaseloveme Omgz buy my book!!! amzn.to/lololol".
Still, I felt pretty good about the whole thing. 100 books. That's a lot of readers.
All Hallows' Moon did about the same: 100 copies-ish in three months. Understandably. I had waited five months to release the sequel, which was entirely unnecessary, given that I had actually written Six Moon Summer the year before, and any miniscule amounts of momentum I had built were long gone by then.
Of course, I had other things going, too. The 19 Dragons trounced the other books for its first couple of months. Death's Hand came out shortly after All Hallows' Moon and sold over 1,000 copies in its first three months, which was a huge milestone for me, since it took six months to reach my first 1,000 sales prior to that (don't laugh).
I'll skip a long and boring history of the books in between that, but suffice it to say, things have improved. Gray Moon Rising sold 1,000 copies in about two weeks thanks to the efforts of my dedicated and loving readers.
This month, I have averaged 200 books sold per day -- twice what I sold in the first three months of publishing, every day.
I'm still struggling in comparison to many of my writer friends, who are all smarter, handsomer, and more successful than me. Many of my contemporaries have passed 50,000 sales or more. People in other genres are doing even better--one writer friend of mine, Michael Wallace, is celebrating 100,000 lifetime indie sales this month. (Congrats Michael! Feel free to send my helicopter over at any time.)
But how do you measure success? Is it in a specific number of copies sold? Are you successful when you've shifted 1k copies, 10k, or 50k? Is it when your income from royalties provides 50%+ of your family's income?
Or is it when those first 100 readers pick up your book and fall in love with the characters?
You know, I just don't think it can be measured in any objective way.
I'm feeling successful these days, even though I don't have any big-number milestones to trumpet. The line on the graph keeps going up, and every time I have a series release, I do a little bit better. That makes me feel successful.
Every one of my books has an actual team working on it, now--from artists to editors--and I actually earn out production costs within a month or so, which means I'll probably start spending more money on producing better books. That makes me feel successful, too.
I finished a series, and I'm pushing ahead on a second. I have nine titles out with this pen name now, which is staggering, and seven titles more than I had available in July of 2011.
But most of all, my writer friends and readers make me feel successful. Their relentless love and support never fails to touch me (in the safe & legal sense). You know who you are. ;)
For my writer friends: How do you measure your successes? Is it a specific milestone, or net increase in performance?
Publishing has not been easy for me. This is entirely my fault. I dove into the process with no research, and decided that I would sell my books by hawking them to strangers on Twitter and sending them to book bloggers.
Take a moment to laugh. I'll wait.
Unsurprisingly, it took three months to sell the first 100 copies of Six Moon Summer. That was about $200 in royalties. At the time, the number seemed huge -- it was more than I had made off of writing ever before, anyway, and that meant there were about one hundred people reading my book. Gosh. Never mind that I had spent $750 producing and marketing the damn thing.
Thanks to success stories from authors like Amanda Hocking and Joe Konrath, many writers dove into self-pubbing at the exact same time. YA paranormal is a pretty good genre to be in, too, so quite a lot of writers entered it simultaneously. It's not typically a blockbuster genre (I would reserve that term for things like romantic suspense), but it's got a loyal base of readers, good crossover appeal, and high churn. Readers who enjoy YA paranormal tend to devour it and look for more.
So while I was selling 100 copies on Twitter, writers who were producing the same thing at the same time were zipping ahead to much grander milestones. They were popping out entire trilogies and reaching upwards of 10,000 sales in six months while I was still tweeting "#yaparanormal #pleaseloveme Omgz buy my book!!! amzn.to/lololol".
Still, I felt pretty good about the whole thing. 100 books. That's a lot of readers.
All Hallows' Moon did about the same: 100 copies-ish in three months. Understandably. I had waited five months to release the sequel, which was entirely unnecessary, given that I had actually written Six Moon Summer the year before, and any miniscule amounts of momentum I had built were long gone by then.
Of course, I had other things going, too. The 19 Dragons trounced the other books for its first couple of months. Death's Hand came out shortly after All Hallows' Moon and sold over 1,000 copies in its first three months, which was a huge milestone for me, since it took six months to reach my first 1,000 sales prior to that (don't laugh).
