|Posted by Liz Strange on October 13, 2013 at 11:55 AM||comments (0)|
When Liz opened the door for me to post on her blog, I knew immediately what I wanted to talk about…
Redefining strong women in fiction.
As a card-carrying kick-ass female, I know a thing or two about strength and I’m naturally drawn to gutsy fictional female characters. My own series (Warpworld, co-written with Joshua Simpson), features a less-than-ladylike protagonist who drinks, fights, swears, and loathes “fluffery”. She’s a hoot to write and, according to our readers, just as much fun to read. But in our latest installment, Josh and I decided to test her strength in a new way, one in which no amount of swashbuckling would win the day. We wanted to redefine what it means for her to be strong.
There’s a lot of talk going on about female empowerment these days. In fiction, these conversations include characters and their creators, stories and storytellers. How are women in the business of writing being treated? How does the portrayal of fictional women colour the world view? Do we need to change and, if so, how?
In the real world, yes, we need to change.
That’s all I’m going to say on that because I want to focus on the not-so-real world.
Diversity is not simply a buzz word. Diversity is the human experience and the ways a human can be strong are as diverse as we are. Yet, when you hear the term “strong female character” what is the first image that comes into your mind? Is she carrying a sword? Is she muscular? Is she a soldier, a warrior, or a person in authority? Does she have a wicked spinning back-kick and a really big gun?
What most people think of when considering a strong fictional woman is some variation of an action hero—in the world of stories, our minds equate strength with physical force. By this standard, strong women have been woefully lacking in fiction until recently and it’s good to see the landscape changing. What is still missing, however, is a change in our definition of strength. Consider all the permutations of the quality, the many subtle, quiet ways a person can be strong, and you’ll soon realize that there have always been a plethora of powerful women in fiction. What makes these characters so difficult to identify at first glance is that they do not fit the stereotypical, masculine version of strong. Empathy, self-sacrifice, and kindness may be fine qualities but society has long considered them feminine and, therefore, weak(er).
Change, in fiction, needs to come from both writers and readers. From writers, we need more women to be the hero and not just a supporting role for the male lead. From readers, (and all writers are readers), we need a broader understanding of strength, and recognition that strength takes many forms.
And not all of those forms include a wicked spinning back-kick and a really big gun.
Kristene Perron is a former professional stunt performer for film and television (as Kristene Kenward) and self-described “fishing goddess”. Pathologically nomadic, she has lived in Japan, Costa Rica, the Cook Islands, and a very tiny key in the Bahamas, just to name a few. Her stories have appeared in Denizens of Darkness, Canadian Storyteller Magazine, The Barbaric Yawp and Hemispheres Magazine. In 2010 she won the Surrey International Writers’ Conference Storyteller Award.
Kristene has recently published her second novel, Wasteland Renegades, part of the five-book adventure science fiction series, Warpworld, written with her Texan co-author Joshua Simpson.
Warpworld website: www.warpworld.ca
Kristene’s random cranial gumballs (aka her blog): The Coconut Chronicles
Kristene on Twitter: @KristenePerron
|Posted by Liz Strange on August 13, 2013 at 4:30 PM||comments (0)|
It sometimes feels like horror monsters have been reduced to vampires, werewolves, zombies, demons and, at a push, ghosts. You just need to look at the classic Universal horrors of the 1930s, or the Hammer cycle of the late 1950s and early 1960s, to realise there any many more monsters to choose from. Personally, my favourite will always be the mummy. Look at Boris Karloff’s charismatic portrayal of Im-Ho-Tep in The Mummy (1932) (link is http/blog.icysedgwick.com/2013/04/a-to-z-mummy.html), in which the undead priest was a far more attractive romantic lead than the pathetic ‘hero’. Christopher Lee turned his Kharis into a formidable powerhouse in The Mummy of 1958. Even Arnold Loos’ mummy in The Mummy (1999) was an awesome prospect, simply because he wanted his old love back.
I love mummies for three reasons. Unlike vampires, who are the aristocracy of the horror world, or zombies who are sometimes coded as the working class, mummies are quite classless. They belong to another world, and another time, and their exoticism adds to their appeal. Furthermore, they don’t necessarily have to suffer the same limitations as other monsters. Aside from cats, Loos’ Imhotep fears nothing, and is all powerful. He isn’t restricted by time of day, or the time of the month. Finally, mummies actually exist. Granted, they’re not rampaging around a city near you, but it’s possible to visit a museum and see one for yourself. The mummy, even in its inert state, represents something more tangible than that of the vampire.
