Theater of Desire Release Day, Beta Readers, and Series Secrets

Book Release Day! Harlequinade 5: Theater of Desire is now available on Amazon. You can grab the ebook at https://www.amazon.com/…/ref=cm_sw_r_tw_dp_U_x_ZzbjBbQKJYBPF
and the paperback at https://www.amazon.com/dp/1983177482. You can find out more about the series at my BRAND SPANKING NEW website at www.celinasummers.com.

Theater of Desire is the book where everything starts to change. You know as well as I do that any twelve-book series can't have everything go on without new conflicts and challenges and alliances. One person in the world has an idea of what happens in later books--my beta reader, Marguerite Butler. I've edited her since the late 2000s, first at Aurora Regency and then at Musa. She's beta read almost all my books, and she's the only person I discuss future plot points and character arcs with. She sent me some memorable hate mail when I killed one of her favorite characters off in Asphodel, and I still torture her about that.

AND she has a fantastic blog that I'm addicted to at https://cowtowncrime.com/. Cowtown Crime is a true crime blog and I'm addicted to it because in the other series I'm working on, I deal with a lot of criminal stuff and the way she writes about legitimate true crimes really helps me to see how to present my fictional ones. The blog doesn't read like a boring recitation of stats and facts. The blog reads like fiction. You should check it out. It's addictive.

At any rate...

She's the only person on the planet who knows what my ultimate goals were for this series. I'm experimenting with a character arc that's extremely difficult to make work--you know...just to see if I can pull it off--and whenever Marguerite gets riled up about something I'm planning to do to a character/characters, I know I'm on the right track.

She's been riled up a lot about Harlequinade.

But this time, I've done something different with poor Marguerite. She read the first phase of Harlequinade, but not the second or the third. She has sort of an idea what happens, but nowhere even close to knowing how things end up. I didn't give her the later books to read. She has to wait, just like everyone else, so she's stayed riled up.

I love riling her up. Gives me purpose.

Here's the thing. A relationship with a good beta reader provides an author with the feedback they need to push the boundaries. If a writer spews out formulaic stories where everything that happens in book B happened in book and will happen in Book C, a beta reader isn't challenged. They're happy because they're reading what has already worked for them before. But if you don't write formula books...if you experiment with storylines that are dangerous (ie--read: DIFFERENT) then your beta readers are challenged. They have to shift their points of view about you as an author and they never know what to expect. A good beta reader wants to be challenged. They want to be riled up. When a beta says something like, "Oh, but this was so different from *insert name of last book*. It's not what I was expecting." then you probably need a new beta reader. If your beta reader's feedback is always some variant of, "Oh, this was so good! I love it just as much as *insert name of last book*. I knew she'd pick option A over option B." then you probably need to re-evaluate what you're writing.

Challenge your readers. Don't hand them a book where they know how it's going to end when they open the book for the first time. Because if you challenge your readers, you're challenging yourself as a writer and that's exactly what you need to be doing. And remember, always, that a beta who says nothing but "This was so good. I loved it!" to every book you write isn't helping you. Betas are supposed to give you an honest critique of your work, both good and bad, and if they don't give you valid criticism then they're not fulfilling their purpose. Marguerite can love everything about the story or the characters or whatever, but she's not going to let one of my manuscripts slide without pointing out my writing tics (pet phrases or words) or plot issues. She knows that what I really need is the criticism. Her eyes are the first ones on the manuscript, and I rely upon her to give me an honest, valid critique. Because when she gives me an honest critique and then gets riled up about a plot point but still loves the story, I know I've done my job.

And so has she.

At any rate, phase two of the Harlequinade begins today with Theater of Desire, so it's a good time to warn everybody that this is the book where everything begins to change. It's also a good time to give you some new insights about the series and how it came to be.

So let me tell you a few secrets about Harlequinade. 

First off, yes--it's a legitimate twelve books in twelve months series (although there's a prequel that will come out in 2019 at some point). All twelve books clock in around 100,000 words. All twelve books were professionally edited (not by me) and designed (also not by me). All twelve books involve real magic:the world of the theater, and real fantasy magic: time travel, empathy, and a set of immortals who would do anything for ultimate power but are restricted from open warfare by the very strict rules of their game. If an immortal violates those rules, he is instantly obliterated by the ruthless magic of some unknown agency. The deeper into the series you go, the more magic there is.

