Tag Archive for: fantasy

Cath-Lit Live: ‘If Wishes Were Dragons’ by Karina Fabian

“Cath-Lit Live!” features brief interviews with Catholic authors who are releasing new books. Hosted by Catholic author and speaker Amy J. Cattapan, “Cath-Lit Live!” gives viewers a glimpse into the latest Catholic books while getting to know a bit about the author as well.

If Wishes Were Dragons by Karina Fabian

When Vern’s gaming friends find a genie’s lamp, they wish for a real-life adventure … and boy, do they get it! Vern’s party is transported to Faerie to fight monsters, crawl dungeons, rescue fair maidens … and deal with some of Vern’s old schemes that come back to bite him in the tail. Vern even gets his secret wish fulfilled when he sees his dragon kin for the first time in centuries. But the genie is not what he seems. The Wish World is Faerie of Vern’s past – and their adventure is no game.

About the author: Karina Fabian writes product reviews and business articles by day, and has wild adventures in time, space, and fantastic realms just about any other time. Her stories are known for their humor, optimism and faith.

You can catch “Cath-Lit Live” three times a month live on A.J. Cattapan’s author Facebook page. Recorded versions of the show will also be available to watch later on her YouTube channel and Instagram.


Copyright 2020 Amy J. Cattapan

Karina Teaches Worldbuilding – Final Lesson

Over this year, Karina is going to share some of her writing seminars on the blog, with the lessons and references for further study. We’ll be posting these once a month. There’s no assigned homework, but if you have questions, please ask them in the comments. Her first workshop is worldbuilding. This is Lesson 7. Here are the links to Lesson 1, Lesson 2Lesson 3, Lesson 4, Lesson 5, and Lesson 6.

Don’t tell me the moon is shining; show me the glint of light on broken glass.   –Anton Chekhov

Now you’re well on your way to building your world! You’ve got–or have plans to get–all this great history, know everything about the orbital mechanics of your solar system, even know why your Grimphani part their hair on the left. Now, it’s time to tell your readers, right?

NO!

Don’t tell us about your world! Show us!

Everything we’ve done so far is background. Some of it may never come up. (Remember what I said in a previous lesson about the writer who has written an encyclopedia or game manual rather than a story?) Now you can use those elements, but don’t tell us about them!

So how do you avoid that?

Keep in mind point of view–even if you are using an omniscient narrative (i.e., the reader sees more than the character), do your best to describe things as they impact or are applied to the character or characters. For example, say I wanted to write a scene in The Miscria III: Hero Psychic, where there is a wild rainstorm that Tasmae (who controls the weather) has decided to allow to happen. I could just say it:

Joshua and Sachiko came in soaked from the storm. When Joshua saw Deryl, he asked, “What’s with the rain? Can’t Tasmae control the weather?”

 Deryl shrugged, though it was obvious he found Joshua’s soaked status funny. “The land is parched. Tasmae decided to let the storm come.”

 “She couldn’t have given us a warning?”

Or, I can show it:

 Joshua and Sachiko entered the city at a run, and the doors closed at their heels, shutting off the howling of the winds. As they stood there, shaking their heads and wringing out their clothes, Deryl strode toward them. “And where have you been?”

 Joshua gaped then pointed at the door. “Has your wife looked out the window lately?”

 Deryl shrugged, a smile tugging at his lips. “Tasmae said we need the rain.”

Of course, showing is sometimes easier said than done, so here are some tips:

  • See it through your character’s senses and experiences. Will your character know that the general is wearing the traditional (but itchy) dress of the Galvatin Space Fleet, with the braiding denoting his bravery in the Karu Nebula Encounter and the still-brass buttons that have been part of the uniform since 345 GT? Or will he just note that it’s impressive and traditional–but kind of gaudy?
  •  Use the detail that matters. If your hero is dodging a swinging blade, that may not be the time to note that it’s the Sword of Barnana, with rosewood hilt bearing the tiger-eye stones once stolen from the Kitcherie temple and which bears the curse that its wielder must kill a werewolf every full moon and how it has been highly polished yet has nicks. He may notice the crazed, possessed eyes of its bearer and how he pants, “Must killmustkillmustkill.” Once your hero defeats the swordsman, he may note some of these details–or he may be running like fun away from the scene. You decide how important the sword is at that point.
  •  The more it matters to the plot, the more detail you need. If you don’t intend to run across the Sword of Barnana again in the story, it may be enough to note that it’s a possessed sword. If it comes back later, you might want to note the odd tiger-eye jewels. If it becomes the focus of the quest (and hence the story), more background is needed.
  •  If you need to explain, let characters do it–but avoid lectures or extended Q&A.

