Tag Archives: Fiction

Interview with Author, Don O’Melveny on his novel, No City for Dreaming

28 Aug

Dear Readers, I wanted to share with you an exciting series of novel, by the author Don O’Melveny. Don is a screenwriter and former art gallery owner who has turned his lifelong fascination and love of Marilyn Monroe into three exciting novels. Last Year in the Life of Marilyn Monroe Volume One and Two and the most recent hit novel, No City for Dreaming is a historical exploration of what happened the night Marilyn Monroe died and of course, asserts that her death was no suicide, nor a mere accident. Kirkus Reviews, notoriously snarkey raved! RAVED! I’m a little jealous, but wanted to share this little gem with you.

“Hollywood noir mashed up with Cuban missile crisis-conspiracy theories and the shadowy death of Marilyn Monroe…makes for a dark and fascinating read.”

Actually, it is no small effort that landed Don here. He’s climbed to #10 in the Kindle charts recently, got over 3000 likes on his Facebook page, and 17,000 followers on Twitter. I’m a little more than jealous of his following.  Aren’t you?! But of course, I thought my friends who love historical fiction, noir, pop culture and Hollywood history might like to meet Don and hear all about his book.  Enjoy!

When did you first become aware of Marilyn Monroe? When did you know you wanted to write about her and her death?


Back in the early 80’s I was reading through some Marilyn material and stumbled into the mysterious  circumstances of her death.  The more I read up on it, I became convinced it would make a great premise for a story – and then developed the frame of the long-lost missing manuscript  around it to give the feel of a true story finally getting to be told.

What do you find most interesting about writing historical fiction?


What I find most interesting is digging down below the surface of what we’ve come to believe is true – or what we thought we knew.  Only to discover layers of hidden truth, facts, and untold details.  And I am particularly intrigued by the blending of history and fiction and the yield of another realm of truth that neither alone can present.

Are you ever frustrated by fans who are so loyal to Marilyn that they believe any exploration of her death is unfair to her image?

No… because it’s human nature to want to protect Marilyn in this way – not wanting her to be caught up in a messy murder scenario.  But personally, I think there are too many indicators that Marilyn had finally come to some hard-earned realizations in her life about herself and the life she  wanted to lead going forward (especially with Joe DiMaggio) that make her undoing by her own negligence far less appealing – and far less consistent with the inner strength I believe she had finally grasped.

You’ve written three books, two prequels and one novel, surrounding Marilyn’s life and death. What was the biggest challenge of the project? What has given you the most pleasure as an author?

The most challenging aspect was to compose a picture of Marilyn that wasn’t picture-perfect – and that wasn’t just about Marilyn.  An argument could be made that “The Last Year in the Life of Marilyn Monroe”  isn’t so much an examination of Marilyn’s life as it is a chronicle of so many interesting  dramas and personalities with Marilyn as the point of intersection. But to me, one must understand this historical context to ever fully appreciate why people did and behaved and acted as they did.  Character is action, and action is largely a result of cause and effect.  For me, Marilyn is the lens through which to see into a truly dramatically significant period of our country – that eventually culminated in Dallas with the assassination of president Kennedy.

What do you find most compelling evidence that her death was not an accident?

Without question the one compelling aspect pointing to murder – was really a ‘lack of evidence’.  Marilyn’s stomach contained no capsule sludge – as it must have to be consistent with a verdict of ‘accidental overdose’.  Because:  when victims die from overdose as the coroner found – this means the individual swallowed a lot of pills.  Which invariably results in the capsule sludge residing in the stomach.  Marilyn’s stomach had no so such refractile deposit.  This has never been explained.  Marilyn died from overdose – but not by oral ingestion.  It would have had to be administered in another way. And not by Marilyn.