Second, the Harlequinade was written in stages, which is only to be expected with a million and a half words. The first phase of the series is comprised of the first four books: Theater of Seduction, Theater of Deception, Theater of Cruelty, and Theater of War. The second phase begins with Theater of Desire, followed by Theater of Vengeance and Theater of Time. Phase three consists of the last four books: Theater of Spontaneity, Theater of Birth, Theater of Redemption, and Theater of Oblivion. And then the prequel, Theater of Power, stands on its own. 

Third, this series was shopped by my former agent for several years to traditional publishing houses. Every rejection started to sound the same after a while. I'll just give you the Cliff's Notes version: "I love this, love the writing, love the characters, love how different this is--BUT we don't know where to shelve it, so we're going to have to regretfully pass." I'm used to those kinds of rejections at this point. And I don't foresee writing anything that's going to meekly fall into the categories everyone expects. I like to write things that are different and that challenge the reader. So I doubt that ever changes.

And finally, I leave you with a tagline for the remainder of the series. Have fun trying to puzzle it out.

When I was trapped in the ruins of Desire, Time extended his hand and set me free.

Y'all have a great weekend. GO GET MY BOOKS!

EXCERPT: Harlequinade 5: Theater of Desire

Nota bene: If you haven't read and completed Harlequinade 4: Theater of War you REALLY DO NOT WANT to read this excerpt. This excerpt will spoil the crap out of the previous book. If you either HAVE finished book 4 or just don't give a darn about learning spoilers, then proceed and enjoy! 

Harlequinade 5: Theater of Desire to be released June 15, 2018~! You can learn more about the Harlequinade at my brand-spanking new website, www.celinasummers.com!

Nothing could be more exciting for Catherine Brighton than having the company’s shows booked on London’s West End. Bringing the Carnival trilogy to England allows her to fulfill an ambition beyond any other. After defeating the Harlequin and destroying most of the window of Time, the strange world of magic has receded from her world.

But it doesn’t take long for her and her husband, Dominic, to discover new dangers. Her panic attacks are getting worse, and now the company has come to the notice of other immortals—many of whom want her for themselves. As the magic of the Carnival trilogy winds around them all, old enemies become allies. The Harlequin is no longer trying to take Catherine but seems to be working to protect her instead.

Can she overcome her distrust and learn to work with the Warden of Time? Or will another immortal break through his guard? In the Theater of Desire, everything is starting to change.

LONDON. THAT’S all.

London. 

I resisted the urge to squeal like a teenage girl. The Royale Theater Troupe was going to play the West End. The day after we arrived in London, I stood across the street from the Dumas-Oxford Theatre and watched as our sets, costumes, and props were loaded in. Chris, our designer, had flown to the UK several months ago and supervised the construction of our new sets. I hadn’t even seen them yet. 

It’s funny, really. No one looking at the huge crates and packing boxes would ever guess the magic contained inside them. Right now, they looked like huge plywood boxes. In a few days, however, they would comprise the immense, fanciful sets for the Carnival trilogy, the story of when two young girls met and fell in love with two extraordinary young men. 

Our history, believe it or not. 

After we’d signed a contract with James Harrison, the undisputed magnate of the West End, we’d invested much of our liquid capital into the four shows we were performing in London. First, we’d do the trilogy in true repertory. The audience would buy three tickets for three consecutive nights to see the story in its entirety. Then, we’d bring Harlequin to the London stage. 

I was nervous about performing the trilogy again, and I’d made no bones about it. The trilogy was really a retribution our erstwhile enemy Phillip Lewis had created to punish Dominic and Alistair. After all, what could be crueler than forcing your captives to relive their heartbreak every night for two hundred and forty-one years? For two hundred and thirty-nine years, they’d only done the first show, Carnival. Three years ago, the trilogy had been born and performed in full for the first time. Once Phillip found me, he added the two sequel plays. 

After all, I was the culmination of the story. 

