This post is part of class requirements for a “Readings in the Genre” (RIG) course I’m taking toward my MFA from Seton Hill University. This RIG is subtitled “The Haunted,” taught by Scott A. Johnson, MFA. This term, I’m expanding my knowledge and practice of POV, especially omniscient. So, as long as my assignments include books written in omniscient, I’ll blog about it here.
Richard Matheson’s 1971 novel, Hell House, is a nasty little haunted house story. It’s a harrowing, action-filled tale stuffed with debauchery and sex about “the Mt. Everest of haunted houses” (Matheson Hell House 17).
Like Shirley Jackson’s The Haunting of Hill House, Hell House is written in third person omniscient. Unlike Jackson’s book, which is limited third omniscient, focusing on protagonist Eleanor Vance, Matheson encompasses all the characters with third person omniscient.
The subjective omniscient narrator
The primary difference between omniscient and other POVs (first or close/intimate third) has to do with the narrator.
Every story has a narrator, but with first and close third, the narrator is one of the characters in the story. With omniscient, the “narrator is not a character within the story but is positioned as an all-knowing… external narrative voice that provides a ‘god-like’ or ‘birds eye view’ perspective of the events within the story” (Cabal How to Write in Third Person Omniscient PoV, emphasis mine).
An objective omniscient narrator reports only what characters do but never what they think or feel. A subjective omniscient narrator can report both what characters think and feel, as well as what they do. Matheson’s omniscient narrator is subjective; we get the thoughts and feelings of all the characters.
Reading to discover POV
How an author handles POV isn’t always readily apparent. Sometimes, you must read a few chapters to fully discover the approach and techniques the author is using.
In the opening scene of Hell House, Matheson’s first line could belong to several POVs: “It had been raining hard since five o’clock that morning” (9). The second sentence provides the first real POV clue: “Brontean weather, Dr. Barrett thought” (9). In omniscient, character thoughts are usually presented indirectly, with a tag. (“Filtering” is acceptable in omniscient and actually necessary from an external viewpoint.) But we can’t be certain of the POV until we read further.
By the end of the first page, Matheson reveals another hint: “[Barrett] was a tall, slightly overweight man in his middle fifties, his thinning blond hair unchanged in color…” (9). We know the author is writing in third person. However, this outsider’s description of the doctor indicates that the narrator is telling the story from an external perspective.
Another clue on page 12 tells us, “Barrett looked appalled.” A close-third character/internal narrator would not describe himself in these ways. After a few scenes, the writing confirms that Barrett’s actions, thoughts, and feelings are reported externally.
As we read through the chapter dated December 20, 1970, we find Florence Tanner introduced in third person (20). Edith Barrett is introduced next with third person that seems closer than the previous two characters’ POVs. Fischer follows with another third person POV (23). By now, we’re able to determine that Matheson’s use of POV is subjective third person omniscient, which he applies to multiple characters.
Techniques belonging to omniscient POV
Omniscient is confirmed on page 27 with a description of multiple character action: “All of them gazed at the hill-ringed valley lying ahead…” (emphasis mine). This is direct reporting from an external narrator. On 29: “The cold was numbing, a clammy chill that seemed to dew itself around their bones (emphasis mine).”
In the December 21 chapter, the scene headed “2:21 p.m.,” the internal thoughts of Fischer (43) and Barrett show up in the same scene (44). At this scene’s end, Edith reads a list of psychic phenomena observed in the house, and the narrator expresses her thoughts (46). Here, we have the POVs of three characters shared in the same scene. This can only be done with subjective omniscient.
“Head-hopping,” as it’s called in literary circles, continues in many scenes (81). (And, contrary to popular belief, there’s nothing wrong with head-hopping—if it’s done right.) Matheson pulls it off skillfully. He even enters three heads in the same short paragraph: “Barrett… had not been aware… Florence sat stricken… Edith felt a rush of pity for her” (228).
The Third Person Omniscient POV
Florence tells Fischer “the secret of Hell House”: “Controlled, multiple haunting” (174). Perhaps this is why Matheson used controlled third person omniscient POV to tell this ghostly tale…
I’ll be looking for more contemporary novels to study omniscient POV. I’ve included a short list at the end of this post.