Here’s Vern explaining his scratch marks on the local buildings to a member of the Los Lagos Beautification Committee. It’s a central point to the entire story, which is less than a thousand words.

“I understand you’ve… scratched some of the buildings in the area.”

“Yesssss….?”

“Well, you’re defacing the exterior!”

“Yesssss…..?”

“It simply won’t do!”

“Anybody complaining?”

“The Committee–”

“Anybody around here complaining?”

“No.”

“Those ‘scratches’ mark the area as under my protection. My Territory.”

“I realize it might be an instinct thing–”

I threw back my head and snorted. She jumped but didn’t back away. Score one for guts. “Do you know the crime rate around Territory?”

“Unacceptably high. That’s why the Los Lagos Beautification Committee wants to foster a more pleasant environment–”

“–Do you know the crime rate within Territory?”

“I don’t–”

“People don’t mess with places I’ve marked. They’ve got a stronger motivation than beauty. Me.”

For More Reading:

http://www.tarakharper.com/k_show.htm Great examples.

http://www.sfwriter.com/ow04.htm

Karina Teaches Worldbuilding – Lesson 6

Over this year, Karina is going to share some of her writing seminars on the blog, with the lessons and references for further study. We’ll be posting these once a month. There’s no assigned homework, but if you have questions, please ask them in the comments. Her first workshop is worldbuilding. This is Lesson 6. Here are the links to Lesson 1, Lesson 2Lesson 3, Lesson 4, and Lesson 5.

Culture is roughly anything we do and the monkeys don’t.  –Lord Raglan

Probably even more important to your story than the history, military, or economic and political structure, is the culture. This adds spice to your story and defines your character. What do your characters do when they enter that universal pub that so many fantasy worlds have, or have to work with a new alien? Here you can find fertile ground for jokes, insults, conflict and even philosophical discussion.

Value System:

  • What are the values society treasures most? Leadership? Compliance? Ingenuity?
  • What are their attitudes toward children? The elderly? Lesser life forms (pets, wild animals, etc.)? The environment?
  • What’s considered success? Beauty? Intelligence?
  • What are good manners?

Education:

  • How much education do children get? Where do they receive it? How?
  • What topics are required? What are encouraged?
  • Do adults continue their education? Must they? Is education tied into promotions, or are native intelligence and natural skill more important?

Religion:

  • God: There’s no religion without a Higher Power (or powers, as the case may be.) Who or what are they outside of your people’s beliefs? (For convenience, I’ll refer to God as “He.” Of course, your world may consider God a she, it or something beyond gender.)
  • Believers: Religion must have followers. Who are they? What makes some of them more faithful than others? How do they experience their faith? Is your religion reserved for a certain section of the population? Is there a hierarchy of believers?
  • Relationship with God: What kind of God do these people believe in? How do they imagine Him, speak with Him, and believe He thinks about them (Loving? Wrathful? Jealous?) What does He want from them? Is He personal, like in the Christian religion, or some kind of encompassing force, like in the Jedi religion?
  • Method of communicating with God: Can they talk to God? Do they pray? Does He answer? If so, how? Does God grant graces or have special sacraments?
  • Method of worship: Is there organized group worship? If so, what are the rituals and requirements? Is it necessary?
  • Rules of living: What does God require of these people? What sacrifices does He ask? What rules of interacting with other sentients (or non-sentients) has He laid down? What commandments, laws, exhortations are there? What happens to those who do not live up to standards (heaven, hell, purgatory, mortal reward or punishment, etc.)? How does their religion deal with enemies—or aliens?
  • Spreading faith: Do they evangelize? Is faith instinctive or do they learn it? How do they grow spiritually? Are there rituals for spiritual growth?
  • Philosophy: How does their religion answer “Why?” Why is the sky blue? Why can I think and feel? Why do good or bad things happen? Why are we the way we are?
  • Record: How are the tenets of religion passed down? Is there a written (or equivalent) Word of God? Is it literal, allegorical, historical? What are the stories of their faith?
  • Roles: Are there prophets? Priests? Teachers? Saints? Angels? Demons?
  • Spirituality: How is it experienced? Expressed?
  • Symbology: What symbols does your religion have and what do they mean? A real-world example: if a red candle is lit in the sacristy (by the altar) of a Catholic church, it means Christ is physically present via the Consecrated Host. Symbols can be drawings or objects, gestures or words, clothing or constructs—but they all have (or had) meaning.