Everything that happened in Asylum and Sacrifice had set the stage for my entrance into the tragedy. I, Catherine Brighton, who my husband thought was the reincarnation of the original Odette de Chevigny in the court of Louis XV….Odette, his first wife. I didn’t like to remember Odette, and I didn’t want to channel her onstage anymore either. 

Unfortunately, it was starting to look as if I couldn’t channel her anyway. Although everyone else had been right back in the swing of things within a few days once we started reworking the trilogy, I’d hovered on the cusp of the power and never just dived right into it like I always had before. Those insidious shows changed us. They made Dominic more autocratic and Alistair more alluring. They made me anxious, even though now they shouldn’t. Phillip was gone; I’d obliterated his mind myself. Mary Houghton had been destroyed also. 

The dark council of mages in Medmenham had been obliterated by the Harlequin, my erstwhile enemy who had tormented me in some bizarre game and lost. He was probably sitting in his tacky throne-like chair, trying to figure out a way to repair the damage I’d done to his ceiling where every pane of glass was a moment of decision in time. 

I had a rather large shard of that glass, actually— the shard where Dominic’s soul had hovered on the brink of life and death. The shard I’d broken just a split-second before he was lost to me forever. But with that shard had come uncertainty, too. The panic attacks I’d thought were a thing of the past had returned with a vengeance and were far more potent than they’d once been. 

So now I was broken too, just like that shard of glass. 

Broken. Just like the Harlequin’s little dolls. 

I hadn’t mentioned that to Dominic yet. I watched as the stagehands wrestled a huge crate of flats out of the truck, sliding it carefully onto the loading dock. They had no idea that what they were handling was actual history. No one did, save the cast, and it wasn’t something we talked about. Not even among ourselves. 

“Getting nervous?” 

I looked up. Dominic was standing a few feet away, watching me with a small smile curving his lips. 

“I keep seeing zeroes and dollar signs on the wrong side of the decimal point,” I said lightly. “That and all the articles scoffing about an upstart amateur American troupe being stupid enough to try a true repertory series on the West End. Between the two, I’m petrified.” 

“The show will sell out for the entire run. Zeroes should be a positive thing.” 

“I know.” I looked up at him from under my lashes. “Just…concerned. I’ll be all right.” 

“Well, there’s nothing for you to do here, really,” he pointed out. “Shall we go? I have a call to make.” 

“A call?” I laughed. “Do people even talk that way anymore?” 

“I do. I’m meeting an antiquarian who has a set of Goethe I’m interested in.” 

“You want to go to a bookstore? On our first day in London? For Goethe?” 

“Of course not.” Dominic raised his hand and hailed a cab. “We’re going to his house. It won’t take long.” 

 “We need to go house hunting.” 

I sighed as he opened the door for me and slid into the waiting car. Dominic had point-blank refused to take a house or apartment without seeing it first. We’d had a fairly serious disagreement about that, but in the end he’d won with one word. 

Rats. 

“Look at this article,” he’d said, coming into my office with a magazine. “Apparently the entire theater district is infested with rats. How do you expect anyone in the company to move into a place sight unseen? It could be dripping with rats and then we’d be stuck in some rat trap for a year.” 

After that conversation, I’d insisted that no matter where we moved the cats were coming with us. 

Once we'd gotten pet passports, plus all their shots and microchips, we’d sedated Spawn and Demon and they’d flown with us to England. Even now, they were in their comfy crate, totally pissed off at me, at the hotel. And Dominic had won the living arrangements argument, insisting that when we got to London I would take charge of the business of the theater as usual while leaving the housing situation to him. 

That’s why we were all currently lodged in a sterile hotel chain. 

“Do you realize how impossible it will be to find lodgings for the entire cast and crew in metropolitan London?” I asked, warming to my theme. 

“Not impossible,” my husband replied as the cab pulled into traffic. 

“I don’t even know where to start. I don’t know enough about London to even begin the search.” 

“As I told you already, I’ll take care of everything. You have enough to worry about.” Dominic didn’t seem that concerned. But I handled the accounting for the company myself. If he knew how our capital had been deprived by this move to the UK, he might not have been so flippant. 