A word on Matheson’s portrayal of Spiritualism
Not many know this, but I studied Spiritualism intensively for five years, achieving the equivalent of a masters-level education through completing a year’s study with the Morris Pratt Institute, the educational branch of the National Spiritualist Association of Churches. I also attended a two-year ministerial program at Fellowships of the Spirit in Lily Dale, New York, what many consider to be the Spiritualist capital of the Western world. I practiced mediumship for several years. (Here’s a video I made about developing clairvoyance.)
As I read Hell House, I was impressed with Matheson’s knowledge of parapsychology and Spiritualism. His mention and portrayal of mental and physical mediumship; the use of a cabinet (an enclosed space to keep light out and energy in); Florence’s devotion, beliefs, and practices; and Fischer’s description of his boyhood abilities all rang true to my studies.
Other practices Matheson accurately mentioned include: psychometry with Daniel Belasco’s ring (130), Florence’s funeral prayer (129), her mention of guides and spirit doctors (131–132), the renowned physical mediums Daniel Dunglas Home and Eusapia Palladino (136), physical phenomena such as ectoplasmic masking (162ff), the difference between mental and physical mediums, and, sadly, Florence’s channeling of Red Cloud (64ff).
Matheson’s research on Spiritualism and the afterlife in Hell House was probably a carryover from his 1978 novel, What Dreams May Come, which I recommend for a Spiritualist portrayal of “life on the other side.”
This post is part of class requirements for a “Readings in the Genre” (RIG) course I’m taking toward my MFA from Seton Hill University. This particular RIG is subtitled “The Haunted,” taught by Scott A. Johnson, MFA. This term at Seton Hill University, I’m concentrating on expanding my knowledge and practice of POV, which I’ve studied for years and will continue to study until I master as many POVs as I can.
So much could be said about Shirley Jackson’s 1959 novel, The Haunting of Hill House, a classic haunted house story. But in this post I’ll concentrate on Jackson’s use of point of view (POV).
In omniscient you can move from a highly external and distant perspective in one paragraph to a close, internal perspective in the next, so long as the switch makes sense to the story and isn’t too jarring for readers. … Omniscient allows you to move between internal and external viewpoints as needed, hop into the heads of multiple characters in a single scene, and offer information above, beyond, and outside the scope of the protagonist’s direct experience through an “all-knowing” narrator.
(Rosenfeld 113)
In The Making of a Story: A Norton Guide to Creative Writing, Alice LaPlante states that omniscient can employ any or all of the following narratorial abilities. You may implement them completely or limit them in whatever ways you, as writer, decide:
Present dialogue (direct and indirect) of all characters
Share every character’s thoughts and feelings
Report all events and action (knows all)
Describe everything—what characters can and cannot observe or sense
The book begins with a philosophical statement concerning “absolute reality” (Jackson and Miller 1). Background information follows about Dr. John Montague and his attempts to find individuals having some sort of psychic sensitivity to stay with him at Hill House, where he hopes to experience and study any supernatural manifestations that might happen there. The whole first scene is relayed in omniscient POV.
The next scenes introduce Eleanor Vance, Theodora, and Luke Sanderson omnisciently.
The scene beginning with “3” in chapter 1 contains very few POV clues. It consists entirely of dialogue between Eleanor, her sister, and her sister’s husband, who argue about whether Eleanor may take the car to drive to Hill House. However, in the final line, the brother-in-law says something, and the narrator states that he was “struck by a sudden idea” (8). This indicates that the hovering omniscience has encapsulated his head.
In the following scene, that hovering omniscience—which is like a globe of consciousness that can expand to include many characters, places, and times (as in the opening scene), or shrink to concentrate on the thoughts, feelings, and actions of a single character—engulfs and primarily accompanies protagonist Eleanor Vance.
Jackson provides no intimate scenes from any of the other characters’ viewpoints. Therefore, I would describe Jackson’s book as falling under the category of limited third omniscient: the story is told from an omniscient viewpoint in third person, and when intimate with one character, it is limited to her viewpoint.