“Great Book!” Five-Star Review of The Stand In

25 Apr

How to Write Dialogue, The Art of Being Invisible

19 Apr

Dialog for theater, for films and television, for radio and finally for novels share a lot of things in common, but ultimately they are different species of animals.  In theater, dialog is always the most effective method of conveying information; but the motion picture has brought the entire world into the theater, or rather, brought the theater out to the real world, and so dialog is used differently.  The basic rule of thumb in films and TV is that it’s better to show an action, rather than talk about it.  Film and television use their own visual grammar to tell a story, with their use of close ups, long shots, panning and dollying, etc.  But novels are just words, words, words!  (That’s a reference to Hamlet, by the way.)

Yes, there are great films with plenty of dialog that are wonderful – and I, for one, am partial to well-written dialog in a film.  Some of us love the rise and fall of good conversation, and become orgasmic about how the rhythms and stresses of speech become actual poetry in the actors’ mouths.   In fact I find good dialog every bit as exciting as any car chase or yellow explosion.  My friend and one-time mentor, the late great Joseph L. Mankiewicz, used dialog primarily to propel his films.  (There’s an old joke that Joe’s idea of an action sequence was to have one of his actor’s throw their hat on a bed.) Yet he still managed to win four back-to-back Oscars during his lifetime utilizing dialog as his chief weapon, and if it’s good enough for him…

Dialog has three purposes in all the media I’ve mentioned –

  1. To reveal (or suggest) the nature of each character
  2. Provide the audience with essential information
  3. To advance the plot

And in a novel, there is a fourth task:

4.  Get into a character’s head and actually learn what he is thinking.

These are all pretty big responsibilities – right?  But think about the reason why it’s more effective (with novels perhaps being an exception) to use actions to demonstrate the essential truth of a scene or character?

ANSWER:  Because people lie.

More to the point – people can lie to themselves.  They obfuscate, reinterpret, put the best spin on things, flatter, manipulate, and say things all the time that are not strictly true.  But actions seldom lie, at least in fiction.

Most beginning writers believe that the best dialog is the kind that most approaches reality.  But this isn’t so.  Remember that dialog in all the media I’ve mentioned should only give the appearance of reality, but should not attempt to create it.  (Leave that to the medium of soap opera, an art form as tedious as life itself).  Effective speech in all these media utilizes economy, simplicity and invisibility.  Novels can once again be the exception to this rule, because ostensibly you have pages and pages to tell a story and are not limited to a film producer’s clock watch, where productions are broken down to ½ hour and 1-hour time slots (as in TV or Radio), or 2-hour running times (motion pictures.)  That being said, the publishing industry today looks askance at anything over 300 pages and mentally calculates that x-amount of pages over this figure will result in a higher publishing cost.  Let me assure you – they like economy too.  Simon and Schuster was adamant that my mystery novels not exceed 85,000 words and edited them to fit within that page number.  That’s why it’s best to follow the rule about economy and simplicity in novels too, because more and more they have “running times” imposed on them as well.  (However, when you’re a J.K. Rowling or a James Cameron, you’ve earned the right to do anything you want; these artists are rarely known for their economy or simplicity these days, are they?)

In addition to economy and simplicity, good dialog should also be invisible.  By this I mean that the writer should never call attention to how clever s/he is.  The reader/viewer must ideally be lost in your work, and when you become overly clever or self-reverential you risk losing them entirely.  Let me give you an example – the Oscar winning screenplay by James Goldman for “The Lion In Winter” was a first-rate effort with one glaring defect:  Goldman was forever complimenting himself on what a clever line he had just written.  “Oh, you’re good – that’s first rate!” the characters would crow at some particularly witticism said by another.  If I’ve learned anything – if I have an altar to which I kneel – it is the altar of invisibility.  Nothing should come between the reader/viewer and/or the page/image – not even the author.  Hemingway used to ruthlessly cut out his favorite parts of his manuscript, because if he loved them he knew they were only getting in the way of the story.  Follow his lead.

A note on trendy words – they may make our screenplays sound current, yes; but – conversely – nothing will make our screenplays (or novels) sound so dated as yesterday’s trends.  Today’s awesome soon becomes yesterday’s groovy.   Use these words judiciously if you have any ambition to write a timeless work.  There’s nothing wrong with using wonderful or great to convey the same meaning.