“Wherever we end up, it’s going to cost us a fortune.” I caught myself gnawing on my thumbnail, so I dropped my hand into my lap. “London is horrifically expensive. We should have stayed on Broadway a couple more years and built up the bank account first.” 

“Oh, it won’t cost that much. If you’re worried about the company’s finances, I’m more than willing to foot it a loan.” He smiled lazily. “The interest will be a pleasure to collect.” 

“Lecher.” 

“Guilty as charged.” 

The taxi pulled up in front of a block of houses. We were in Mayfair, which seemed only appropriate considering why we were here. Only a wealthy person, like an antiquarian, was able to afford a house like these. The entire block was made up of a series of tall Georgian townhouses, their facades broken only by a few flower boxes and front doors with small stoops and Palladian columns. Dominic paid the driver then took my elbow as we went up the four steps of the stoop. 

To my surprise, Dominic opened the door and walked right in. Confused, I followed. 

“Seriously? Shouldn’t you have at least knocked?” 

The entrance hall was a long, narrow room with a gorgeous staircase winding both up and down. The whole room was open and light, and the terrace was clearly visible through the living room, dining room, and kitchen. Whoever this antiquarian was, he certainly had hired a fantastic interior designer. The walls were painted a cool gray above creamy wainscoting that seemed original to the house. The floors were polished to such a shine that the furniture was reflected in it, and while the furnishings were modern they didn’t clash with the feel of the centuries’ old building. 

“He said he’d be on the first floor and just to come up,” Dominic said. 

“We are on the first floor.” 

“Not in Britain. Here, this is the ground floor.” 

“That doesn’t make sense.” 

“Apparently it does to them. Shall we go upstairs?” 

Together, we climbed the staircase—which made me extremely jealous, I might add—and emerged into an immense drawing room. The door in the back wall alerted me there was another room behind this one, but this room took my breath away. I glanced at the comfortable but still elegant furniture, the tasteful art on the walls, that plush rug covering the wooden floor, the recessed fireplace, the two cats dozing on the sectional… 

I didn’t have to ask if this was our house. Spawn and Demon were curled up together in a multi-colored heap. 

“Dominic, how did you pull this off?” 

“I bought the property right after we signed with James,” he confessed. “Then I hired an interior designer, who oversaw the renovations. I am not as content as you are in apartments or lofts, and I wanted to make certain that you had your own home while we were here. The furnishings are a bit sparse, but I thought you’d enjoy shopping for your own. In the meantime, we’re moved in and that’s one less stress you have to worry about.” 

I ran my hand along the velvet plush settee facing the sectional, and a twist of guilt made me take a step back. “But what about the company? How can we put ourselves in a gorgeous house and leave them in hotels?” 

“Love, I don’t think you understand. I said I bought the property, not the house.” 

I wasn’t quite catching what he was trying to say. 

“We own all the houses except one on this side of the block,” he explained patiently. “They’ve all been renovated into apartments and furnished. In fact there actually are four apartments more than our American crew needs, so we have an option for additional income should it become necessary. That’s even with me setting aside an apartment for David and Christopher when they come, or family like Eleanor’s parents or Janet’s children or your father. This is my gift not just to you, but to them. If they ever decide to retire or to leave the company they each own their own flat in Mayfair. It’s a nest egg for all of them. As for you, I—” 

I stopped him with a kiss. He tightened his arms around me, sliding his fingers into my hair. I broke away, laughing, and he was laughing too. 

“Are you going to thank me properly?” 

“Of course I am, but that will have to be later.” 

“Later?” 

He sounded so horrified that I laughed again. But his eyes were sparkling and his body relaxed. This was something I had yet to become accustomed to. Since I’d shattered the Harlequin’s glass ceiling that allowed him to travel through time, Dominic had slowly…gradually learned how to relax. If I woke up in the middle of the night, he was sleeping next to me and not sitting in a chair mounting a psychic guard so I could rest. The cares and burdens of over two centuries had fallen from his psyche, and he was healing as a result. 

That alone made everything we’d endured worth it. 

