Maybe Infinite Jest is About Addiction

And so but I’ve been re-reading Infinite Jest in this strange, almost purely subconscious way, where I take on just a few pages (seriously, like 2-3 pages) every night right before sleeping. I’ve done the calculations, and so you don’t have to tell me it will literally take years to finish it this way.

I’m in no rush. I’ve read it before.

If you’ve never read it, you really must. It’s terrifying how prescient it is. How could someone in the mid 90’s have seen the coming technology that would be so entertaining it would totally consume our lives? I’m thinking Twitter and Facebook and our phones and the games on them. But DFW actually has a Netflix-like system where people can watch any TV they want at any time. That was unthinkable back then.

It also predicts that we’d come to live in an opioid epidemic.

And all of the below, etc.

Anyway, I digress.

This weird thought occurred to me around page 300 (yes, I’ve been doing this for 100+ days already):

Maybe Infinite Jest is about addiction.

Hear me out. This is one of those things that’s so obvious it requires justification.

I know, Don Gately is in a halfway house for Demerol addiction, and the opening scene is of Hal’s (supposed) reaction to taking DMZ destroying his life, and the kids at the Tennis Academy do pot and alcohol and amphetamines and have tricks to pass urine tests.

I know, the title refers to entertainment so infinitely addicting you pee and poop yourself and then die rather than pull yourself away, and that one character, whose name I can’t remember, holed up in the bathroom stall of a library and drank cough syrup every day to avoid withdrawal but had to go out at some point and ends up having a massive DT withdrawal on a train and probably dies.

I know DFW, himself, had addiction problems and was in AA.

Etc, etc.

But hear me out. It’s not as obvious as it seems. Addiction is everywhere in the novel, but what is the novel about?

What if someone said to you: Breaking Bad is about addiction.

You’d say: Whoa! Hang on. Addiction is everywhere in that series, sure, but that’s not at all what the show is about. Not. Even. Close.

DFW is famous for complaining about the reviews (even (especially) the positive ones!!) when it came out, because no one could possibly have read it in the two-week window (or whatever it was) and actually understood what it was about.

I owed it to him to understand what the book was about if he would rather have crappy reviews than positive reviews by people too intimidated by it to admit they were clueless as to what the book was even about.

I took his comments to heart.

Infinite Jest wasn’t about addiction. That was too obvious. Everyone would immediately understand the book if that’s what it was about.

DFW was also obsessed with literary theorists and philosophy and Wittgenstein and psychiatry and math and semiotics and postmodernism and irony, etc. I looked to these for answers, and I found a treasure trove of ideas.

I won’t try to go into depth on what I came up with. You can see early thoughts in some other posts I’ve done: Westward and Preparation for Infinite Jest among others.

Basically, one can read Infinite Jest as a critique of the psychological theories of Jacques Lacan. The “Entertainment,” at least as much as we can see in the novel, is an on-the-nose manifestation of his ideas.

Language is central to our subconscious, and Saussure’s signifier/signified distinction live on different layers. Wallace thought these poststructuralists were brilliant but flawed. Infinite Jest wants to use postmodernism to show why they were flawed.

Now we’re on to what the novel might actually be about!

Many scenes support this reading, mostly having to do with the various recovery methods. Wallace wants to say: how do we break free of our addictions? Well, it’s obviously not what these theorists were saying! Look what that would look like.

DFW presents a parody as refutation.

This view is also supported by all the circumstances under which characters literally lose their ability to speak. Sure, drugs are the proximate cause, but think through the other circumstances of their lives at that time. Think about Hal’s encounter with the therapist after finding his father having committed suicide.

Why was Wallace upset at people calling the novel funny?

Maybe it’s that things that were supposed to be deep references to Lacan were seen as surface-level jokes.

Corporations subsidize years in the future. Most of Infinite Jest takes place in the Year of the Depend Adult Undergarment (YDAU). We laugh, thinking about what it would be like to have to sign checks with the year being the name of an incontinence product.

No!

It’s more than that. The year wasn’t chosen purely for humor. It’s saying that when our society progresses to this point, adults will have regressed back to babies. All we think of is: want, want, want. We rage at the TV like a baby when Netflix goes out for, heaven forbid, 30 seconds.

In Wallace’s version of the future, terrorists use this entertainment as a tool of both terror and placation. In our reality, we entertain ourselves to death with Facebook while our adversaries use it to elect our presidents for us.