When it comes to choosing my horror monsters, I have to rely on that old cliché – “Mummy knows best!”
Icy Sedgwick is based in the North East of England, where she teaches design and is working on a PhD in horror cinema. She has had several stories included in anthologies, while her first book, a pulp Western named The Guns of Retribution (link is http/www.amazon.com/The-Guns-of-Retribution-ebook/dp/B00CYSYI18/), was re-published in May 2013 by Beat to a Pulp. Her next novella, TheNecromancer’s Apprentice, features bloodthirsty mummies with destruction in mind. Find her mummy flash fictions on her blog here (link is http/blog.icysedgwick.com/search/label/mummies).
|Posted by Liz Strange on July 24, 2013 at 2:40 PM||comments (0)|
Well, we've passed mid-year so seems about time for a general writing update. Lots of great things have happened, some in progress and others still on the horizon.
First off, Born of Blood and Retribution (Dark Kiss #3) is finally coming out in print. Thanks to the gang at Passion in Print.
Next I have two great projects coming out with Dark Continents Publishing. My short stroy Riel's Last Stand will be included in the upcoming Dark Harvest anthology. Even more exciting my militray sci-fi thriller novel Erased has been contracted for a 2014 release. I am very excited to be working with the lovely & very talented editor & author Nerine Dorman on both projects.
Also on the go, a new collaborative re-visioning of one my screenplays with a UK-based screenwriter. Details to follow.
For the David Lloyd Investigations fans- book 3 has been contracted and is slated to begin editing soon. Watch for this!
Thanks so much to all my friend, family and fans for your enthusiasm and support. Couldn't do this without you
|Posted by Liz Strange on June 24, 2013 at 7:45 PM||comments (0)|
When Liz told me I could blog about whatever I wanted for this guest post, my little brain went into overdrive. After coaxing it down from swirling at top speed, I decided the most important thing I’m doing right now are my own Health Ally blog posts.
What’s a Health Ally, you ask? It’s a term I’ve made up and it all began when I’d had enough. I felt it was time to take a stand.
On April Fool’s day of 2013, Locus Magazine upset many people with their “WisCon Makes Burqas Mandatory for All Attendees” post. If you saw the post, which was taken down within an hour, then you know there were a multitude of reasons why it caused outrage. I felt the need to point out one more. It may have only been a small side joke, but it really, REALLY pissed me off. In reference to the mandatory burqas the article said, “the convention would have substantial quantities of Burqas for rental to congoers, from Small to 5XL sizes.”
Why include that line at all if it weren’t intended as another joke? A joke aimed at con goers and anyone else I might add, who would require a “5XL” size. Being overweight, underweight, or unhealthy is not a joke and yet it’s treated that way far too often.
I’m not only talking about this or other quips aimed at large sized people, I also mean when we make fun of ourselves. It happens all the time. We make jokes about eating too much, about not exercising, or about putting on a few pounds. I know, humour as a coping device, I get that, but it also gives us an excuse not to take a closer look and do something about it.
But aren’t we’re supposed to make fun of being out of shape, unhealthy or overeating? That’s what everyone does, right? That way we can all go on ignoring the deeper issues and the pain those jokes may be causing people. What about the people hearing or reading those jokes that don’t think it’s funny, that take offense to those jibs and jabs.
I don’t think there is even a word for someone who stands up for health, so I stole the idea of being an Ally from the LGBT community and applied it to health. Every Thursday I write a Health Ally post. I wasn’t sure if I’d have enough to say, then the CEO of Abercrombie and Fitch immediately gave me something to talk about with his, to paraphrase, our clothes are not for ugly or fat people statements.
Not every Health ally post I write is about pointing out health injustices; sometimes it’s just a tip for healthier living. I want to be someone who discourages crude, thoughtless belittling of health issues and encourages a higher level of health for everyone, no matter who you are, what you look like, weigh, or where you’re at in your life.
Prejudice toward someone based on race, gender, sexual orientation, religious beliefs or how much they weigh is unacceptable in any setting. This is me, taking a stand against weightism. Won’t you join me?
|Posted by Liz Strange on April 9, 2013 at 8:30 PM||comments (0)|
I am very excited to be hosting a guest blog from the talented and multi-award nominated Matt Hughes:
In an email exchange with Liz the other day, she let drop the news that she was a reader of historical fiction.