I'll skip a long and boring history of the books in between that, but suffice it to say, things have improved. Gray Moon Rising sold 1,000 copies in about two weeks thanks to the efforts of my dedicated and loving readers.
This month, I have averaged 200 books sold per day -- twice what I sold in the first three months of publishing, every day.
I'm still struggling in comparison to many of my writer friends, who are all smarter, handsomer, and more successful than me. Many of my contemporaries have passed 50,000 sales or more. People in other genres are doing even better--one writer friend of mine, Michael Wallace, is celebrating 100,000 lifetime indie sales this month. (Congrats Michael! Feel free to send my helicopter over at any time.)
But how do you measure success? Is it in a specific number of copies sold? Are you successful when you've shifted 1k copies, 10k, or 50k? Is it when your income from royalties provides 50%+ of your family's income?
Or is it when those first 100 readers pick up your book and fall in love with the characters?
You know, I just don't think it can be measured in any objective way.
I'm feeling successful these days, even though I don't have any big-number milestones to trumpet. The line on the graph keeps going up, and every time I have a series release, I do a little bit better. That makes me feel successful.
Every one of my books has an actual team working on it, now--from artists to editors--and I actually earn out production costs within a month or so, which means I'll probably start spending more money on producing better books. That makes me feel successful, too.
I finished a series, and I'm pushing ahead on a second. I have nine titles out with this pen name now, which is staggering, and seven titles more than I had available in July of 2011.
But most of all, my writer friends and readers make me feel successful. Their relentless love and support never fails to touch me (in the safe & legal sense). You know who you are. ;)
For my writer friends: How do you measure your successes? Is it a specific milestone, or net increase in performance?
Wednesday, July 11, 2012
I suck at being a housewife.
I must say, with no small amount of pride, that I am decent at quite a few things. I have a pretty weird mix of talents.
Everyone knows that I handle 95% of the publishing process on my own: writing, editing, formatting, cover design, promotion, etcetera--with, admittedly, varying results. There's a steep learning curve, but I'm getting better all the time. (The other 5% is the stuff I seriously have to hire out for, like proofreaders.)
But did you know that I play guitar, too? I'm out of practice, but I used to be able to play the entire oeuvre of The White Stripes and The Beatles (which, um, is not really that hard--like maybe five chords--but it sounds totally badass). I've also dabbled in producing electronica. I produced an entire album! And no, you can't hear it. Too embarrassing. I am much better at writing than music. ;)
I also draw. Not spectacularly, but you can tell what I'm trying to illustrate. I used to want to be a comic book artist, so mostly I can draw busty women in impossible poses flying through the air.
Plus, I took three years of 3D graphic design, and spent one year as a TA, so I know my way around Lightwave.
Other interesting and mostly useless talents of mine include video production, video editing, and baking a mean batch of double chocolate chunk cookies.
You know what I am not good at?
Being a housewife.
Despite being able to handle the entire publishing process from start to finish, I simply do not have the mental organization required to run a household.
It's hard!
I cannot wrap my brain around the scope of it. Vacuuming, dishes, pulling weeds, keeping up on the laundry (I never have clean clothes), cleaning mirrors and windows, scrubbing toilets... ugh! I know things need to be done, but I never know where to start, and it seems like such a big, impossible job.
This didn't used to be a problem, because I have the most amazing husband ever. For the first year of my son's life, The Hubs stayed home and handled all this stuff. Cooking, cleaning, Doing Things In The Yard, being an Awesome Dad, the whole shebang.
And it looked so easy. I mean, here I was, going to work in an office for 9 hours a day, and then spending another 4-6 hours writing/publishing on top of that, and what was my husband doing? Playing with a baby and doing the dishes? Get real! Talk about an easy life.
Hahahahaha.
Well, the tables have turned. Now I'm the one home all night with the baby while The Hubs works.
It turns out that staying home is work, and I have a whole new respect for doing the dishes.
I'm not sure if it's my depression, or my natural inclinations toward being a giant scatterbrain, but I just can't keep on top of this stuff. I have a chore whiteboard that worked okay for a couple weeks, except that I'm the one assigning myself chores. Considering I'm the weak link in the chain of "running the house," there's a serious problem there.