How to Write a Mystery Novel…

16 Apr

I’ve got a few new tricks up my sleeve this week and thought I’d revisit a topic that I posted about early in the life of this blog. I’d love to hear from the aspiring and published writers on this topic. Enjoy! Brad

How to create a mystery novel?  Of course, the answer is to read as many mysteries as possible.  There are no better models than the classics by Raymond Chandler or the modern thrillers written by Martin Cruz Smith – who I unashamedly admit to be my lord of lords, creator of the Moscow-based detective, Arkady Renko, who first appeared in Gorky Park.  (I would sacrifice a very private portion of my anatomy if I could write a fraction as well as Mr. Smith can – the left one, in fact.)  You can even learn something from Janet Evanovich, who is more machine these days than writer.  Though her plots may be thin and repetitious, they still obey certain rules that a new writer can observe, internalize, and replicate.

I never wanted to write mysteries.  I wanted to write historical novels along the lines of those written by Mika Waltari (The Egyptian) or Gary Jennings (Aztec).  But no one wants to read these epics today, and certainly no publishing house wants to publish them either.  (All those pages – such expense!)  But historical mysteries are another matter.  Mysteries, you see, rarely take more than a month to solve in a novel’s timeline.  They are never epics.  I like to tell my students that mysteries are not like symphonies, with hundreds of musicians, but more like chamber pieces with eight musicians at most.

So my first mysteries were set in Ancient Egypt and Babylon respectively, allowing me to write about history, true, but using the format of a mystery and keeping the action fast, hard-hitting, and distinctly non-epic.  My books have been called, as a result, “pharaonic noir” and my detective, Semerket, the clerk of investigations and secrets, an “Egyptian Sam Spade.”

I like it best when a detective is a flawed man, like my poor, alcoholic Semerket, so that in addition to solving the mystery at hand he must also solve part of the mystery within himself. Like the protagonists in Martin Cruz Smith novels, they also become the seat of moral authority.  All around them are crimes, official corruption, and indifference, but they remain committed to the truth, regardless of how unpleasant it is.  No matter how dark or dismal they are, they become heroic in the process – and your readers root for their success.

As to the plot, I like to think of it as a beautiful, decorated plate – intact and gorgeous – that has been viciously smashed to pieces by the crime at its center.  It is your detective’s task to pick up the pieces one by one, to find how they once fit together.  He or she is constantly picking up this piece and that piece in random order, until by the end of the book the plate has been put back together – irretrievably damaged, of course, but whole.  And though the mystery is solved, the denouement (literally, “untying” in French) should always resolve itself in a melancholic mood – for by solving the crime we come to know how unpleasant and corrupt the detective’s (and our) world really is.

In a mystery, the secondary characters are almost as important as your detective protagonist, because they will mostly fall into two groups – the criminal(s) and the “information passers”.  Each of these characters has one of the pieces of the plate in their possession; for reasons of their own, usually because they are implicated in the crime, they are sometimes reluctant to surrender it.  Others may be too willing to give up their piece, their information, but they are suspect, too.  Not only must your detective gather these pieces, the clues, but also perceive why and how these people who surrender them to him are connected to the crime, and how valuable their information really is.

Now, having said this, I have to confess that my latest mystery, The Stand In, violates most of these rules.  There is no real central detective; instead, the readers themselves take on this role.  This is because the story is actually a “smoke and mirrors” mirage – a special effect, if you will, something that Hollywood does so well – and Hollywood is the location of the novel, after all.  What is the truth?  What is really happening?  It’s all there in front of your eyes, yet it seems like something else is happening altogether….  Some will figure it out right away, others must wait until the very last sentence in the book…which is last piece of that plate.