Me, too, I said.
Why don’t you come over and blog about it? she said.
So here we go.
In my working-poor childhood, we didn’t have many books around, and a lot of my time was spent in rented farm houses in the Kitchener-Waterloo area, out where the bookmobile did not run. So although I could read from the age of four, it was pretty well all comic books until I was old enough to go high school in town, where they had a decent school library.
I would read books that my elder siblings brought home from school: science fiction, in my brother’s case; and in my sister’s a historical novel called Cue For Treason, by Geoffrey Trease, which was part of the Grade Nine English curriculum in 1950s Ontario. It was about a couple of English teenagers who become apprenticed to Shakespeare and foil a plot to assassinate Elizabeth I.
I gobbled it up, and then when I finally got to high school, I started to read similar books—of which, I was delighted to find, there were quite a few. I vacuumed up juvenile historical and science fiction novels by Trease (also Henry Treece and Alfred Duggan) until I’d read out the school’s library and then the young folks’ section of the public library in Burnaby, BC, to where we’d fled after my father was unable to pay what he owed to some loan sharks.
By the time I was fifteen, I was working my way through the adult stacks and finding plenty more grist to mill. At sixteen, I started to write one of my own, based on a snippet of historical fact I’d come across: after conquering the known world and establishing his imperial capital at Babylon, Alexander the Great ordered one of his Greeks to captain a Phoenician ship and sail it west beyond the Pillars of Hercules, then south and keep on going until he circumnavigated Africa and arrived at the top of the Red Sea. The ship apparently went, but whether it ever came back again is unknown. Shortly after he ordered the expedition, Alexander died of malaria, and his empire was divided up by his feuding generals.
I only wrote one chapter. My home life was too chaotic to allow for a precocious literary career. The work did come in handy, though. In Grade Twelve at Burnaby South high school, I arrived back in English class after one of my frequent absences to find that we’d been assigned to write the first chapter of a novel. I had my Alexandrian adventure in my notebook, so I turned it in.
The teacher, the brilliant Ruth Eldredge, formerly a colonel in the US Army, gave me a ten out of ten. That was significant because she’d told us at the beginning of the year that the highest mark she would give out would be a nine. Nothing we wrote, she said, would be good enough to merit a ten.
I can pretty well date the time when I decided I would be a writer to that afternoon.
I kept on reading historical fiction throughout my teens and twenties. By the time I hit my thirties, the genre was being submerged under the spreading morass of historical romance—bodice-rippers, they were called. Fewer and fewer authors were writing real historicals; they’d largely gone the way of the western.
There were still some good authors writing great books. Chief among them I would place Cecelia Holland, who is still writing today, although she has had to slide slightly sideways into historicals with a touch of fantasy. Still, I will argue that she is the finest author of historical fiction writing in English today. If you haven’t read her, and you like histfic, you have a treat in store—in fact, treat after treat, since she has been turning out exceptional historical novels since the mid-1960s.
And now that we have the long tail to choose from, I can recommend a few other great practitioners of the art without consigning you to haunt the dusty back reaches of second-hand book stores. Here are some names with which to conjure the past:
Robert Graves, an English poet who wrote historicals for the money, and didn’t think very highly of them. But his I, Claudius and Claudius the God are brilliant, and he produced several more, all of them far better than he thought they were.
Zoe Oldenbourg, a Frenchwoman who made herself a self-taught expert on the Crusades, and whose Cities of the Flesh is the best account I’ve ever read of the brutal stamping-out of the Cathar heresy.
Henry Treece, best known for his juvenile historicals, but whose brilliant retellings of Greek myths—Jason, Electra, King Oedipus—are definitely for adults.
Lionel Sprague de Camp, well known as a fantasy author, but who romped through some wonderful historical adventures such as An Elephant for Aristotle and The Dragon of the Ishtar Gate. It was de Camp who inspired me to write the voyage around Africa.
Mika Waltari, a Finn, whose best known work is The Egyptian, about the strange religious revolution staged by the Pharaoh Akhenaten, but who also wrote several others, including The Etruscan.
Gore Vidal, of whose work I most enjoyed Creation, the tale of a fifth-century BC Persian envoy whose wanderings bring him into contact with Zarathustra, the Buddha, Socrates, Lao Tsu, and Confucius.