And so but then we don’t care. We want reality stars to be our leaders. It keeps us entertained.

What in the world was this post even about anymore? How did I start talking about real life when this is supposed to be about a book published over 20 years ago?

Focus.

I thought Infinite Jest was about this brilliant refutation of heady philosophers. It cleverly uses addiction to get these points across in multiple ways. It invents its own language to poke at the signifier/signified hypothesis.

Then I woke up in the middle of the night with cold sweats, heart pounding, disoriented (probably withdrawal), and I thought to myself:

Maybe Infinite Jest is about addiction.

Then I realized it doesn’t matter.

Your phone notified you of 10 more interesting things since you started reading this. You haven’t made it this far, and we can’t progress. Our eyes are stuck to the screen. We won’t be able to pull ourselves away. We will poop and pee ourselves and wish we had put on our Depends until it doesn’t matter, because we’ll all be dead.

The thought brought me comfort, and I went back to sleep.

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Kindle Unlimited

So, I hate to be “that guy,” but I thought readers of this blog might be interested in this. I took some time off of the Year of Mystery series (I’ll have another post this month), and I tried to write a post on Universal Basic Income. But that got messy, and I never got around to cleaning it up. Sorry.

Here’s the shameless pitch:

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You can read an unlimited number of Kindle books while subscribed, as long as the books are in Kindle Unlimited. Don’t worry if you don’t have a Kindle, there’s apps for browsers, tablets, and phones that let you read Kindle books pretty much anywhere.

I personally use it around 4-6 months a year and just cram all the books I want from the service into that time period. Then I buy books not in KU for the rest of the year.

I know what you’re thinking: but there’s nothing good in it. It’s just a bunch of poorly edited self-published stuff.

First, that’s not true (see below). Second, even if it were true, for just $0.99, you could try out the first chapter of hundreds of new authors until you find someone you like at no risk.

Here’s just a few of the books you could read:

The Handmaid’s Tale, by Margaret Atwood

I Have No Mouth and I Must Scream, by Harlan Ellison

Hollywood, by Charles Bukowski

A Scanner Darkly, by Philip K. Dick

The Namesake, by Jhumpa Lahiri

Harry Potter, by J.K. Rowling

Battlefield Earth, by L. Ron Hubbard

And so on. These are major novels by powerhouses in their genres. Do what you want, but if you find even one book, it will have paid for itself. It’s something I think is great for writers to have for short periods of time to see what’s selling best without having to buy a hundred books.

To get it, click the above banner or here.

 

Why It Works: You’ve Got Mail

A series in which I oversimplify one concept from a work of literature to make you a better writer.

When I came up with the idea to do a romance for this series, I was tempted to pick a modern romance novel, but thousands come out each year. Even looking at some “best of” lists, I couldn’t find anything I thought most people would have read. I was then tempted to do the classic Pride and Prejudice. But there’s already a lot of writing on that book. So unfortunately, I’m back to a movie.

There’s obviously a lot of pieces that make a romance work. Chemistry between the love interests keeps the story moving. There’s usual a conflict to keep them apart. And so on.

But really, there’s only one thing that has to be done properly in a romance: the proof of love. One character, traditionally the man (though this has obviously changed in the last few decades with m/m or f/f or role reversal setups, etc), must demonstrate convincingly how much they love the other character through a true sacrifice.

The more the character sacrifices to show this, the more emotional charge the scene will have. It’s why people cry when watching or reading romances. The main way romances fail is that all the other pieces are disconnected from the proof of love. The chemistry and characterization and conflict should all develop toward this ending payoff.

This is why writing a good romance is harder than most people think. If you just plug into the formula, it will feel formulaic, and the characters will feel like one-dimensional tropes fixated on the one defining feature that makes the end work.

If you somehow haven’t seen it, here’s a brief summary of You’ve Got Mail (obviously including the ending). Kathleen owns a small bookshop focused on customers and reading to children and things like that. Joe owns a mega bookstore, portrayed as a profit-focused heartless entity. The mega bookstore is going to put the small one out of business.

The movie is a sequence of bad interactions between these characters in real life. This puts the movie in the romance subgenre of “enemies to lovers.” The chemistry comes from the friction and conflict. The two characters accidentally hit it off online under anonymous screen names.