Chronicles of the Sanguivorous, Free Today Only

12 Apr

That’s right, this is the last day to download my book, Chronicles of the Sanguivorous for free on Smashwords for your Kindle or iPad or even your computer. At midnight, I”ll raise the price to 99 cents, (so I won’t lose my sales ratings on Amazon). Enjoy! Share with friends, write about it, tweet about it, shout it from your front porch…

Excuse Me, Are Those Your Fangs in My Neck? Part Two

8 Apr

 I’ve just released the first half of my vampire book, The Chronicles of the Sanguivorous – The Rising as an eBook.  I had started the book almost two years ago after reading Charlaine Harris’s “True Blood” series.  Inspired, I knew I could write about vampires through the lens of my own specialty, historical fiction, and actually tell the history of civilization (albeit through the eyes of vampires) in the seven volume series.  I did enormous amounts of research about vampires’ historical/mythological origins and discovered they were first mentioned in early Mesopotamia, around the time that the city of Ur rose to prominence (or “Ur of the Chaldees” as the Bible calls it.)  This was a fortunate turn of events, because I had already versed myself in Mesopotamian history for my second novel, Day of the False King.

I had long been a devotee of Egyptian history, and the one thing you discover about ancient Egypt is how consistent its historical flow was when compared to other civilizations.  Protected by its deserts, Egypt developed slowly, always in the service and celebration of its God-Kings.  But the study of Mesopotamia (called Assyriology) is a heartrending hodgepodge of invasions, battles, and massacres.  The people of the river plains between the Tigris and Euphrates did not deify their kings; rather, whoever was in charge was simply called the Big Man; and these men changed with stunning swiftness.  Armies of invaders would sweep in, establishing a turbulent new culture, only to be swept away again a few generations later.  Egypt possessed regularity in abundance; Mesopotamia was all chaos and confusion.

So, getting back to the vampires, I had a good head start on my first historical locale.  I wrote about 150 pages of the book and then made the mistake of going to my public library and seeing the array of titles in the New Books section.  Every other one of them was about vampires.  Disheartened, I put my writing aside – though all my friends who had read it loved it and pleaded for more.

One of the most fun things about attempting to write this series is creating a new mythology for my own vampires.  It seems  one of their first mythical Big Men, Lugal (actually the father of Gilgamesh, the greatest semi-divine hero in Mesopotamian literature) was known for his incredible licentiousness.  In other words, he’d sleep with anything.  Wind Demons who populated the river plains wanted a corporeal body, so they offered themselves up to Lugal.  Their mating indeed produced offspring with bodies that resembled humans, but they also came equipped with a terrifying appetite for human blood – i.e., vampires.

So MY vampires are actually a form of super-predator that have been around for as long as humans have been; one of their powers is that they can actually utilize telekinesis that enables them to control the winds (which is where we get the myth that they were the offspring of Wind Demons.)   In my books, when the winds blow – watch out, for that is how they hide their rising after years of hibernation.  They do NOT get burned by the sun, nor do they sleep in coffins.  Their aversion to light, however, exists because they hunt humans only at night and their keen vision enables them to see as clearly in the dark as we do during the day; they avoid strong light simply because it’s agony on their eyes.  They are immortal, in the sense that they do not age, but the CAN be killed by several methods.

Their main defense, however, lies in the fact that after a few generations of terrorizing the countryside, they are driven by a hibernation instinct to burrow into the ground and disappear.  During the time they are gone, mankind forgets about them and turns them into myth.  Generations later, the vampires rise again – by this time merely shriveled bags of bones and leather – to once again maraud and terrify and feast.  The blood they ingest enables them to “read” the cellular memories of their victims, allowing them to understand the current language and to know what has occurred while they slept.

In my first volume, The Rising, the vampires discover that mankind has developed something fairly new – organized religion.  Their great predatory powers of swiftness and strength can convince humans that they are gods, and they begin to co-opt the temples.  They no longer have to hunt, you see, for they invent a new ritual – human sacrifice.  Thus their prey is driven to them.