So...Let's Talk About the Harlequinade's Life History in Publishing

A few people in the world have read some or all of my Harlequinade series. Many of those people are NY editors at Big 5 houses, and from most everyone who's read one or more of the books I have gotten seriously mixed signals. 

Let me catch you up. The Harlequinade series is set in a world where American professional theater meets urban fantasy/horror--kind of like Something Wicked This Way Comes had a love child with The Phantom of the Opera. It's a serious genre mashup with elements of horror, paranormal romance, urban fantasy, historical fantasy, time travel, and literary science fiction. The first book in this series, Theater of Seduction, won an award at RT, landed me my awesome agent, and managed to bulldoze its way through numerous publishing departments only to be killed off after multiple reads. The feedback I did receive was a variant of the following:

Don't know where we'd shelve it.

Too intellectual. 

Needs more *insert whatever the last editor said to take out of it*

--and my personal favorite:

Chapters are too long. 

Don't get me wrong. These are all legitimate criticisms from editors I don't know and some very good friends as well. As anyone who follows me knows, I am absolutely incapable of writing something uncomplicated. So these points are certainly valid, particularly as literature is a very subjective field from top to bottom. 

Is it any wonder that my forehead is permanently flat from banging it into my desk? In fact, the very first Big Five house (probably THE Big Five house in my opinion) my agent submitted Theater of Seduction to looked like a miraculously speedy done deal. The manuscript hit an editor's desk who absolutely loved it. Couldn't wait to sign it. Then it got to the final editorial committee and one guy shot it down.

Still have nightmares after that horrorfest. Went from looking like a world record--land agent, submit to major publishing giant, editor falls in love and contracts it--to a harbinger of heartbreak. 

Everyone who's read the series loves it. They love the voice, love the setting, love the twists, love everything but contracting the book for publication, in fact. So when that happens--and considering that NY publishing isn't looking for anything new and different despite what they may claim on their blogs--that leaves only a few fates for my much-beloved Harlequin. I can trunk him and forget I ever wrote the series, I can look for a small publisher, or I can self-publish. 

Until a couple of months ago, I would have slam dunked the Harlequin into my trunk and then cried miserably for months. But seeing how lightning struck unexpectedly with Zozo (evidently, it takes a demon for me where it takes a village for normal people), the self-publication option is unexpectedly attractive. 

May only cry for weeks instead of months. 

But here's the thing that I think a lot of publishers miss--there is definitely a market for non-trope, intelligent, multiple-genre romance out there, and that market is NOT getting the kinds of books they prefer. I am not a huge reader of romance, but I love it when I find those smart epic romances like the Outlander series by Diana Gabaldon. And I don't go in for percentages, either, like some publishers do in their submission guidelines--"the plot needs to be 50% romance" and so forth.

My novels hit right around 100,000 words each. Does that mean 50,000 words need to be all romantic plot? 

Kind of...sterile and unromantic when you put it that way. 

At the end of the day, publishing is a business and that business was thrown ass over head with the advent of digital publishing, followed by the ease and (relative) affordability of self-publishing so that now it's hedging its bets--established authors OR self-publishing success stories with a built-in platform who crave the phrase "bestselling author" behind their name. And there's nothing wrong with that.

Except, perhaps, for the readers who are craving something new. 

I've been blessed throughout my career as an author and editor to meet so many people--fans, reviewers, editors, other authors and particularly those in the romance genres--who have sincerely loved my work and gave me the opportunity to share in theirs. At the end of the day, I'm going to rely upon their judgment on my work because their judgment is what really matters. Harlequinade is too risky for Big Five publishing and that's cool. 

But it's not too different for readers actively searching for something different. And different happens to be my specialty. 

This is a massive series--ten completed books including a historical fiction prequel--with one of the riskiest characters arcs I've ever attempted. Yes, that's saying a lot considering what I'm known for doing to my characters. But I wanted to experiment with the romance genre, and set its tropes against speculative fiction tropes just to see what I could make of it. And what ensued was, in my opinion, pretty damn awesome. These books are books I would read over and over--not because I wrote them, but because someone finally did.

So here in a few months, you guys will get to meet my favorite characters I've written so far. I have a feeling the Harlequin might just intrigue some of you. 