Part of me misses going to the office for nine hours a day, because it least it gave me an excuse to suck at doing chores.
But I wouldn't give up being freed from the clock for anything. It's amazing.
So I'm staying home. And that means I have to figure out how to wrangle my creative scatterbrain into doing this housewife crap.
Which is why I'm here, readers: How the heck do you stay on top of everything? There's got to be some trick to cleaning and stuff, right? Give me your best tips, your favorite websites, whatever. I need to turn from slumpy "sits around in my underwear" Lazy McWriterpants into this:
Everyone knows that I handle 95% of the publishing process on my own: writing, editing, formatting, cover design, promotion, etcetera--with, admittedly, varying results. There's a steep learning curve, but I'm getting better all the time. (The other 5% is the stuff I seriously have to hire out for, like proofreaders.)
But did you know that I play guitar, too? I'm out of practice, but I used to be able to play the entire oeuvre of The White Stripes and The Beatles (which, um, is not really that hard--like maybe five chords--but it sounds totally badass). I've also dabbled in producing electronica. I produced an entire album! And no, you can't hear it. Too embarrassing. I am much better at writing than music. ;)
I also draw. Not spectacularly, but you can tell what I'm trying to illustrate. I used to want to be a comic book artist, so mostly I can draw busty women in impossible poses flying through the air.
![]() |
| Also, girls in earmuffs. |
Other interesting and mostly useless talents of mine include video production, video editing, and baking a mean batch of double chocolate chunk cookies.
You know what I am not good at?
Being a housewife.
![]() |
| Pictured: Not Me. |
It's hard!
I cannot wrap my brain around the scope of it. Vacuuming, dishes, pulling weeds, keeping up on the laundry (I never have clean clothes), cleaning mirrors and windows, scrubbing toilets... ugh! I know things need to be done, but I never know where to start, and it seems like such a big, impossible job.
This didn't used to be a problem, because I have the most amazing husband ever. For the first year of my son's life, The Hubs stayed home and handled all this stuff. Cooking, cleaning, Doing Things In The Yard, being an Awesome Dad, the whole shebang.
And it looked so easy. I mean, here I was, going to work in an office for 9 hours a day, and then spending another 4-6 hours writing/publishing on top of that, and what was my husband doing? Playing with a baby and doing the dishes? Get real! Talk about an easy life.
![]() |
| I mean, babies just sleep all day. Right? |
Well, the tables have turned. Now I'm the one home all night with the baby while The Hubs works.
It turns out that staying home is work, and I have a whole new respect for doing the dishes.
I'm not sure if it's my depression, or my natural inclinations toward being a giant scatterbrain, but I just can't keep on top of this stuff. I have a chore whiteboard that worked okay for a couple weeks, except that I'm the one assigning myself chores. Considering I'm the weak link in the chain of "running the house," there's a serious problem there.
Part of me misses going to the office for nine hours a day, because it least it gave me an excuse to suck at doing chores.
But I wouldn't give up being freed from the clock for anything. It's amazing.
So I'm staying home. And that means I have to figure out how to wrangle my creative scatterbrain into doing this housewife crap.
Which is why I'm here, readers: How the heck do you stay on top of everything? There's got to be some trick to cleaning and stuff, right? Give me your best tips, your favorite websites, whatever. I need to turn from slumpy "sits around in my underwear" Lazy McWriterpants into this:
Sunday, July 8, 2012
Coming soon - Dark Union (excerpt included!)
Dark Union, which is Descent #2.5 (more on this later), has been 90% completed for quite a few weeks now. Actually, since I finished The Darkest Gate. I was spending a lot of time poking at it without getting much of anywhere, so I pushed it off so I could wrap things up with Gray Moon Rising.
The problem was, I didn't really know what I wanted to accomplish with it, and I can't finish a rough draft until I know what The Point of the story is. There has to be some greater message that says something important about the series--some critical statement of character or theme, for instance--and until that comes together, things just don't cohere.
I had a breakthrough last week. I suddenly knew, about five minutes before I passed out one night, what this novella's about. So I hurriedly scribbled a few notes on my iPad before going unconscious. Miraculously, they were actually legible when I woke up next morning!