Each book ends with the vampires once again “going to ground”, and in the next volume they rise into an entirely new historical era.  (In the second book they will become the gods Homer’s “Iliad”; the Trojan War, you will discover, was an internecine struggle between various tribes of Vampires, who utilized humans in their own civil war.)  And in the third book, set in Jerusalem about 2,000 years ago, we will see how Christianity itself was their product, too.  Surely you’ve heard of all that “blood into wine” stuff…well, now you know why.

Uniting all this will be my central couple, Aron and Enna.  Theirs is a love story that quite literally spans five-thousand years of history.  Newlyweds separated by the rise of Vampires, themselves made victims of it, they search for one another across time.  Aron will increasingly wish to discover what Vampires really are, and why some of their victims “turn”  – the only way they can reproduce – while others simply die.  In some volumes, Aron will be on the run, for humans (particularly in that little burg known as Transylvania) soon get wise to their ways and begin to hunt them down.  But through it all, we will see how Vampires were present at every great moment of human history.  It is also my conceit that when they rise, human fascination with vampires in arts and culture rise as well.

The last time they rose, you see, was in the late 1800s – just about the time that Bram Stoker’s little novel made an appearance.  But this new modern age is also an era when religion has receded for the first time and replaced by secularism – the biggest threat to the Vampire race.

That’s my Chronicles of the Sanguivorous in a nutshell.  I’m not going to give away anything more; for that you’ll have to plunk down your 99 cents. Whether you’re a fan of historical fiction or vampires, I hope you enjoy them – and be sure to write and let me know what you think.

Excuse Me, Are Those Your Fangs In My Neck? Part One of Two Parts

2 Apr

I don’t know when I first became enamored of vampires.  I read “Dracula” when I was very young, and though it didn’t terrify me, it nevertheless made quite a creepy impression.  I remember how Dracula is first introduced as a decrepit old man who then grows progressively younger and more vigorous during the course of the book, as the blood of his victims begins to rejuvenate him.  The most vivid impression that remains was of the Count slithering up the side of the castle like a reptile.  There was a mixture of the effete and the bestial in Stoker’s vampire, which is still a horrifying alchemy.  When would this tuxedoed gentleman inevitably bring his darker nature to the fore?  After all, we were simply meals to him.  This touch of cannibalism also brought with it a further creepy factor, that of ending one’s days in the jaws of a feral beast.  But not just any beast, but one that disguised its terrible predatory habits by simply resembling us.

I had seen the 1931 “Dracula”, of course, the one starring Bela Lugosi, when I was very young.  In 1950s Southern California, we had the Million Dollar Movie on Channel 9, which showed the same film over and over again for five nights a week, and consequently I saw “Dracula” probably every day of that week.  (This was well before videotapes and DVDs – we never knew when we would ever see these films again and had to store up the experiences.) Lugosi, with his middle European accent and fluid, balletic gestures seemed the quintessential blood-sucking nobleman of my youth.

Then in 1967 I saw Roman Polanski’s “The Fearless Vampire Killers”.  My best friend Randy and I were diehard film addicts and we had long heard of this mangled masterpiece by the Hungarian wunderkind.  It had been recut by MGM to feature its slapstick humor and general quirkiness, and a toning down of the violence had supposedly occurred.  (It a parody of all the Hammer epics starring Christopher Lee, you see.) What I did not expect was the full-blown horror that the film showed alongside the slapstick.  Polanski’s vampires were once again elegantly attired royalty inhabiting a seedy castle.  But when the blood lust came upon them they became animals, sporting huge jagged fangs that ripped into their victims’ throats with horrifying rapacity.  No delicate little puncture holes for our Roman Polanski; in fact, the man who designed the fangs was given a screen credit.  I remember being so terrified during the attack sequences that I had to go stand in the lobby.  I was in love with Sharon Tate back then, too, and “Valley of the Dolls” had been released earlier that year.  I remember saying to Randy that my one overwhelming memory of Tate would always be the moment when she turned into a vampire at the end of the film.  Alas, she was to be remembered for something far more dreadful.