What? 

Yes, the Harlequin is one of the main characters. He's the bad guy, in fact. 

Maybe. 

My motto remains unchanged. Nothing is as it seems.

Theater of Seduction--February, 2018

Theater of Deception--March, 2018

Theater of Cruelty--April, 2018

Theater of War--May, 2018

Theater of Desire--June, 2018

Theater of Vengeance--July, 2018

Theater of Destiny--August, 2018

Theater of Birth--September, 2018

Theater of Death--October, 2018

Theater of Power (prequel)--November, 2018

Strap in, kids. It's about to get busy with the Harlequinade.

Harlequinade Book One--Theater of Seduction back jacket copy:

Catherine Brighton had given up on theater when crippling panic attacks drove her from New York and her dreams, but when enigmatic director Phillip Lewis invites her to join his theatrical company, she knows it’s her ticket to Broadway. The company’s magical performance style is the holy grail of theater, an acting style that uses empathy to heighten the theatrical experience and psychically seduces the audience. Catherine quickly discovers that the company isn’t what it seems. Phillip has a strange hold over the cast, and the lines between reality and the play blur into a dangerous emotional minefield…one that’s cost previous leading ladies their lives.

The danger is compounded when Catherine falls in love with one of the male leads, Dominic LeClair, who is torn between his love for Cat and the secrets pressing in around them. When Catherine’s best friend, Mike, offends Phillip at a party and dies in a mysterious accident hours later, Catherine begins to question the uses of the company’s unique magic—and Phillip’s motives.

Despite her fear, Catherine is drawn deeper into the mystery surrounding the company and the man she loves.  As the eighteenth century tragedy unfolds on the stage, Catherine discovers that the plot extends well beyond the script, and empathy can be used for much more than wowing an audience. If she can’t find a way to free them all from Phillip, she’ll remain trapped in his theater of seduction forever.

Chat Debacles and Book Release Day!

Nothing like a book release day to get your spirits up...

Which I sorely needed after the debacle of last night. I was all set to do an author's chat at Absolute Write (every Thursday, the chat room there is devoted to SFF). I'd even made notes. My chat was going to be about world building, new mythology and fantasy archetypes. So I'm cruising about Absolute Write about half an hour beforehand, being my usual smarmy self, and the bleeping power went out!

We had some pretty high winds yesterday and the substation down the street blew. So here I am, frantically emailing people on my cell phone, trying to get word to the AW chatmasters that I was having a little problem. I felt like a colossal heel (and a warm one since I didn't get my power back until about six am this morning) because now that's two scheduled events I've missed in the last two weeks--and neither one of them was my fault.

*sigh*

Hopefully we can get it rescheduled. I'll let you know. However, as I'm not one to miss obligations and am one of those annoying people who always turns up early, it really bothered me to not be there. Hopefully, I can rectify that tomorrow: Rob and I are chatting from 12 noon EST to 9 pm at Coffee Time Romance and More e-readers loop. Join us and find out about the world of the Vampire Covenants, the release of Breaking the Covenants, excerpts, fun, jokes, recipes, contests and whatever else nonsensical we come up with to entertain for nine hours straight. Ever see me in a chat marathon before? *rolls eyes* It's nothing if not silly.

So! Breaking The Covenants is now available from Aspen Mountain Press. As always, it will soon be available at Amazon, Fictionwise, ARE E-Books, Kindle, Mobipocket and all sorts of online retailers--I'll keep you posted. So shoot over to AMP and pick up your copy today--it's definitely a departure from Elf-killing.

*grin*

Now I'm killing mortals and immortals alike. What bliss!

Let Me Tell You a Story About Vampires

I've had several people ask me the same question over the last few weeks that I think bears answering.

"Celina, why are you writing a vampire novel? The vampire craze is dead."

They blame it all on Twilight. I haven't read Twilight so I can't really comment on that. But here's the story of how the Vampire Covenants Trilogy came about.

I was talking to Sandra Hicks one afternoon (she's the publisher of Aspen Mountain Press) and mentioned that I thought it would be a good idea if some of the AMP writers got together and co-wrote novels. My first thought was that if writing a romance, we should pair a female writer and a male writer--the woman would write the heroine's point of view and the man the hero's. She thought that was a great idea and followed it up with, "So, who are you going to write with?"