So! Dark Union. Descent #2.5. It's done.
I'll edit it next week, abuse my editors with it, and get it to you guys shortly.
Every fifty years, the most powerful ethereal and infernal beings convene on Earth to resolve conflicts with mediation by kopides--humans born to police relations between Heaven and Hell. They're meeting in Elise Kavanagh's territory this year, and she used to be the greatest kopis in the world. But she's not invited.
An old friend, Lucas McIntyre, asks her to attend the summit in his place. When she arrives, she discovers that a human faction called The Union has taken charge of the summit, and they're not playing nice. Worse yet, someone has killed a prominent Union member, and now they're demanding blood.
Elise has to bring justice to the summit in DARK UNION, a 30,000-word urban fantasy novella featuring a decrepit ghost town, angry men with guns, and even angrier angels.
The cover probably doesn't look familiar to you, since I was originally going to release it with this cover, but the blurb should ring some bells if you've read the rest of the series. This book is tightly linked to Descent continuity in a few ways:
1.) McIntyre made an appearance in Death's Avatar. He's Elise's kopis friend in Las Vegas.
2.) I mentioned the semi-centennial summit in Death's Hand via phone conversation with McIntyre, too. (Remember that part?)
3.) The Union has also been making rounds in my books lately, too. And they're big bullies.
So why book #2.5 if it's so high on continuity? Why not stretch it out into book #3?
The origin of this one is a little funky. Dark Union was actually meant to be the beginning of Damnation Marked (DM). But it turned out that the summit had too much going on to be relegated to the first act of book three, and it doesn't have much to do with the over-arching plot of DM, so I removed it.
I thought I could make it a novelette, like Death's Avatar. Then it grew... and grew... and now it's about twice as long as its novelette sister. And while Death's Avatar stands alone beautifully, Dark Union does not. You have to read it in between books two and three if you want it to make any sense.
But it's not long enough to be a full book. Sigh.
What the heck am I supposed to do with a weird, in-between story like this? Make it #2.5, that's what. It's the best solution I've got. I'm open to better suggestions if anyone has one. ;)
Fans of The Descent series will really like Dark Union. Anthony actually gets some time on the page as a hero (since James isn't around), Elise is her usual I-chew-nails-for-breakfast badass self, and we get to meet the greatest kopis who replaced her. I'm really excited about it. It was a lot of fun to kick around, even if it's kind of a funky story.
Here's an excerpt, which hasn't been edited yet, so please forgive the rocky writing.
Lucas McIntyre wasn’t a patient man. He didn’t have to be. He lived life on his own schedule, which usually entailed nonstop movement—jogging in the desert behind his mobile home, or lifting weights, or doing whatever chores Leticia told him to do that day. That was how it had been since he gave up on high school at the ripe age of fifteen and moved to his grandma’s trailer outside Las Vegas.
He knew he wasn’t the most educated man, but he took care of his family. And he did it by constant motion. Always working, always surviving. Waiting was foreign to him.
Yet he found himself in the parking garage outside McCarran International Airport at eleven fifty-five at night, sitting on the hood of his 1983 Ranger, and trying not to go crazy while he waited for help to arrive.
McIntyre dug under his fingernails with a flip knife, cleaning out bits of dirt and blood. The blade was etched from his last kill. Some spider-demons the size of his truck had wandered out of the north and tried to eat him. All the bad stuff came from the north.
He flicked dirt and dead skin onto the pavement and checked his watch again. The scratched face said only a minute had passed.
McIntyre flipped the knife shut, then open again. He put it in his pocket. Took it out. Checked the time.
Still eleven fifty-six.
Even at night, the airport was busy. Lots of people going in and coming out. Lots of cabbies, lots of casino shuttles, lots of gamblers in a big hurry to lose money.
The worst breed of tourists had been passing through in the last few weeks, too—the inhuman kind. He saw a dozen demons pass through the parking garage and knew them by the tickle at the back of his skull even though they passed for human. He itched to intercept one of them and demand a passport. If they didn’t have evidence of amnesty at all times, it was his prerogative to throw them out.
But McIntyre wasn’t at the airport to police demons that night, so he waited.