From the premise alone, we already know how the movie must end. Kathleen will have to demonstrate a proof of love by overcoming the real life prejudice she has against Joe for the person he is inside that she’s come to love through the online correspondence. I know, it’s very Pride and Prejudice, and the movie even makes this Kathleen’s favorite book to spell out the connection.

So why does the movie work? Every scene contributes something to the proof of love payoff. The real life conflict ratchets up each time they meet. Writers who don’t keep their eye on the ending can accidentally let the characters start to fall in love outside of the email exchanges. This would totally spoil the ending.

Some might say this is the difference between a “love story” and a “romance.” A great romance doesn’t let up on whatever has to be sacrificed until the proof of love. Many lesser romances would just have the characters run into each others arms as if nothing was going on under the surface for the ending.

Meg Ryan understands the character, and she actually cries in the final scene. There’s a ton going on internally that she has to show for the proof of love. This is the man she hates, but she also loves him. She has to overcome that, and just running into each other’s arms would trivialize the built up tension of the movie. For the briefest moment, we, as the audience, should believe there’s a chance she’ll just slap him for lying and walk away.

Once you come to understand this technique, it can be quite fun to read well-done romances. They are almost like little puzzles. You can look for all the ways the writer drops hints about the proof of love scene. It’s also an effective technique to use, even if the romance subplot of your fantasy novel is minimal.

Why It Works: Primer

A series in which I oversimplify one concept from a work of literature to make you a better writer.

Time travel sucks as a genre. It’s a bit of a pet peeve of mine. Yes, the whole genre.

Everyone knows about the grandfather paradox: if you travel back in time and kill your grandfather before he conceives with your grandmother, there would be no you to go back in time and kill him.

But many people misinterpret the paradox as being about specific inconsistencies you can trace, when in fact it’s more of a chaos theory issue: the tiniest change of the past could radically change the “present” in unforeseeable ways.

This could happen if the person goes to the past and doesn’t even physically interact with anyone. Merely being seen by a person could alter their day, which leads to change after change after change…

Pretty much every book or movie I’ve seen with time travel has been terrible. It either ignores this problem, has the problem but tries to explain it in an unsatisfactory way, or it succeeds in explaining it but destroys the story in the process.

I honestly believe no one should ever write a time travel story, because it’s going to be a disaster no matter how hard you try. It’s not worth the effort. If I ran an SF magazine, my first rule of submissions would be: no time travel stories (rule 2 would be: no first-contact stories).

But then we wouldn’t have Primer, which actually kind of works. Let’s look at why.

The first thing is that when the main characters go back in time, it’s accidental. This is very important in not creating a causal loop. If your character has to go back in time to change something to save the world, then when they succeed, there will be no reason for them to go back. Hence, the paradoxical loop. Making the initial travel accidental is an interesting way to solve that problem.

The second thing is the physicality. There’s something strange about old-school time travel (think The Time Machine), where a person and/or machine materializes out of nowhere in the past. This doesn’t seem like a problem until you think about it a lot. If the machine wasn’t there in the past, what does it mean that it suddenly is? This is a much deeper philosophical issue than people give it credit for.

Primer brilliantly fixes this problem by making the machine a box that you have to turn on at the time you want to travel back to. So if you turn on the box right now, you can’t use it to travel back before that time. You get in the box at the future time and travel back without running into the physicality problem. You are physically in the box the whole time you’re traveling back.

Primer also solves the problem of interacting with the world by isolating themselves so that they only interact with the world once. This means they aren’t changing the past. They’re living it out for the first time the time they travel back.

But here’s the most important reason Primer succeeds. It is way too confusing to ever know if they’ve run into a paradox. It succeeds because there’s always more to figure out on subsequent viewings.

This sounds like cheating: make your story so confusing that no one knows if there’s a problem. It sounds like bad writing.

But let’s put it in comparison to every other time travel story where it’s immediately obvious that it all falls apart for philosophical and paradoxical reasons. I’d rather be left with the fun journey of trying to piece it together than a pile of unsatisfying nonsense.

If you’ve read a book that handles time travel well, I’d like to hear about it. Despite being a pet peeve of mine, I still masochistically seek them out in hopes of being proved wrong someday.

On Doubts and Taste in Books

Doubt is a good thing when you’re a writer. It’s an important part of everyone’s journey. I don’t want to speak in absolutes, but if you’ve never doubted the greatness of your work, then it’s probably not very good. You probably haven’t grown much as a writer.