I didn't even have to think about it. Rob Graham is a friend of mine, we'd talked online and done chats together and I liked his unique writing style. So I said, "Rob Graham." Her reply was, "So, set it up."

I contacted Rob and he was not only willing, he was enthusiastic. As I was a fan of his vampire novel "In the Dark," I suggested a vampire romance novel--but a historical one. I wanted to go back to the era where vampire lore was running rampant throughout Europe and base our story there. So that put us in eighteenth century Europe--just in time for the French Revolution. He knew he didn't want to write a stereotypical vampire for his hero; he wanted a German, a warrior from Saxony--not a high noble like a Count, but a member of the lower nobility. Rob named his hero Gunther von Wittershiem, a vampire some two centuries old. In order to balance that out, I created Marguerite Giffard--a twenty year old English widow reemerging into Court society in Georgian England. She was of higher rank than Gunther and, as a widow and an orphan, had learned to administer both the estates of her family and her late husband who'd died a few months after she married him at the age of sixteen. I based her in a lot of ways personality wise on Emma Harte, the mistress of Lord Hamilton, particularly when I saw this portrait of her:

That mischievous beauty so enchanted the painter George Romney that Emma became his Muse. Marguerite was born out of Emma's character traits and it helped that Rob absolutely became enamoured of Emma's portrait.

So we had our characters. Now we needed a conflict. Rob created our villain, the French Comte de Condé sur Víre, Alphonse de Brunel. With a rivalry between the two vampires that had lasted for centuries, de Brunel was naturally drawn to Marguerite when it became apparent that Gunther, despite the laws that governed the vampires, was falling in love with her. As Gunther and Alphonse continue their private war, Marguerite, unaware that the man courting her was an immortal, is put into great danger.

Considering the turbulent politics of Europe at the time, including the incipient madness of King George, there were all sorts of opportunities for fun in numerous cities across the continent. Our hero and heroine would romp through London, Paris and St. Petersburg as the story unfolded--three cities with dangerous political problems. So we enhanced that, creating the Conclave of vampires that enforce the Covenants--a group of laws all vampires must answer to. If a vampire is found to have broken one of the Covenants--just one--the punishment is destruction. The politics within the Conclave are just as turbulent as the mortal ones. Paris is led by the vampiric Benedictine monk Augustin Calmet (who is a historical character, the author of a treatise on vampires in the early eighteenth century) and assisted by the devious Marcellin Dautin. Calmet's rival in the Conclave is a Moorish warrior in Madrid, Fausto Oleastro. These two immortals have been at odds for hundreds of years and the Conclave is divided between their supporters.

So now, our stage was set. Before we'd even written a word, we had a rich tapestry of elements to work with. As a fantasy writer by nature, world building is important to me--and one of my favorite things to do. Writing the beginning of Breaking the Covenants was exciting. It was fun. While our character flirted and went through their forbidden courtship, we played in the great houses of London and had a ball.

So here's the answer to that question, and the point of this story. The vampire novel is NOT dead. It's a sub genre of literature that has thrived since Bram Stoker wrote Dracula and stemmed from a hysteria so great that the Empress Maria Theresa of Austria (Marie Antoinette's mother) issued an edict forbidding the disinterment of bodies checking for signs of vampirism. The vampire novel is a classic archetypal story, one of seduction and sex, violence and evil, danger and sometimes even redemption. No matter how you dress your vampires up, whether in the panniers of the last few doomed years of Marie Antoinette's court, as a rock star based in New Orleans, or as sparkly teenagers in a high school--the vampire is still there. He is iconic and classic, the personification of physical urges discouraged by the staid rules of society (at least until the fifties or so), the silent watcher in the shadows who gauges his prey, the tortured soul who needs the blood of life to maintain the immortality of his death. The vampire is beautiful, desirable, charismatic and ultimately, unattainable. There is a gothic loveliness to his isolation and just as the vampire turns his victims into creatures of the night, there is always one potential victim who turns him in some way--turns him into a protector, turns him into a monster, turns him into a man willing to sacrifice himself for her. There is always the hope that she can somehow redeem him...from God, from society, from himself. As these are motivations that all of us can relate to, the vampire and his literature lives, will always live.