Dorothy Dunnett, especially her seven-volume saga of Niccolo, a Flemish/Scottish bastard who rises to become a merchant prince of fifteenth-century Europe.
In more recent times, Bernard Cornwell and, of course, Patrick O’Brian, whom everybody knows these days. Cornwell’s are well told adventure tales, and more power to him; O’Brian’s works are so good, they’re simply astonishing.
I sometimes think I should go back and revisit that trip around Africa. But it takes a lot of research, and I find it’s so much easier being a science fantasy writer: I can just make stuff up.
You can find out more about Matt and his work here: Website
|Posted by Liz Strange on March 16, 2013 at 5:20 PM||comments (0)|
I’ve always been fascinated by both science and politics. My first degree is in Chemistry and my second in Political Science. I work as a policy advisor – currently at the Senate of Canada – and read physics for fun. Add to those obsessions, nearly half a century of reading science fiction and nearly half that writing all sorts of fiction, it was inevitable that when I became a publisher, I’d have to bring them all together in one place.
“Strange Bedfellows,” an anthology of political science fiction where ideology is a character, has on my mind when I met with my publisher, Virginia O’Dine of Bundoran Press, last November. I went to breakfast to pitch an anthology and wound up buying a publishing company. Strange Bedfellows was immediately added to my publishing plans.
If this anthology was going to be a signature piece, I wanted it to be the best anthology I could make it. Paying professional rates (5 cents/ word instead of 1.5 cents) was one way to accomplish that. Higher rates means both more submissions and it means writers who no longer submit to non-pro markets might submit to mine. I’ll also be accepting submissions from anywhere in the world (as long as they’re in English) even if it means Strange Bedfellows doesn’t count as Canadian content for arts council grant purposes.
The difference between paying pro and non-pro rates on 80,000 words is significant -- $2800, on top of the thousands I’d already be spending on publication. The only way I could afford it was by fund raising. Hence the Indiegogo project.
We are now in the last few days of the campaign and, at the time of writing, achingly close. If you can help please throw in a few bucks. Even if we’ve already made the goal by the time you get there, remember, all additional funds go to buying more stories or raising the rate of pay to writers.
|Posted by Liz Strange on March 10, 2013 at 10:50 AM||comments (1)|
Damsel in Distress: Tamiko Hoshinara and the Pit
As a game developer and a story teller, I have to walk every day through the minefield of tropes and clichés that make up the medium and the genres in which I work. I write horror, science fiction and fantasy, and my most popular universe is a space opera setting. If tropes really were mines, I’d be riding a pogo stick through No-Man’s Land in the middle of World War I.
My general strategy as a writer is to deal with all Tropes fearlessly. The past is a playground. My team loves genre fiction and games, but we can only offer respect, never reverence. Sometimes tropes are made to be subverted, or inverted, or outright kicked in the nads. I’ve twisted a great many of them over the years.
Cold emotionless reptile race? Nope! Passionate and expressive reptile race who love chocolate, poetry and jokes. Insect race with spooky hive mind? Nope! Dedicated and thoughtful individuals who value nothing above family ties.
Needless to say I’ve had a lot of fun with the background fiction and the meta-story of the universe as a whole. But due to the restrictions of game mechanics, there were some tropes I never really had the chance to work with. Take, for example, the Damsel in Distress.
Last year, my team and I started working on our first truly nostalgic game. Sword of the Stars: The Pit is an old school adventure. The art style is an homage to the classic 8-bit adventures that we all played as kids. The mechanics of the game are a spin-off from games like Rogue and hearken back to ancient computer dungeon-hacks of yesteryear.
As a player, you identify with a colorful little sprite who dives into a dungeon and spends the game battling monsters, collecting loot, crafting new items, and dying, dying, dying, in a variety of horrible and hilarious ways. Your objective in games like this is to work your way toward the bottom of the Pit toward the always-distant, nearly-impossible-to-reach goal…in this case, you’re searching for a nigh-mystical Cure for a terrible plague which rages on the planet’s surface (a plague which was unleashed by the evil bio-scientists in this very same Pit).
The direct story content of this game is very light. There are three playable characters, two male and one female, and each of them had to have a compelling reason to dive into this nightmare and continue to fight to reach the bottom of this horrible labyrinth. They would be fighting for the Cure, of course—the chance to heal humankind and save the world. But when you reached the end of the game, achieved victory and discovered the Cure, what form should it take?