Finally, he caught a glance of the person he was waiting for on the other side of the walkway. He raised an arm to catch her attention. She hurried over with some guy he didn’t recognize at her back.
Elise Kavanagh had aged and softened since the last time McIntyre saw her. She used to be such a hard motherfucker. All hard lines and scars and barely-bridled fury. She used to be the greatest demon hunter in the world, too, and she’d always acted the part. But years later, she looked like any other woman. Lots of brownish hair. A few more scars that she was trying to cover with a long-sleeved blouse, fingerless gloves, and cutoff shorts.
She didn’t look anything like the same person that helped him take down a whole centuria of demons in the Grand Canyon eight years back, but there was no mistaking her. She still had that weird emptiness in her eyes, and when they gripped each other’s wrists in greeting, he felt those damn knives under her sleeves.
“Security fucked up on that,” he said by way of hello.
“Checked baggage. I put them on after I got off the plane.” Her speech was more precise than it used to be. She’d gotten educated.
He jerked his chin at the man behind her. “The hell is this? Where’s James?”
Elise swayed on her feet, putting a hand to her forehead. She took a deep breath. After a beat, she straightened again, giving no sign of her momentary weakness. “Lucas McIntyre, meet Anthony Morales. He hunts with me.”
Anthony set his suitcase on the ground and shook hands with McIntyre. “I’m her boyfriend,” he said. His skin was tan-brown and he had a cowlick in the front that made his hair stick up. It looked like he’d been sleeping on the flight. There wasn’t a visible scar on his body.
McIntyre chewed on the corner of his mouth as he studied both of them. By the way Kavanagh stood two feet away and barely acknowledged Anthony’s existence, they looked about as intimate as a lion and the gazelle she was about to eat. Leticia was going to have a field day with that one.
“All right,” he finally said. “Put everything in back.”
He opened the camper shell. They had only brought a suitcase and a backpack. Anthony threw the first one in, but Elise hung onto the second as they climbed into his truck.
“How’s Tish?” she asked. He could tell she was just trying to be polite. That was new for her, too.
“She’s in a good mood,” McIntyre said. He threw the truck into gear.
Elise arched an eyebrow. “At least that’s one of you.”
He hadn’t been in a good mood since the doctor told him that fluid levels were low in his wife’s womb—whatever the hell that meant—and that her cervix was too open for that part of the pregnancy. Those two things were bad, apparently. She’d been on bed rest for weeks, and they had an induction scheduled for Friday morning if she didn’t “stabilize,” even though she wasn’t due for another month. The clock had just ticked over to midnight on Friday. He needed to get her to the hospital in five hours.
It was silence in the truck as they got on the highway. Elise’s supposed boyfriend was staring out the window with puffy red eyes. She hugged the backpack to her chest and didn’t look at him.
“Thanks for coming,” McIntyre said after a few dozen miles of listening to static-filled country on the radio. The road out of Vegas was long, and they had to go through a lot of suburbs to get there, but traffic was pretty much dead. It wasn’t long before the lights of downtown receded.
Elise gave a slight shake, like she was clearing her head. “You called in a really big favor to drag me down here. I had to borrow about three hundred bucks off James to even make the flight. So let’s get to it—what do you need?”
“I emailed all the info I have to you.”
“I didn’t have time to read any of your six attachments,” she said. “Anthony and I got on the plane an hour after you called. Give me the recap and save me a few minutes of reading.”
McIntyre blew a breath out of his lips. “Okay. The summit runs tomorrow—or today, if you want to do it like that—through Sunday afternoon. You sign in at—”
“What summit?” Anthony interrupted. His voice was almost as dead as Elise’s. He sounded more annoyed than interested.
“It’s this thing they hold every fifty years,” Elise said. “Angels and demons hash out their issues while kopides watch to make sure nobody dies. It’s between the Reno and Vegas territories this year.” She shook her head. “I wasn’t invited. I didn’t plan on going.”
“Everyone thinks you’re dead,” McIntyre said.
“Yeah. They’re supposed to.”
“Anyway, they only invite the best of the demon hunters to go.” He shrugged one shoulder. “I’m not one of the best. I just got called in because it’s so close. But Tish is going into the hospital this morning.”