My real conversion occurred when Anne Rice’s “Interview with the Vampire” was published in 1976.  (I still have the first edition).  She literally redefined the genre.  It was the time of the disco sex revolution, and I was just old enough to participate in all of it, and somehow the goth-influencing Rice novel seemed a mirror of it all – the infernal highs of mind-bending drugs (which is how the vampires described their ingestion of blood) and the gender-bending concepts of love and devotion.  It was all very perverse and exceedingly glamorous.  Just like Louis and Lestat, we were all night time prowlers looking for sex in all the wrong places.  And we were all so deliciously bored, you see, by our perceived immortality and the constant parade of flesh that paraded through our lives with barely an acknowledgment.  (Except that our immortality lasted all of five or so years before the dying set in.)

I never got into the “Twilight” phenomenon.  I read the first book because I decided that I must know more about this craze if I were to be a knowledgeable writer.  But it just didn’t take.  Perhaps I was the wrong age, and/or the wrong sex.  I was much more a creature of the rampaging 70s than the timid 90s, and it all seemed so vapid.  Was I really supposed to believe that the first question that the 100 year old vampire Edward asks Bella is “What’s your favorite color?” Really?  That’s it?  I simply don’t buy it; I believe that any 100 year old creature would be so mentally advanced when compared to a 17 year old high school girl that I wonder if he could ever think of her as anything other than a comestible…?

Nevertheless, inspired by both the success of Twilight and Charlaine Harris’ wonderful “True Blood” series (which I am unashamedly addicted to), I have decided to take the plunge and write my own vampire saga, called “The Chronicles of the Sanguivorous”. You can buy it here for a mere 99 cents.

Sanguivorous means “blood eater” and I’ve taken the story all the way back in time to the very first mention of vampires in history…to the river plain of Mesopotamia, to Ur of the Chaldees.  Each book will begin in a new time, until by the seventh we arrive in the 21st Century.  They also give to mankind both the art of writing and…religion.

What do you think?  Should Anne Rice become one of the vampires in the last volume?  After all, my heroine starts off with the name Enna.  Could she be one and the same?

Sometimes I think it’s the only explanation.

Book Review, An Object of Beauty, by Steve Martin

27 Mar

 One approaches novels written by celebrities with almost an air of condescension.  The poor dears, one sighs, trying to find fulfillment – or perhaps respect – in that most difficult of media.  They are usually minor works, like Woody Allen’s, into which he usually pours all his leftover witticisms and spare gags; or they are works of pretentious autobiography, as found in the collective oeuvre of Ethan Hawke.  Invariably the novels are lean, to say the least, more in the nature of an embellished skit than a full-blown work on its own.

That’s why I am particularly surprised and happy to say that Steve Martin has written a real novel, a true novel, one that is, at best, a signal that a major new writer has appeared on the scene – hidden in plain sight all the time!  The book is, in fact, a minor masterpiece.  (And when I say “minor”, I mean only that the subject matter – the highbrow world of the Manhattan Art and Gallery scenes – is a rarified one that only a very few of the one-percenters get to visit in our lifetimes.)  Fortunately for us, Mr. Martin is a well-known collector of modern paintings and well-versed in his subjects.  In short, this is one of the best novels I’ve read in a long time.

Martin writes in the first person, but under the name of Daniel Chester French, who is an upwardly mobile art critic for ArtNews.  As Somerset Maugham does in his books, Martin/French is content to remain only a minor character, able to comment on the true center of his work, that “object of beauty” herself, the gallery-owner known as Lacey Yeager.  In Lacey, Martin has created a extremely memorable combination of Holly Golightly fused with Cleopatra.  Seductive, amoral, charming, destructively ambitious (both to herself and others in her sphere) and winsomely devious, Lacey becomes a character so believable that you know you’ve either met her once or twice before at some pretentious party, or, more likely, she was your first wife.  At the end of the book, Martin confesses (in Daniel’s voice) that he didn’t know whether or not to make the book into a non-fiction work using real names or to bury the work in fiction.  My bet is that for those in the know this is a true roman a clef.