This was an issue that was debated by the team for quite a while. There were all sorts of possibilities. We all agreed that the Cure would be in a medical stasis pod, frozen in a timeless state. But it seemed a little lame to open the pod and just have a test tube or a beaker pop out—even if it might glow a bit.
I was the one who insisted that we should go old school all the way. We should invoke one of the classic tropes of our industry, a symbol which was present in so many of the games that we were paying homage to, in The Pit: the Cure should be a Damsel in Distress.
And so I created Tamiko Hoshinara.
In many respects, Tamiko is a classic DiD. She has a personal relationship to two out of the three playable characters in the game: the Marine (Travis Hudson) was her fiancée, and the Scout (Toshiko Hoshinara) is her twin sister. The third playable character, the Engineer, has no personal relationship with her at all prior to entering the facility, but he is actually the one who is most likely to get to know Tamiko well in the course of the game. He has the best technical skills, and is most likely to be able to hack into all of the alien computer terminals he encounters, and find the messages Tamiko left behind.
If anyone human can hack these consoles, I hope they find this message. My name is Tamiko Hoshinara. I was seized from the Planet Albuda IV by some sort of strange robot that emitted a sickening gas.
True to her role as a Damsel, Tamiko is most definitely trapped. She was captured on the surface, dragged down into this underground research facility, and she’s been used like all of the other living things you see as a test subject for awful experiments. The reason that she remains alive is that she’s been made immune to the Plague…and as most bio-scientists know, a living body makes a great storage receptacle for antigens and immunity to a disease.
That being said, the fact that Tamiko has been victimized does not mean that she follows the standard victim script and waits patiently for rescue. The messages she has left in the data banks of the facility are the result of her attempted escape. And she has some good advice for you, if you’re willing to take it. Instead of crying “Save me, hero!” she says:
If you find this message, please GET OUT of this facility while you can! I have no idea where I am now, but I can feel the weight of stone above me. It has to be at least a kilometer from the surface.
Like Tamiko, however, the player cannot back out of the Pit—the hatches to floors above seal above you over time. The only way is forward, and the only escape is victory. The situation is bleak, and often appears hopeless (don’t forget the dying, dying dying). But the messages Tamiko leaves behind also reflect her courage and her determination to figure out what’s going on, whatever the risk.
I've been trying to look inside the stasis chambers, to see the things that are sleeping inside. Some of the capture dates seem to go back hundreds, even thousands of years.
Tamiko is not a completely helpless or useless human being. You can tell she definitely spent at least a few days playing “Die Hard” in this hell-hole.
I managed to destroy one of the bigger robots and pulled out its Cybernetic Brain. It's an amazingly powerful processor. I wish I had an Engineer with me...I'm sure we could rig it to do something useful.
Eventually, of course, things went wrong. But Tamiko didn’t go down without a fight:
You can only meddle with the door locks twice before you trigger an alarm. I found this out the hard way. Bleeding now, and I'm out of ammunition for this weapon. I don't think I can hold out much longer.
Damsel in distress or not, Tamiko eventually realizes that she’s become immune to the Plague and she is a good enough scientist to understand the implications.
They want to keep me here, locked up in a stasis chamber forever. I can't let them do that. If I can break out of this Pit, I could save thousands of lives on Albuda IV alone. Maybe billions, if the Plague somehow spread beyond the system.
Winning the game, regardless of which character you choose, is about saving the Damsel. But even Tamiko would agree that her life as an individual is irrelevant, in the greater scheme of things. The player has to save Tamiko, not just because “Hey, she’s cute”, but because she is a wellspring of life for every human being who has been exposed to this disease. And whether you free her as her twin sister, her future husband, or as a friendly stranger, Tamiko is the alternative to death—not just for the player but for all humankind.
She’s not just a Damsel in Distress, in other words. She’s a symbol of universal salvation.
Stick that trope in your pipe and smoke it.
Arinn Dembo: http://arinndembo.com
Dedicated Game Website: http://sots-thepit.com/
Buy the Game at Gamer’s Gate: http://www.gamersgate.com/DD-SOTSPIT/sword-of-the-stars-the-pit
TV TROPES Page for the Sword of the Stars universe: http://tvtropes.org/pmwiki/pmwiki.php/VideoGame/SwordOfTheStars?from=Main.SwordOfTheStars
The Game on Steam: http://store.steampowered.com/app/233700/
|Posted by Liz Strange on March 7, 2013 at 11:45 AM||comments (0)|
Inspired by the mythology of Wales.....