Doubt comes in waves. It happens a lot early on, but as you write and publish more and more, you come to have a bit more confidence in your own style and taste. You begin to see the common pitfalls in other new writers without even trying. This internalization means you mostly aren’t making those mistakes anymore.

Doubt starts to come from other places. Maybe you aren’t getting the sales you would like. Maybe a negative review resonates with you. Maybe you read a book on writing, and you realize there’s a big mistake you’re making that you never noticed before. You start to wonder what other mistakes you’re making.

I have a new source of doubt, and it is coming from the strangest place: reading. I used to love reading. I would devour books. I’d be completely transported to another place, no matter the book or genre. I couldn’t get enough.

It makes sense that as my understanding of story grew, I’d start to not like some poorly constructed novels. It makes sense that novels with sloppy prose would fall away. It makes sense that I’d get more discerning in my taste along several dimensions.

What worries me is that I basically don’t like anything I read anymore. I just can’t get into any book. I currently read 60-80 books a year (it sounds like a lot, but that’s one book a week plus some audiobooks while running or traveling).

The scary part is that it’s not like I’m scraping the bottom of the barrel. I’ve chosen all 23 books I’ve read this year from “best of” lists or from direct recommendations.

I got into Mystic River in late January, but since then, I haven’t really gotten into any book I’ve read. Oathbringer has a 4.65/5 rating on Goodreads after 42,500 reviews. The book is basically unreadable to me. It’s too slow. It has too many unnecessary details. It’s the type of self-indulgent thing popular writers can only get away with after they hit a certain level of fame (think Stephen King). It only got published in that form because people are afraid to tell Sanderson to cut it down.

I won’t call out every problem with every book I’ve read this year. The point is that I’m really worried that I’ve developed my taste and style in a way that doesn’t match the vast majority of people. These are my doubts. Maybe it’s not that all these popular people are writing bad books; maybe it’s my own writing that’s bad.

I can think of a few other explanations.

First, maybe it’s burnout. There’s not much more to this theory. Maybe 80 books a year is too much. If I just take a break and reset, I’ll find myself getting lost in some good books again.

Second, maybe writing changes the way you read. I still love writing. I really get into my own books as I’m writing them. There might just be something about the active nature of producing a story that makes passively consuming one inherently less interesting.

Third, maybe I actually am on a bad streak. As they say, 90% of everything is crap. If we take that to be a fact, then there’s a high probability of long streaks of crap. Of course, what does this even mean? There are “objectively good” books that people hate and “objectively bad” books that people love.

Fourth, my taste is not marketable, which makes it hard to naturally run across the types of books that will truly engage me. I don’t have the patience for the experimental literary stuff that I did in my youth. So the literary scene tends to disappoint me. But the commercial fiction scene tends to be too sloppy for my taste.

My latest book, Specter of the Spheres, tries to straddle this line. It’s high-concept, metaphorical, and has a complicated construction like a literary novel. But it’s wrapped in a fantasy quest and even some sci-fi elements. I’ve learned that this is usually called “slipstream,” and I haven’t read anything in that genre for a long time.

But maybe my doubts have some truth to them. Maybe I need to spend some time re-calibrating what I think is good. I don’t even know where to start with this, though, because I can’t find books out there that I like to read anymore.

Why It Works: The Lord of the Rings

A series in which I oversimplify one concept from a work of literature to make you a better writer.

Corruption.

The ring corrupts everyone.

Quite early on, we learn that Frodo, our hero, is not immune to the corrupting effects. This becomes one of the greatest sources of tension. Will Frodo be able to destroy the ring when the time comes?

A common misconception about the hero’s journey fantasy writers make early in their career is that they set up an impossible task, and then through the course of the novel, the hero grows and can suddenly overcome the task. This will leave the reader feeling cheated.

The impossible task can’t do the work of creating tension and then turn out not to be impossible at the end of the novel. Imagine if after all the buildup of The Lord of the RingsFrodo stands at the Cracks of Doom and tosses the ring in like Rose at the end of Titanic.

We might not be talking about the books today.

What makes the climax of The Lord of the Rings so good is that Frodo is corrupted. He doesn’t magically succeed over the impossible. He doesn’t throw the ring in. He puts it on his finger with the intention of not destroying it. Frodo succumbs to the corruption, because it’s impossible for him not to.

The first time you read or see that, your reaction should be, “No. What? That’s not how this is supposed to go.”