Out of the corner of his eye, he saw Elise staring at him. Her eyes glinted in the street lights as they soared past them. “So what? You want me to go to the hospital and hold your wife’s hand?”
“I want you to go to the summit and pretend to be me.”
She laughed. It was a weird noise. He didn’t think he’d ever heard her laugh before, and it turned out that it wasn’t a particularly nice or happy sound.
“Are you serious?”
“You’ve got to do it. There’s these guys at the summit called The Union of Kopides and Aspides—just ‘The Union’ for short. They’ve taken over the whole thing, and I know they’re watching me.”
“Who cares? If the Union’s got things covered, you don’t need to be there.”
“This Union is trying to become a big faction, and they’re doing a good job. They got half of the European territories under control in the last couple of years, and now they’re working on taking over of all of goddamn North America. They’re turning kopides into soldiers. You surrender your territory, get enlisted, get trained, and get reassigned to somewhere new. And they’re matching every kopis who doesn’t have an aspis to a witch.”
“That’s impossible. I would have heard about that happening.”
McIntyre took the exit off the freeway. The road noises grew softer as he slowed, filling the car with ominous silence. “You’ve been out of it too long. They’ve got Mexico. French Canada, too. The US is a big nut to crack, so they’re starting with this summit. If I can’t make a good show and get them to back off, they’ll take Vegas.”
“Can they make you enlist?” Elise asked.
He grimaced at the loaded question. “I hear they’re pretty convincing.” McIntyre stopped at a four way intersection. It was completely dead, but he didn’t go through. He took his hands off the wheel and caught Elise’s gaze. “They could take everything I’ve got. You’re the only one who can help me.”
“They’ll know I’m not you.”
“Sure, they would. But this guy can pretend to be me, and he’s a nobody, so he won’t be recognized,” he said, waving at Elise’s boyfriend. He shook his head at Anthony’s incredulous look. “Sorry. But all anyone knows about me is that I’m some guy. I get around with the local demons, but I’ve never met the Union; as far as I know, they don’t have any pictures on file. So your boyfriend is me, and then you say you’re Leticia. You’ve changed since you were the greatest kopis. Nobody would recognize you even if they looked close, and they won’t.”
Elise’s mouth twisted like she tasted something sour. “It’s a bad idea.”
“It’s all I’ve got,” McIntyre said.
Anthony didn’t seem to care about Elise’s decision. He went back to staring out the window, even though there was nothing to see—they were beyond the last of the manicured suburbs, and there were trailers on one side and empty desert on the other.
The Elise he had known a few years before would have refused. She wasn’t one for sympathy. He could only hope that saving her ass a half dozen times would be enough to coerce her. “Fine,” she said. “I’m already here anyway.”
He didn’t thank her. He knew she wouldn’t like that. But he nodded, and she nodded back with a knowing look in her eyes, and that was more than enough.
McIntyre stepped on the gas and everyone in the truck went back to ignoring each other.
(FYI: Once this is ready, the generals in my Army of Evil will get first dibs on it. I'll send it out as a free download before I enroll it in Amazon's exclusive program.)
Monday, July 2, 2012
Anxiety, manic depression, and functioning as an actual adult
My family has gifted me with the genetic blessing of mental illness. Isn't that fab? Some people have their dad's nose, some people get their aunt's hair, I got manic depression. Thanks guys!
I'll spare you the details of my sordid family history, but suffice it to say, I've dealt with this for my entire life. It's kind of a family curse.
Looking back, each year can be pretty clearly broken out into upswings and downswings. The upswings can be pretty wild--you should have seen the trouble I got into when I was eighteen!--and the downswings are disastrous. Usually, I just get to be a grumpy, generally horrible person who obsesses about bad things, but I have been suicidal.
As I get older, and continue to handle my illness without medication or therapy, the swings are shortening. I'm having upswing and downswing months instead of years. The swings don't feel quite as severe, and for the most part, I'm very high-functioning. I can act fairly normally 95% of the time. But that other 5% is a doozy.
Friends who have watched my career and tried to work with me, beginning April 2011, can probably tell when I've been up and when I'm down. When I'm up:
I'll spare you the details of my sordid family history, but suffice it to say, I've dealt with this for my entire life. It's kind of a family curse.