 Nit noids:

  • How are things named? Why?
  • What do people do for fun?
  • What are the bathrooms like?
  • How is their language structured? In my Dragon Eye, PI universe, the elves have a complex syntax and form of conversation: to say “Excuse me” is a ritual that involves recognizing the other person’s station in life compared to your own, the severity of the offence and several other factors.
  • What makes them laugh? Cry?

For More Reading:

A good way to come up with an alien culture is to read about new cultures and adapt it to your world. Read up on a place or religion you’re not familiar with.

Karina Teaches Worldbuilding – Lesson 5

Over this year, Karina is going to share some of her writing seminars on the blog, with the lessons and references for further study. We’ll be posting these once a month. There’s no assigned homework, but if you have questions, please ask them in the comments. Her first workshop is worldbuilding. This is Lesson 5. Here are the links to Lesson 1, Lesson 2Lesson 3, and Lesson 4.

To seek out new life and new civilizations…  –Star Trek

Worlds are more than physics, and stories are more than settings. The most interesting thing about a world and the usual spot for conflict lies in the society that inhabits the world. Whether you have an intergalactic civilization with a history longer than the entire existence of the Earth or a small exploration group on an uncharted asteroid, you need to know how that society runs.

How much do you need to know? It depends on your story, your universe, and your own plans. David Weber has a complex and detailed universe for his Honor Herrington novels, and it shows. A short story, however, may only need a couple of important facts; the rest is immaterial. I once chatted with an author whose novel was unmanageably long because he was including every detail, right down to the history and construction of the blades used in a swordfight. One chatter suggested he was writing the world’s encyclopedia or an online game manual rather than a story.

Dream up as much of the background as you can and wish to, but don’t let it interfere with the story. Here are some things to consider:

 History:

  •   How did your country/world/empire come to be?
  •   Who were the major historic figures? (soldiers, statesmen, explorers, workers for peace, famous criminals, scientists, religious leaders, people not in power who do major things)
  •   What inventions changed their world?

Always start with those that affect your character, story and setting. For example, in the United States, every child grows up learning about George Washington, the Revolutionary War, and Pearl Harbor. In Colorado, however, kids will be more familiar with the explorer Zebulon Pike, while in Fredericksburg, VA, students learn about the apothecary and General Hugh Mercer.

 Military:

  • Are there a lot of wars on your world? Over what?
  • How does your society feel about war and the military? How does your character feel?
  • Does your character belong to a conquering “nation” or a conquered one? Or does his nation avoid battle, preferring negotiation or neutrality?

If needed, you can map out some of the major battles. Think not only about the ones that forged the civilization(s) you’re writing about, but also the area. In a real-world example, Fredericksburg, VA (where we used to live) was the site of several important battles in the American Civil War. Thus, you can’t walk for a block downtown without seeing something from that era – whether a statue of General Lee, a historical marker, a souvenir shop, or a Confederate Flag proudly displayed next to the Stars and Stripes. My husband has a Civil War sword that his neighbors dug out of their back yard.