But it’s the only way it could go. We know that at some deep level. The only way the ring gets destroyed is through its absolute corrupting effects. The ring gets destroyed by accident. If any living being managed to do it through sheer willpower, we’d have to rethink the entire plot. We’d be forced to think: well, I guess the ring wasn’t that powerful after all.

Keep this in mind the next time you’re plotting a book. If something has an absolute attached to it, then it must be an absolute. The hero can’t magically rise above it. Use the absolute to your advantage. What happens if your hero actually succumbs to it? This could be an opportunity for a dramatic and harrowing plot twist right at the climax.

Year of Mystery Novels, Part 4: The Big Sleep

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The Big Sleep by Raymond Chandler is probably my least favorite mystery novel of the year so far.

Let’s start with the good. Chandler’s style of writing is amazing. It’s full of sentences that contribute to the noir atmosphere. One of my favorite examples is: “Dead men are heavier than broken hearts.” It obviously makes no sense as a description, but it says so much about the attitude and psychology of the main character, Philip Marlowe.

Paying attention to the little things pays off. For example, when Marlowe enters a used bookshop early on, he asks for a highly specific book. I thought this was the author filling the book with needless detail, a boring bad habit of some writers. But in actuality, it’s a book that doesn’t exist, so the fact that the used bookseller didn’t know this showed they were a fraud. This payoff only comes to readers paying attention to this type of thing.

So I thought the writing style and layering in of small details that pay off were excellent. In fact, maybe the best of all the mystery novels I’ve read this year.

The problem is that I had a very hard time picking the book up when I stopped reading it for a session. I just wasn’t invested in the plot or characters. I think this had to do with the fact that this “hardboiled” subgenre is a slower burn. It’s more about gradually exposing a much larger situation. This means the tension comes from the context you’re given rather than an immediate threat or mystery or suspects.

I don’t even have to reveal too much of the plot to discuss what felt off. I think a lot of the character actions were unmotivated. People are murdered, but I found myself thinking: really? Over that? I know they were “criminals,” and by that I mean “producing pornography” and “being homosexual,” but it’s not like they were mob bosses hardened to murder. It was too extreme for the context.

Everything in the plot felt more like convenience than truly motivated action. I get that we have to look at it through the lens of the time. “Revenge porn” is bad enough today, having naked pictures loose of the daughter of a high-ranking person back in the 20’s could destroy that person. I get that.

But I never really felt the danger or tension or potential catastrophes from the way the novel was told. It was like a big puzzle, and each piece had been placed there for the purpose of completing the puzzle and not as a truly motivated plot point.

Maybe I’m the only one that felt that way, because this is a pretty universally praised book. One of the cool things about it was that you see basically every hardboiled detective trope in this book, as it was the first of its kind.

I think I’m going to take a brief break and then come back with something modern. It hasn’t occurred to me before now that people might want to read along with me. I’ll be doing Miss Smilla’s Feeling for Snow by Peter Høeg. I’ve heard it might upset the “purists,” but I’m trying to get a variety over the course of the year.

Year of Mystery Novels, Part 3: Murder on the Orient Express

Murder_on_the_Orient_Express_First_Edition_Cover_1934

As I pointed out when I started the series, I was woefully ignorant of the mystery genre. I picked up Agatha Christie’s Murder on the Orient Express from the library. Something surprised me about it. It was far along in a row of books that all looked the same. This is actually the 10th book in the Hercule Poirot series of detective novels.

The general setting of the novel is quite good for creating tension. First off, Christie introduces the main characters very early and gives them all motivations/suspicions for committing the crime. This set me up as the reader to believe it could be any of them.

Note how different this is from the first two mystery novels I read this year, in which one person was the prime suspect, and then as new evidence came to light, the prime suspect would switch out from under you. I enjoyed Christie’s style much more.

The setting ramped up the tension, because the murder happens on a stopped train due to a snow issue. This heightens the tension because without knowing who did it or why, anyone could be next. I mean, they’re trapped on a train with a murderer! How great of a premise is that?

The overall execution I liked much better than Sherlock Holmes, because the plot focused on solving the crime. Holmes felt more like a character study with the mystery as an afterthought.

The prose style of the novel felt very dated. Description was pared down to a minimum. Sometimes all you had to go on was dialogue. I almost took a picture of the book open where there were no dialogue tags or exposition at all on either page. It’s like reading a play where the person speaking isn’t identified.