Fair Folk In Knob's End (The Daughter's of Annwn), my very first YA fantasy novel has recently been released by Featherweight Press. Find out more about the book and its whimsical characters HERE.
|Posted by Liz Strange on January 20, 2013 at 12:35 AM||comments (0)|
Intriguing Character Occupations
By Laurie London
As a romance reader, I’ve found that my favorite stories are those where I can relate to the characters, particularly the heroine. If I can put myself in her shoes as I turn the pages, it’s easier to pretend that her experiences are mine. Even if our lives are totally different, our hopes and dreams make us similar. And if she has an interesting job or career—one I’ve had, wish I had, or that I just find fascinating— I’m in reader heaven.
Sookie Stackhouse of the Southern Vampire series by Charlaine Harris is a waitress. I’ve been a cocktail waitress and can relate to her crazy hours, the unwelcome come-ons, and customers who’ve had too much to drink.
Teal Williams from Undertow by Cherry Adair is a master boat mechanic. Not that I’ve ever wanted to work on engines, but I found it fascinating how she became well-respected in a field dominated by men. She reminded me of the sweet, yet socially awkward Kaylee in Firefly.
Sara McMillan in If I Were You by Lisa Renee Jones is a schoolteacher working in an art gallery for the summer. She’s an everywoman character who ends up living the ultimate fantasy.
In my Sweetblood vampire series, I wanted to write about heroines with careers and personalities that would intrigue me as a reader.
Mackenzie in Bonded By Blood is a movie location scout and an art teacher. She gets to travel around the Pacific Northwest looking for the perfect spot to shoot various film projects for clients, and she teaches painting classes at an art studio.
Lily from Embraced By Blood is a vampire known for her tracking abilities. She’s well-respected among her peers, even though her parents believe she should stay home and have more babies.
Arianna from Tempted By Blood works for a gaming company by day and blogs about the paranormal at night. I interviewed a good friend who is one of the animators of a very popular game. Through his input, I developed the scenario where Arianna and Jackson steal company secrets from her employer…including the part about the developer who was teased for wearing My Little Pony underwear.
Roxy from Seduced By Blood is the head of a training academy for vampire warriors. She’s a librarian of sorts—someone who collects and disseminates information, and she’s unaccustomed to hand-to-hand combat. So when she’s thrown into a situation where she needs to kick some butt, no one expects her to succeed.
And in the two short stories in the series, Brianna from Hidden By Blood wants to become a doctor, and Charlotte from Enchanted By Blood (A Vampire for Christmas anthology) is a party planner.
How about you? What are some of your favorite character occupations?
Learn more abut Laurie:
|Posted by Liz Strange on January 11, 2013 at 4:45 PM||comments (0)|
My bad-boy black magician Jamie elicits strong reactions in readers. Now that’s an understatement if ever there was. And he has a funny way about him, because he sinks his claws into you, and you kinda love him dearly though you often want to slap him upside the head for acting like an idjit. I reckon folks love him because they get to vicariously appreciate his badness without having to suffer any of the repercussions. Kinda like being able to go out and party without suffering the hangover, right? Actions result in consequences for Jamie? Oh yeah, and then some. Don’t believe me? Here’s a few readers’ opinions…
“This isn’t a Hollywood story where wizards duel on highways by flinging fireballs and invoking ghosts. The magic is more subtle, and that makes it easier to imagine that the story is taking place in your own backyard.” – Zane Marc Gentis, The Chemical Dream blog
“This is not my usual genre, urban fantasy/horror, but I was caught up in this gritty, brutal, graphic story from the very beginning pages. Strong, evocative writing. Compelling, dark tale. Highly recommended if you’re into the dark side.” – Patricia Burroughs, Goodreads
“First novel? Come off it, Dorman is no apprentice. She’s pulled something out of the hat with this one, but then she’s a practicing magician and no, it’s not a white bunny she’s holding in her hand. Then again, if being scared wasn’t irresistible, you wouldn’t be reaching out to take it.” – Greg Hamerton, author
So, yeah, I recently rebooted my bad boy, and Khepera Rising is now once again available in ebook (https://www.smashwords.com/books/view/260385) and dead tree (http://www.amazon.com/Khepera-Rising-Volume-Nerine-Dorman/dp/1481141228/) formats.
Stalk me on Twitter at nerinedorman if you dare, or follow my blog at http://nerinedorman.blogspot.com