 Economic:

  • How do people acquire things? Not all societies have a cash or barter system. In my world of Kanaan, people work for the joy of creating or performing a service and freely give away their wares. Lesser enjoyed duties (laundry, dishes, trash) are shared.
  • What are trade relations between systems, countries, etc. like?
  • How many resources does the average person have at their beck and call? Can they afford to throw food away? Broken or no longer wanted objects? How important is recycling?
  • What are the major industries, crops, etc? How do they affect the society and policies of your world?
  • Do you have big businesses or small conglomerates? How are they run? For example, in Rob’s and my Rescue Sisters novel, Discovery, we have a major space conglomerate, ColeCorp, which has its fingers in everything from universities to spaceship construction. It runs like a standard American business for the most part, but in the asteroid belt, it has a cooperative relationship with the small, independent mining companies.

 Political:

  • What kind of government does your world have? What are the variations? For example, you may have a monarchy, but instead of the crown passing to the firstborn son, it goes to whichever child demonstrates the strongest arcane ability at 16. Each child’s score is recorded, and when the monarch dies, the crown is passed to the most skilled.
  • Politics is more than governmental, however. How are decisions for groups made? How does this reflect society’s values?

 Inventions:

  • What inventions have transformed society? Think more than just commercially. Take the washing machine, for example. On the surface, it makes it easier to clean clothes, but look deeper, and you see it has changed our standards of clean, the amount and type of clothing the average person owns, and sparked the need for a whole slew of new industries, from detergent manufacturing to diaper services.

For More Reading:

Where do you come up with ideas for these things? Read about Earth! Read a history, political system or economics. Then ask yourself how you can adapt elements of this to your world.

Karina Teaches – Lesson 4

Over this year, Karina is going to share some of her writing seminars on the blog, with the lessons and references for further study. We’ll be posting these once a month. There’s no assigned homework, but if you have questions, please ask them in the comments. Her first workshop is worldbuilding. This is Lesson 4. Here are the links to Lesson 1, Lesson 2, and Lesson 3.

Worldbuilding 101, Lesson 4: Your People

On the last day, God created Man (male and female), but we’re going to do it on Lesson 4.

For some of you, this won’t be too hard–you’ll have basic humanoids with some special quirk that makes them unique.

As you’ve already heard me say–and everybody join in this time–you need to think about the impact of the differences you make on the rest of your world. For example, for my novel Discovery, my husband Rob and I have postulated a race of creatures that are more patterned after starfish–radial symmetry rather than the vertical symmetry of humans. This introduced a whole slew of interesting questions:

–Do they have a sense of right/left/forward/back?

–Are certain digits devoted to walking and some to handling tools? Or are they ambidextrous?

–Where are their eyes? How do they see?

–How do they eat, sleep, procreate?

–What would their homes, vehicles, and equipment look like?

Fortunately for Rob and me, we will be dealing with humans exploring a long-dead spaceship, possibly abandoned, so we have some wiggle room for unanswered questions. We could concentrate just on the things that directly apply to the space ship, its design and especially its life craft. If we take our humans to this planet in another book, we’ll need more answers!

Even if you’re doing fantasy and are going to use some of the time-honored “aliens” like vampires, werewolves, etc., you still need to decide their biology, needs and how they are different. Is vampirism a disease, a genetic defect or a choice? Why can’t they come out into the sun? How does it really affect them–sunburn, allergic reaction or the good ol’ burst into flames? Do werewolves have to change in a full moon, or can they only change in the full moon? What happens to their clothes?

I’ve had a lot of fun playing with the usual clichés of fairy creatures in my Dragon Eye, PI universe. (www.dragoneyepi.net). For example, my elves are very long-lived. Well, when you live to be 500-600, your biology should slow down a bit, and so does your sense of time. Thus, while elves are able to interact with humans, they are also infuriatingly slow. Their language, for example, is full of prerequisites–to apologize for bumping into someone requires you recognize their social status and that of their family and tribe as compared to yours, the nature of the offense, the impact of that offense on the relationship and the relationship of their people… As my dragon detective Vern likes to complain, “It can take them half an hour to ask where the bathroom is.” (And, thanks to their changed biology, they do have half an hour before the need is urgent.)

Keep in mind, too, that the more that quirk is part of their nature, the more effect it will have on their civilization–but that’s lesson 5.