Outside of that one issue, I ended up really enjoying this one. I saw the appeal of the mystery novel as a genre for the first time. It was straight up fun to try to figure out who did it and why. And the end was…pretty surprising.

Spoiler Warning: We’ll dig in to the details a bit more now. You are warned, though, this book has been around for 100 years and there are many adaptations for film, tv, and stage, so if you haven’t been spoiled yet, I doubt you’re planning on reading it anyway.

The first major twist is that the identity of the victim comes into question. A note is left that seems to identify the victim as a man who killed a girl but got off on a technicality (he was travelling under a false identity). This is an interesting twist, because it shifts everything you thought you knew, including the dead victim, who shouldn’t be able to influence the story.

Part II is highly structured. Each chapter is a single scene with a sole suspect. We get evidence pointing toward each of them. But at the same time confusing, strange things pop up about previous suspects.

I could see some people finding this to be too rigid a structure, because it doesn’t flow like a normal novel. Instead, we get episodic chapters. But I liked the approach, because there are so many characters, this structure lets you keep track of each one separately. It actually reminded me of playing a game of “Clue.” As the reader, you have to keep thinking through the logical consistencies, inconsistencies, and possibilities.

Part III then walks you through these logical steps to connect the dots in places you’ve probably missed. This part reminded me a bit of how Sherlock Holmes works. It focuses a lot more on the deductive genius of Hercule Poirot.

The end result is a little disappointing. Poirot concludes that everyone on the train is in on it. This explains a bunch of strange coincidences, like everyone on the train randomly having strong ties to the girl who had been murdered.

But on further reflection, the ending wasn’t as disappointing as I originally thought. They would have gotten away with it if Poirot hadn’t randomly been called back to London. The only people on the train would have been people in on the crime.

Poirot has used his great mind to come up with a plausible alternate way the murder could have happened in which the murderer gets off the train. This is what he presents to the authorities, and it adds an interesting layer to the ending in which we have to judge whether he did the right thing by taking justice into his own hands.

 

 

Free Book on Style

If you’ve been coming here awhile, then you’re probably somewhat interested in prose style. I’ve turned some of my blog posts and personal notes from the past ten years of doing this into a short (Kindle) e-book. They’ve been edited and expanded with examples, so nothing should be an exact replica of what you’ve read here.

It’s not meant to be anything grand. The final result came out to be twenty-one rules. The unique twist from some of the other books that do this is that I’ve focused on what I see to be the most common self-publishing mistakes.

I’m giving it away for free for five days. It will only be $0.99 after that. The goal is to help people!

Sound Like - High Resolution

Do you write self-published novels?

Can you hear the difference between a self-published novel and a traditional bestseller?

No? Then this book is for you, because your readers will feel the difference.

This short book will give you a set of easy to apply rules to improve the sound of your writing.

Get it here.

Specter of the Spheres: Prologue

It’s probably not fair to spend years on this blog teaching writing and prose techniques and critiquing other novels without ever showing my own. Here’s the prologue from my newest book for your enjoyment.

Specter of the Spheres

Prologue

Priestess Elienne squinted toward the southern horizon. The blood moon hung low, and time was short until daylight burned again. The grand arch glinted in the moonlight, marking the entrance to the underground vault. They would make it in time.

Her defender swarm pattered a rhythmic beat across the ruined lands and lulled her into a trance as they pressed forward. Each defender looked exactly the same: smooth obsidian shells that came up to her knees and eight razor-sharp legs. They had no eyes or faces. They moved by sensing the priestess’s heat signature or potential enemies.

Elienne knew from her studies that people would have called them spiders in the old language, but this wasn’t quite right. They were larger, and they had an intelligence spiders didn’t have.

They also harbored the souls of dead people. This was how they got their name: specterlings. They weren’t ghosts, though, a common misunderstanding of how the necromantic arts worked. A priestess had incarnated the shells, merely giving the illusion of life.

Elienne’s head snapped toward the western hills as the lead defender cried out its warning signal.

The sun?

No. A lava nethermental rushed at them, and the first crawler darted forward to protect the priestess.

She shouted, “No! Get back!”

The specterlings swarmed forward anyway, not understanding the true danger. Their only trained goal was protection. In most circumstances their leg blades would shred any threat: the swarm a stampede of razors.