I would describe Jackson’s book as falling under the category of limited third omniscient…
—Lee Allen Howard
Proximal shared POV
When other characters enter the contracted globe of consciousness surrounding Eleanor by becoming proximal to her, their thoughts, feelings, perceptions, and actions may also be also shared. For example:
When Eleanor and Theodora are huddled together in Eleanor’s room, “Eleanor and Theodora saw the wood of the door tremble and shake” (96, emphasis mine).
After a heated quarrel: “Silent, angry, hurt, they left Hill House side by side, walking together, each sorry for the other. … neither Eleanor nor Theodora reflected for a minute that it was imprudent for them to walk far from Hill House after dark” (127, emphasis mine).
Theodora proximal to Eleanor
Key uses of omniscient
A fine example of broad omniscience occurs at the end of chapter 3. Narratorial description skips from Mrs. Dudley at home in bed, Mrs. Sanderson 300 miles away, Theodora’s friend at home, the doctor’s wife, Eleanor’s sister, and an owl in the trees over Hill House! (67)
The final scene of the book mentions Mrs. Sanderson’s relief, Theodora’s friend’s delight, Luke’s escape to Paris, and Dr. Montague’s retirement. This final paragraph closes with a repeat of the first about the house from a broad omniscient scope.
Conclusion
Considering that the house takes on the status of an antagonistic character, omniscient works well. It enables the narrator to make many statements about the house such as: “Hill House itself, not sane, stood against its hills, holding darkness within” (182).
The expanded globe of consciousness can include philosophy, history, exposition about characters, the hills, and the house itself when no character is there to report his or her perceptions. The ideas, comments, and perceptions belong instead to the lofty narrator.
Omniscient is fitting for a psychological horror story about a house that may itself possess consciousness. Because the house is all-knowing, like omniscient POV, it’s able to invade and subsume the mind of the tragic Eleanor Vance.
I just spent the past five days at Seton Hill University in Greensburg, Pennsylvania, to get “F”ed. Or to start getting “F”ed. Let me explain…
Back in 2006, I completed SHU’s Writing Popular Fiction graduate program to earn a Master of Arts in genre fiction writing. Death Perception (my fourth novel) was my thesis. SHU since upgraded the program to an Master of Fine Arts (a terminal degree), so I applied again last fall and was accepted. So I’m going back for the F.
The extra 27 credits will center on the teaching of creative writing and writing about popular fiction—something I want to do more of in the coming years. I’d also like to teach at the university level when I retire from technical writing.
The program consists of three week-long residencies, one in January and the other in June, graduating the following January. I’ll be working on another novel, tentatively titled Elder-Feral. My faculty mentor is Scott A. Johnson, author of Shy Grove: A Ghost Story and Cane River: A Ghost Story.
Can you teach yourself to write a novel through a reading program? I did. Here’s how.
Back in 2006, I earned a master’s in Writing Popular Fiction, producing Death Perception as my thesis novel. But the greater part of my literary training came from self-education, through which I learned many things I didn’t in school.
For over thirty years, I’ve read and studied hundreds of writing craft books, many pertaining to aspects of novel-writing. Some books were better than others, but most offered something to improve my writing. (I maintain a growing list of what I consider the best books at Lee’s Favorite Writing Texts.)
The self-education process
If you’ve never written a novel before or want to improve your current process, here’s a self-education plan to get you started:
Understanding the hero’s journey as a prerequisite for further study
Developing an idea
Structuring the external plot
Mapping the protagonist’s inner story of change (character arc)
Weaving plot and character arc into a properly structured narrative
Writing effective scenes
Incorporating theme to enrich your narrative
Writing well
Revising your work
Editing to polish your prose
1. Understanding the hero’s journey
Many fiction craft books refer to the “hero’s journey,” popularized by mythologist Joseph Campbell. As a prerequisite to your journey of self-education, I recommend boning up on mythic story structure.