For more reading:

http://www.amazon.com/Essential-Guide-Alien-Species-Star/dp/0345442202/ref=sr_1_1/104-5069618-1512745?ie=UTF8&s=books&qid=1189371773&sr=1-1 The Essential Guide to Aliens (Star Wars) by Ann Lewis and RK Post. It’s amazing what people have come up with for creatures. Contains their history, biology and sociology. Great for ideas.

Dragon Magazine: Although out of print, each issue had a bestiary with incredible detail about certain kinds of creatures.

Dungeons and Dragons Players Handbooks or Monster Manuals: Pick a fantasy creature and these writers have thought of everything from how they react in an adventure to what they wear as pajamas. Forget the dice and the stats and just play with the ideas.

Real life creatures: Google a species that may have traits you want – like starfish or manta rays or birds. Even if you aren’t looking for a full creature, you might learn something. For example, if your alien has wings and can fly, you will want to study what else is involved – do they have feathers or skin like a bat? Do they fly or just soar like a flying squirrel? How does their anatomy support the wing structure?

 

Karina Teaches – Lesson 2

 

Over this year, Karina is going to share some of her writing seminars on the blog, with the lessons and references for further study. We’ll be posting these once a month. There’s no assigned homework, but if you have questions, please ask them in the comments. Her first workshop is worldbuilding. This is Lesson 2. Find Lesson 1 here.

 

Lesson 2: Physics, Geology and Geography

HEY! Don’t open that! It’s an alien planet! Is there air? You don’t know!

–Guy Fleegman, Galaxy Quest

The more we know about the universe and what it takes to create Life, the more we realize just how amazing it is that any life–let alone sentient life–could have developed even once. The world must have a sun that is the right age, be in orbit at the right distance with an atmosphere to block out dangerous radiation and provide something to breathe. There must be carbon or some other basic building block that can combine with other elements to produce complex molecules that will work together. And of course, there must be water or a logical water-substitute. There must be time for those to evolve, societies to develop, etc…

Now, you may not have to start with quite these basics, but you should know to some degree (as determined by the need of the story) how what you’re doing will alter that delicate balance. Alter the mineral content of the world, and you might change its gravity. Change the gravity too much and you lose atmosphere. Introduce two moons and you mess with the tides. Even removing the tilt of your world (the earth sits at about a 23.5 degree tilt to the sun) and you mess with the seasons and the warming of the planet. Not that you can’t do these things, but you need to be aware of them and how they affect your world–and (if they are important to your story) what you’ll do for a work-around.

Second point for today is that planets are not homogeneous. Mars, for example, has a rep for being rather plain and desert-like, but it has fantastic topography, from huge mountains to incredible canyons, long stretches of deserts and rocky flatlands. There are polar ice caps (albeit made of carbon dioxide). Even the gas giants have regions of different climates and “topography,” or else they would not have storms. So the idea of a completely “Springlike” planet or an entirely harsh, rocky world isn’t especially believable.

Of course, there are exceptions. Arrakis (Dune) was desert from pole to pole, but Frank Herbert made it successful for several reasons: it was critical to the story, believable in its presentation, grounded in reason (the scarcity of water and the actions of the sandworms, who walled off water and kept it from rising to the surface), and he acknowledged (through the characters) its uniqueness in the galaxy, thus making it a mystery to draw you into the book rather than a distraction to pull you out.

The point, of course, is to know WHY your world is the way it is, and to make sure that its unique characteristics carry their own unique consequences. Fantasy artists can toss in another moon because it’s cool; writers have to deal with how that second moon affects the werewolves every month–or how it affects the counting of the months, for that matter.

Unless you are an astrophysicist, astrobiologist and geologist, you probably can’t readily say what will happen when you start tweaking your world. Fortunately, others have done that thinking for us. Find books, seek out professors at your local university–or call around and find an expert. And of course, remember that how deep you get into worldbuilding depends on how vital your world is to your plot–if you’re writing a fantasy tale that takes place inland, you don’t need to know how your second moon affects your tides so much as how it affects your werewolves. If you’re doing a “pirates on Xenologia” adventure, you’d better know how the oceans react to your second moon.