Molten rock oozed out of the nethermental’s body, leaving a trail of dark pumice. The huge body rose to twice her height. It swung its boulder arms viciously at the attackers. Bits of lava and fire splattered haphazardly.

Elienne had no time to figure out who would have breathed life into such a destructive golem—probably one of the Persuader’s minions. She watched in horror as the lava hardened in an instant, trapping every one of her defenders.

A bright trail of fire arced and crackled through the air as the beast swiped at the lead crawler again. The crawler’s incinerated body melted into poison, a last-resort line of defense should all the specterlings die.

But the lava nethermental stomped over it, unfazed. No one had predicted such forces would try to stop her. Elienne needed time she didn’t have. One of her remaining specterlings had to remain alive for a banishment enchantment.

She pulled a dark purple crystal from her pack and slammed it into the sandy ground. It poked out at an awkward angle but stayed upright.

A vibrant glow emanated outward, and she began to sing in the ancient language.

Swipe: two more specterlings down. Poison pooled outward, and Elienne’s breathing doubled as she realized she might be too close to it. Her flesh body was not immune.

There isn’t time to move away, she thought.

She continued to sing with intense focus. The crystal shook under the tension in the winding melody. The song carried Elienne away from the scene. She closed her eyes. The beauty hurt. Her body shook with the pain, and she took it all upon herself. She needed more pain than ever before if she was to kill the powerful beast.

The ground now shuddered under the weight of the nethermental as it trampled closer. She opened her eyes to see the damage. Only one specterling remained. Elienne looked at where the nethermental’s eyes should have been but only saw oozing rock.

It somehow knew her location and moved directly toward her.

She needed that last specterling as a sacrifice for the necromantic ritual to work. As the nethermental’s swipe came forward, she completed the song and pushed pain into the crystal.

The crystal converted the pain to energy, which shot into the specterling. The defender called out a dying shriek, and Elienne relaxed. The specterling died before it received the blow from the nethermental.

The energy from the sacrificed life pulsed into the blazing golem in an ascendant burst. It landed with a sharp crack, and the beast collapsed into a lifeless heap of black rock, still glimmering from the heat.

Elienne fell to the ground, panting from the effort. Her small army of defenders were dead, and now she was on her own. If any more danger appeared, she’d have to fight without necromancy. She looked to where the monster had been, and the world distorted in waves from the shimmering heat.

Elienne pushed back to her feet and returned the depleted crystal to her pack. The sands tumbled under her feet, making the long journey harder than it needed to be. A heavy weight pressed on her shoulders.

She didn’t think she could continue; the ritual had taken too much out of her. Every muscle in her body drooped toward the ground, begging for rest. The singeing pain lingered from the ritual, but the sorrow at having failed her people hurt worse.

She was a priestess who had taken on vows. It had been over a millennium since the last failure, and that had wrecked the world. They almost hadn’t survived. With how things were now, all life would end this time.

Elienne glanced from her feet to the horizon once more. The arch marking the entrance to the vault grew as she approached, and she realized there was still hope. A quick flutter of energy titillated her chest, but the blood moon hung low. If the heat of the sun peaked the horizon, she’d be burned alive—darkness or moonlight were the only viable possibilities for survival.

She pressed on faster, not caring about her own life. It would be sacrificed at the coming ritual in hours anyway. Each one of the seven sects would send one priestess to complete the ritual and keep the world going.

They were seen as evil by most. Necromancy looked like an unnatural art to the rest of the world, and people had tried to squash them since the dawn of time.

But they weren’t evil. They protected life through sacrifice. Without death, there could be no life. Why couldn’t people understand that instead of sending these beasts to destroy them each blood moon?

Elienne shook herself free of these thoughts as she felt the sun burn her shoulders. She despaired that she had failed in her duty. She had been trained as a priestess for this one moment. The ritual kept the gods appeased. Without the ritual, during the full blood moon, the caverns would crack open and be exposed to the sun. They would all die, and without them, the humans would die as well.

Elienne ran with all her might. She couldn’t let that happen. A vicious scream came from her lips as the sun rounded the horizon. The lava nethermental had caused too much of a delay.

She reached the steps leading down to the vault, but the heat was too much; she collapsed. And with that, the end of the world began. The fools who had sent the monster knew not what they had done.


Six figures towered over Elienne, each adorning the black robes of a priestess. Every part of her body hurt. She could tell there were bruises all over. Flashes of the scene struck her memory: tumbling, crying out, and cracks of flesh on stone.