The pacing is perfect.  The world the book inhabits is endless fascinating.  And the discourse in modern art is nothing short of wonderful.  Best, it is illustrated in color plates that show the paintings being discussed; one doesn’t have to go back and forth to Wikipedia to find out just what the hell he is talking about.

“An Object of Beauty” does everything a novel is supposed to do; it keeps you reading at a breakneck pace; it both amuses and edifies, and you end up knowing more than when you went in.  My only question for Steve Martin is this: how can so much talent (comic, actor, writer, playwright, musician, art collector) be stuffed into one individual?

It’s not fair, I tell you!  Just not fair.

Oh, Canada!

21 Mar

I’m swamped today and headed off to teach tomorrow, but wanted to tell you that Chronicles of Sanguivorous, The Rising is available on Smashwords, the formatting for SW has yet to be proven, so if you’d like to wait for the Kindle edition, it won’t be long. Did I mention this first edition is free? If you love it, let me know and I’ll quickly finish Volume II.

And today is the first day in the blog that my international readers outnumber my American readers. Warm hello to my Canadian friends, and all our readers all over the world. It’s thrilling to me to see my WordPress map light up worldwide.

Also if you’re not follow me on Twitter, come on board… It’s always a fun conversation and the community is very entertaining and supportive of writers and aspiring writers. Follow me @BradGeagley and @Sanguivorous1, if you’re more attuned to the vampires and creatures of the night.

More About My Upcoming Novel, Chronicles of the Sanguivorous, The Rising

19 Mar

Where were we? Ah, more about my upcoming novel, Chronicles of the Sanguivorous, The Rising. As you read this, it’s being churned from a word doc to a .mobi and so on, so you can download it on Kindle, iPad or Nook. I promise you’ll know the moment it appears. And we’re doing everything we can to make the first volume free.

My own conceit is that vampires are a species of super-predators that appear periodically in history to “thin the herds.”  After slumbering in the earth for hundreds of years, during which the memory of their last rising has been forgotten or turned into folk tales by mankind, they rise again – shriveled, gaunt and ferociously thirsty – to wreak havoc on the populations they encounter.  Blood itself carries “cellular memories” so that vampires become instantly aware of languages and what has happened since they last “went to ground.”

In  “The Rising”, they discover that mankind has begun to settle in cities (in particularly the city of Ur of the Chaldees) and that the rudiments of religion are being created.  It is at that moment in history when the Earth Mother has given way to the Sky Gods.  They cleverly seize on religion, claiming to be ferocious gods who demand human sacrifice.  The prey is thus brought to them; in fact, the first novel concludes in the historically true vaults of Ur, where a tremendous amount of human skeletons were discovered, all part of a mass human sacrificial ritual.

After an indeterminate number of years on earth, the Sanguivorous are irresistibly called again to slumber in soil and rock.  Each book begins with them awaking into a new age.  In book two, for instance, a civil war brews between the vampire tribes.  They, in fact, become the gods and goddesses worshipped by the Trojans and the Greeks, and “The Iliad” is retold from their vampire perspective.  Book three takes place in Jerusalem, beginning in Bethlehem…well, let’s just say that the phrase “blood into wine” takes on a whole new meaning.  And so on, right up into the late nineteenth century when they rise again, spurring an entire new interest in vampires through the likes of Bram Stoker, Bela Lugosi, and all the rest.  Would it surprise you that they might make an appearance, too?

Uniting all these books will be the story of Aron and Enna, lovers from prehistoric Mesopotamia, whose wedding night is torn asunder by murderous winds – the first sign that the Blood Eaters are rising – and who become the victims of a family feud that is played out for three millennia.

And there you have the story in a nutshell.

But will you do me a favor?  After you read the book, will you please write to me and let me know what you think of the story?  Have I jumped on the vampire bandwagon too late?  Is the public thoroughly sick of the entire genre?  Should I even continue?

Let me know – and, while you’re doing that, take a moment to download The Stand In, too.  I promise you, no vampires there.  Just a damn good thriller.

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