But my story takes place on Earth! You may not have to worry about the physics (unless you are introducing some paranormal element, in which case you might consider the “physics” of that), but your area still has geology and geography. Consider the differences between San Francisco, Chicago and Phoenix, for example. One is hilly and foggy; the other has multiple rivers; the third is flat and dry. Each has its own geography, and keep in mind that for the sake of your story “geography” includes man-made elements. Part of the geography of Los Angeles includes Chinatown, Little Tokyo, Hollywood, Beverly Hills… When I think about the geography of my hometown, Pueblo, Colorado, I think of the winding highway, I-25, with the mall at the north end, just before the big stucco welcome signs, and the rusting steel mill on the south end, where the city sort of peters out to an empty lot of the old drive-in and the greyhound race track.

 

For More Reading:

http://en.wikipedia.org/wiki/Extraterrestrial_life

http://www.humantruth.info/aliens.html A fair summary of different life possibilities–from organic to robotic

http://www.amazon.co.uk/exec/obidos/ASIN/0091886163/vexencrabtree “What does a Martian Look Like? The Science of Extraterrestrial Life” by Jack Cohen

 

One of my Favorite Characters, Sister Grace

I’m excited to blog today about one of my dear characters, Sister Grace, for two reasons:  First, her second book came out this month—Live and Let Fly.  Second, her story, Siren Spell, comes out today from Flying Island Press.

Sister Grace is not your typical nun.  First of all, she’s not from our world.  She was born in Ireland, but in the Faerie dimension, where magic, elves, demigods and all manner of unusual creatures are a fact of life.  Secondly, she’s not fully human—but I’ll let you read about that in Flying Island.  Suffice to say, it gave her some very powerful magical ability, which for the safety of herself and everyone, were consecrated to God when she was very young,  Currently, Sister Grace is partnered with a dragon, Vern, and they run a private investigations agency here in our world.  Most of the time they handle mundane (and Mundane) cases like finding lost animals or assisting the police when magic might be in play.  Every so often, they have to take on major supernatural baddies  to save our world and Faerie.

Grace is the perfect complement to a snarky, cynical and sometimes selfish dragon.  She’s got the spunk—and the grace—to keep him in line and following God’s direction more willingly than he usually does.  She’s also helped him enjoy his current situation.  Vern is good for her, too—she feels protected and secure with him, and he makes her laugh, which she hadn’t done for a long time before they met.  He also gave her the confidence to use her magic again after having faced some difficult temptations at the hands of some demons.  The two love each other dearly—which makes things a little awkward when Vern turns human for the case in Live and Let Fly.

That’s what I love about Grace, though.  She’s spiritual and utterly devoted to God, but she’s nonetheless human.  She’s been known to lose her temper, grab people by the ear, even get into magical spats with other beings.  She lets Vern get away with stuff now and then.  (Check out Vern’s “Apologia on Extortion,” http:// flowersonthefence.blogspot.com.)  But she’s also ready to sacrifice herself for others and always ready to follow God’s call.  And her reaction to seeing her very best friend as a gorgeous guy?  “Mary loved her sweet Joseph, and there have been plenty of married but celibate saints.  I’ll be fine.  But, just don’t touch me.”

Spirit, spunk, and a big dose of practicality.  That’s Sister Grace.

About Live and Let Fly:

The magic is Faerie.  The technology, Mundane.  When they meet, the survival of the world rests in one dragon’s…er…claws.  See Vern as you’ve never seen him before!  

For a dragon detective with a magic-slinging nun as a partner, saving the worlds gets routine. So, when the US government hires Vern and Sister Grace to recover stolen secrets for creating a new Interdimensional Gap– secrets the US would like to keep, thank you—Vern sees a chance to play Dragon-Oh-Seven.

No human spy, however, ever went up against a Norse goddess determined to use those secrets to rescue her husband. Sigyn will move heaven and earth to get Loki—and use the best and worst of our world against anyone who tries to stop her.
It’s super-spy spoofing at its best with exotic locations (Idaho–exotic?  Well, it is to them!), maniacal middle-managers, secret agent men, teen rock stars in trouble, man-eating animatronics, evil overlords and more!