Looking back, each year can be pretty clearly broken out into upswings and downswings. The upswings can be pretty wild--you should have seen the trouble I got into when I was eighteen!--and the downswings are disastrous. Usually, I just get to be a grumpy, generally horrible person who obsesses about bad things, but I have been suicidal.
As I get older, and continue to handle my illness without medication or therapy, the swings are shortening. I'm having upswing and downswing months instead of years. The swings don't feel quite as severe, and for the most part, I'm very high-functioning. I can act fairly normally 95% of the time. But that other 5% is a doozy.
Friends who have watched my career and tried to work with me, beginning April 2011, can probably tell when I've been up and when I'm down. When I'm up:
- I answer my emails as soon as I get them.
- I'm a wild chatterbox on Twitter.
- I announce a thousand new projects and launch ambitious plans to do amazing things that will advance my career in amazing ways.
- I redo covers, re-edit books, and revamp my presentation to something New and Better.
- I have very unrealistic expectations for my performance.
Everything is great! I'm a superwoman! I'm soaring!
And then, a couple weeks later, I'm down again.
- I don't check my email. Eventually, it piles up, and I delete 75% of it unread.
- I avoid social media.
- I struggle to keep up on all the projects I took on when I was manic, drop some of them, and turn into an Avoidy McDonttalktomeaboutit-face with the things I really can't handle.
- I mope around about horrible sales, horrible writing, horrible life, etc. and generally hate myself and everything I do.
- I feel like I'm living life through a foggy haze and can't focus on anything.
I can just barely continue to function. Usually, when I'm down, all I can handle is writing and editing. I don't like it, but I can do it. All the other necessary trappings of publishing become utterly impossible. I feel terrible about the ways I cope with it -- I do not like canceling projects, I do not like deleting emails, and I do not like letting down people -- but I also feel helpless to do anything else.
Yet I'm an adult, and I have a business, and I can't do things when I feel like it. If I commit to something, I have to be able to follow through. In order to follow through on business things, though, I start to fall behind in other areas--I forget to pay my bills, my house turns into a disaster, I avoid my husband and son, on and on. It's ugly.
This is why I've implemented my "No" Policy: If someone approaches me with a new project/idea, I decline. If someone is so generous as to offer me a guest spot on their blog, I say no. If someone would like me to do a book cover, I direct them to different artists. And when I start getting all these bright ideas about things I should do that will advance my career in amazing ways, I tell myself the same thing: "No!"
I'm not very good at this yet, but I'm getting better. I'm implementing a blanket "no" until I catch up on all my previous commitments, many of which I've outright canceled just to keep things simple. I will finish The Descent Series next year, and that's all I'm writing until that happens (aside from one other book, which I am cowriting with a friend, and determined to finish). I have to catch up on business accounting and stay on top of it. I must not delete anymore emails unread.
That said, I have very limited mental resources. There are only so many things I can handle.
I really need help.
Help comes in two ways: 1.) I'm making enough money now that I can hire people to handle some things for me. I'm hiring editors instead of doing all the work myself, I'm hiring artists instead of designing covers, and I'm seriously contemplating a personal assistant to handle my email correspondence. 2.) I need to see a therapist. Period.
This is my promise to myself, and to all my friends and readers who look to me to Get Things Done: I am going to get help. I am going to punch my anxieties in the face (did I mention I have a hard time with phone calls and keeping appointments?) and see my doctor about getting my thyroid condition treated again, and then get a referral to a therapist. I am going to get on top of this. I will conquer it.
But I really need you guys to back me up on this. Please be patient if I'm avoidant, difficult, or completely unreachable. I'm not doing it to be mean, flaky, or because I don't like you--it's because I'm struggling with ugly mental demons. Understand that if I say "no," I really want to tell you "yes," and hopefully I will be able to do that again someday. And if you get a chance, please think warm tingly thoughts in my direction as I try very hard to get myself out the front door to a doctor's office.
I love you all so much. Your support means the world to me. If you've got my back, I know I can do it.
Subscribe to:
Posts (Atom)