Much like the vampire himself is immortal, so is his story. And that, my children, is why I decided to write a vampire story. It seduced me, like the vampire does his victim, and now I am helpless in its grasp. I'm even keeping vampire hours these days.

Congratulate us, by the way. The second book of the trilogy, Warding the Covenants, will be completed this weekend. The first book, Breaking the Covenants will be released in a little over a month. And then the vampire--our vampires--will have their way with you all.

Sleep, for now.

A Great Day

So, I've been working hard on my paranormal romance/urban fantasy theater novel Carnival, now renamed Deception Enters Stage Left, getting it ready to query. Since the month of February is cursed in my household--a superstition my husband created and now has me believing in--I decided that I wouldn't query until March 1. Keeping that goal firmly fixed in my mind, I started to send out queries after midnight.

Then this morning, I found a request in my mailbox. That's always exciting. Before I'd quite gotten the SQUEEEEEE! out of my mouth, I hit refresh and found another. This time, I bypassed the SQUEEEEE! and went straight for the valium. I'm an old-fashioned kind of girl in that way. Then I went and took a hot bath--with bubbles naturally--before I returned to my computer.

And lo and behold, there was a third request in my email.

Three. In one day. Dang. I'm not the mass-query kind of writer. I send out only a few at a time, mostly because I had a nightmare once of sending out a hundred queries and getting all the responses screwed up as a result. So I send out small numbers--like ten. I usually pick them with an eye to their response times too. So while I might send out a couple with quick turnaround times on query letters, I compensate by sending out some that have longer response times and then some that are the ones who say on their website "if we aren't interested, we won't reply." That way, I figure that when the inevitable rejections come, they'll stagger in instead of swarming. Then I send out one query to replace the rejection so that I never have more than ten out at once.

That's my theory anyway. I like to try to keep my stress levels down as much as possible.

So anyway, now I had three submission packages to get out today. I always--always--double check my submissions before they go out just to make sure that something wonky hasn't happened and I knew that was going to take up a bit of time. Problem was, I already was fully booked for the day. I had to get four more chapters edited for a project I'm working on for another writer, I had a brainstorming session with Rob for our vampire project, I had a doctor's appointment, a book trailer to make, edits to get done for my short story collection (Metamorphosis) coming out in a couple of weeks plus my daily writing hours--and I even had hopes of getting the house in order.

Yes, yes...the house is still messy. But, here I am at four am the next morning with everything else on my list done. I'm feeling pretty proud of myself. Now for the fun part--I have to get up at eight.

A writer's life is grand, isn't it? Hectic, stressful and bizarre, but grand. I figure as long as I don't turn the news on for a while, my mood might remain cheerful for a couple of more hours at least. Here's hoping!

Wow. I just realized something. I even got a blog post into the mix. Wonders never cease.

The Vampire Covenants Book One: Breaking the Covenants

Oh, I know you guys have been waiting for this! The book trailer is out for Breaking the Covenants, the first book of The Vampire Covenants trilogy that Rob Graham and I are writing together-coming from Aspen Mountain Press in April, 2009.

Here's the blurb:

The German vampire Gunther von Wittersheim has a problem: he’s fallen in love with a mortal woman, the English beauty Lady Marguerite Giffard, and his greatest immortal enemy, the French Comte Alphonse de Brunel, knows about it. When de Brunel captures Marguerite and turns her into a vampire, Gunther must put aside his desire for revenge and help his beloved through the painful transition to immortality.

Vampires are bound by the Covenants, a code of law enforced by the mysterious Conclave of Elders. The couple is ordered by the powerful Elder of Paris to bring de Brunel to the Conclave to answer for trial. The lovers pursue their foe to St. Petersburg, where they are caught in a power struggle between factions of warring vampires. Can they find a way to capture Alphonse de Brunel before the factions go to war? Or will their love fall prey to the breaking of the Covenants?

And here's the trailer. Enjoy!