Here’s an Excerpt with Vern and Grace talking the details of a case:

“Sure it was 2:30, exactly?”

Grace pulled off her shoes and massaged her feet. Then she wiggled her toes. She’s never cared for shoes. “They didn’t say exactly. Why?”

“Something about that time…”

Grace waited patiently while I mulled it over, then wracked my brains. Once upon a time, everything I learned I remembered; now “Wisdom of the Ages” is just a tag line on my Yellow Pages ad. I had my excellent memory back, but only of more recent events, and not always with perfect recall. There was something about the Gap and 2:30. Two-thirty. Two hundred thirty. Two-Three-Oh…

I felt more than heard Grace begin a prayer. She did that sometimes, prayed that a particular bit of knowledge would come to me. In fact, in our first case, her novena caused me to translate a popular song that turned out to be an ancient summoning rite—just in time, too.

I let it go. If there was something about the time we needed to know, God would help me remember. I settled myself down, arms tucked under my chest, and said my own dragon-style prayers until I saw Grace cross herself. “Hungry?”

“Ach, no. I’ve been filled with snacks.”

“Sure, nuns get pastries, but who feeds the dragon? After all, by now they know I prefer lunch meat over lovely maidens.”

She chuckled. “Well, someone hit a doe on the Gap road. Randy asked me to see if you were interested.”

“Best tip I’ve had all day. So how was the wedding?”

“Beautiful. Very simple, very heartfelt. A pleasure to sing at.”

I couldn’t help but grin at Grace’s starry gaze. Who said nuns can’t be romantics, too?

Then her expression changed. “Vern, do ye not think it’s time to apologize to Kitty?”

“Apologize?” I resisted the urge to ask, “What for,” since she’d come up with a list as long as my tail. “If I apologize to McGrue, she’ll only take that as evidence that she’s won somehow. That woman is as bad as—”

“—a dragon?”

There were times I’d rather face McGrue’s accusative stares than Grace’s guileless looks. Couldn’t she at least arch an eyebrow or something?

“I’m going to see what I can pick up at the Colt’s Hoof,” I growled on my way out.

Purchase on Amazon:  http://tinyurl.com/amazonllf

Purchase from Publisher: http://tinyurl.com/LiveAndLetFly

"Christmas Spirits" and Food for the Poor

by Karina Fabian

Dear friends and readers,

This winter, I have two things in my heart and on my mind: caring for those less fortunate than me (or indeed, much of the world) and my DragonEye, PI stories. For Christmas, I’m combining them and would like to share them with you.

Those of you who are “Vern Fans,” know about my dragon who works in our world as a private investigator, and his partner, Sister Grace, a mage and nun in the Faerie Catholic Church. They’ve saved the worlds and their friends in numerous stories and novels. Last year, I wrote a story for Flagship about their first Christmas together. Not only is Grace struggling with the Mundane idea of Christmas, but their home is threatened by a land developer who wants to tear down the entire neighborhood and make a mall. When the Ghosts of Christmas come to visit him, however, Vern and Grace have to solve the mystery before the Christmas Spirits become Angels of Death.

I have revised and am publishing “Christmas Spirits” as a serial story to raise funds for Food for the Poor. This is a wonderful charity that helps people in impoverished nations help themselves. It allows donators to choose their gifts–whether rice for a family for a month, school supplies, livestock, tools or even houses.

I’m asking that you please check out the story, and, if you enjoy it and want to see more, that you donate even a dollar to the cause. Also, if you enjoy the story, let your friends know. I’ll post every Tuesday and Thursday as the donations come in. Right now, we have raised enough to send a family a goat, but the donations have stopped, and we are holding at Episode Four until more come in. Vern would like to send them a cow (he is a dragon, after all), but Sister Grace and I are dreaming of raising enough to buy someone a home. Can you imagine giving a HOUSE for Christmas? Will you help?

Find the story at http://christmasspirits.karinafabian.com. You can also get to it via my website, http://fabianspace.com. Look under the Christmas dragon for the link. You can learn more about Food for the Poor at http://www.foodforthepoor.org.