Elienne blinked several times as she tried to get her bearings.

One of the other priestesses said, “You made it. We didn’t think you were coming.”

She didn’t say anything. What was there to say? They’d all be dead the next night when they sacrificed themselves—no need to make friends. They had a job to do.

She looked around in fascination. Elienne had wondered what the inside of the vault looked like since she was a child. Now she had a single day to explore it. She cautiously pushed herself to her elbows. Her voice was shaky.

“What happened?”

Another priestess said, “We don’t know. We heard screams and rushed over. The vault sealed itself, so we’re safe now.”

Another said, “You should rest. You’ll need your strength for the ritual.”

Two of them swooped in with bizarre coordination, and Elienne felt too exhausted to resist. She gave in to the arms as she was carried to a different chamber. Seven beds were lined along the wall, and the two priestesses set Elienne on the first one.

She let the blackness overtake her.

The sound of whispered voices woke her, and she had no idea how much time had passed. They wouldn’t have let her sleep through the ritual. One of them noticed the stirring and called over.

“It is time.”

A pang of disappointment filled Elienne. She had dreamed of the vault her whole life, and now that she was here, she wouldn’t get the chance to see it before sacrificing herself on the altar.

She stood from the bed, still shaky from the pain song. A sudden fear filled her. What if she didn’t have the strength to go through with it? The upcoming ritual sacrifice would take much more concentration and intensity than the simple banishment spell she had done on the nethermental.

Elienne pulled herself from the bed and limped to the huddled group. Each step brought a sharp pain to her ankle, and she wondered if she had broken it while falling down the stairs.

One of the priestesses asked, “Can you make it to the altar?”

Elienne nodded. The group trudged along, up the stairs to the altar on top of the vault. She didn’t expect the simplicity of it. It appeared to be a stone statue with none of the intricate flair of the temple they worshiped at back home.

Seven circles rounded the altar, one for each priestess to stand on.

The group knew exactly what to do. They had all trained for this moment intensely. They waited for the proper alignment of the blood moon through the aperture in the statue. When the moment hit, a dark blood stain appeared across the altar symbolizing the first sacrifice that saved the world.

They held hands, and the priestess from the Haiel faction began the song. Each faction had a separate part of the song, and none had heard any of the other parts. A thrill filled Elienne now that she would get to hear it in full. After a few measures of the melody, the second priestess joined in.

The harmony produced a dark, strange sensation inside of Elienne. It was nothing like the painful beauty she was used to. Her turn came third, and she started the song. She focused hard at producing a clean tone when the first notes came out raspy.

The sounds meshed, and her voice cleared. Pain entered the song with her voice, and she saw the others cringe who hadn’t started their part.

They needed to take on the pain. It was essential to the completion of the ritual.

The rest of the parts joined, one by one, and each brought its own emotions to it. The cacophony of the counterpoint almost made Elienne falter. It was hard to focus on her own part when so many strange sounds kept coming at her and making her feel intense sensations: rage, lust, and even joy.

As the song intensified to the point of no return, the blood stain brightened. Elienne feared they had sung all the way to morning, and now the sunlight would burn them before they succeeded.

The light brightened more and more. But it wasn’t the fire of sunlight. It had no heat, just an intense whiteness.

She was blinded by it but kept her focus on the song. A burst of ecstasy exploded in Elienne’s gut, and she couldn’t sing anymore. It didn’t matter, because the song ended, and all that remained was the light.

Specter of the Spheres - High Resolution

A note on genre and buying options if you’re curious:

The full novel isn’t quite as fantasy-oriented as it sounds. It fits better under the category of magical realism or slipstream (if you know what that is). Here’s the description:

The world ends each blood moon.

But a faction of priestesses sacrifice themselves to keep it going. What happens when Aceline wants more for her life and decides not to do it?

Wallace has chased his dream of becoming a poet for a lifetime. It leads him toward a mysterious aurora.

Robert just wanted to connect with other humans in a world dictated by screens, algorithms, and addiction.

These three become linked across worlds, and each must uphold their end of a quest to prevent catastrophe at the hands of a tyrant in a land full of necromancy.

It officially releases tomorrow as an e-book. It will be free to Kindle Unlimited subscribers and can be pre-ordered now. Also, the paper version can be ordered now, and you will get the e-book free if you get the hardcopy.

Amazon page here.