I’ll admit I’ve never read Campbell’s The Hero with a Thousand Faces. Instead, I heartily recommend the latest edition of Christopher Vogler’s 🌟 The Writer’s Journey – 25th Anniversary Edition: Mythic Structure for Writers. Highly accessible, it will teach you what you need to know about the hero’s journey—and provide a basis for understanding the next books included in this self-education program.
(By the way, I followed Vogler’s blueprint for Death Perception, which was well received.)
2. Developing a novel idea
Fashioning an idea into a full-blown plot has been one of my biggest challenges the past three decades. There are precious few books out there that lead you through the process of getting, brainstorming, and developing an initial idea into the basics of a workable plot.
However, one of the best books I’ve found that covers this early part of the writing process is Robert C. Meredith and John D. Fitzgerald’s classic, 🌟 Structuring Your Novel: From Basic Idea to Finished Manuscript. I turned the first three chapters into a worksheet that I’ve completed for every novel I’ve written:
“How to Develop an Idea into a Novel and Test It”
“How to Develop the Basic Conflict”
“How to Develop a Plot or Story Line”
Answering the questions in these chapters will supply basic plot points needed for the next step.
3. Structuring the external plot
Most popular novels have a plot that follows three-act structure. The best books I’ve read (and reread) about story structure include:
Along with external plot events, great novels include the main character’s inner story of change, or character arc. Character arc maps the lead’s development from a person with an inner need who, through challenges and conflict, learns to become a stronger, better person (or fails to).
Now that you’ve arrived at this point, a book that weaves the hero’s journey, plot structure, and character arc into one how-to is Susan May Warren’s The Story Equation: How to Plot and Write a Brilliant Story from One Powerful Question. It’s a bit convoluted in its presentation and won’t make sense if you read it earlier in this process, but it nicely wraps everything together and will help cement the previous concepts into a workable story.
Besides having a developmental editor and beta readers give you feedback, fiction writers today must learn to edit their own work. My recommended texts for this purpose are:
As always, if you need an editor to teach you how to self-edit your own work, consider hiring me for developmental and/or line editing.
If you want to learn how to write a novel—one that has a better chance at being published—spend a season reading and studying the books above.
If you have a favorite craft book, drop me a comment below and let me know what it is and why you like it. I’m always seeking to learn more about fiction writing.
What are writers to do when they have an idea and the ambition to write something they’re not yet skilled enough to write or don’t know how to tackle? How do you know if your capabilities are inadequate or you’re simply not working hard enough?
Kyle Winkler posted these questions on Twitter the other day, and they intrigued me enough to write this post.
When your literary reach exceeds your grasp
As readers first, writers can comprehend and appreciate writing at a level they’re not yet capable of producing. If you conceive an idea and attempt to write the piece but can’t pull it off for one reason or another, you’ve tried but may not have the skills to complete it or to fully realize your intention for it. Or you haven’t yet stumbled on how to approach it.
This doesn’t mean you’re not working hard enough; you’re simply working to the limits of your capabilities at this point in your career. Stephen King wrote Carrie first and The Stand later.
There’s also a difference between knowing something’s not right and knowing what’s not right—and how to fix it. This only comes with experience and continuing self-education and practice.
Enter the writing process
I recently developed a writing process I hope to perfect so that I’m always producing work. The phases I still find challenging are Ideation, Brainstorming, and Plotting—developing an initial idea into a workable plot with a beginning, middle, and ending. (Character development and theme also fall into these stages.)
“Working hard enough” may mean you shelve a piece, continue to write other things and study writing craft—for years or decades—before you get back to the piece with the increased capabilities to identify what’s wrong or what’s needed and then go on to fix it or otherwise fulfill your initial creative vision for it.
Development of a novella
For instance, I originally got an idea for what I thought was a supernatural horror short story back in September 2004 after reading William F. Nolan’s 3000-word story, “Diamond Lake.” The earliest draft of my story I produced, tentatively titled “Kissing Cousins,” was also 3000 words, dated March 2005.
But the story didn’t work, and I didn’t know why. I sent it out for critique and comments, much of which I incorporated in further drafts. It still wasn’t right, and I was at a loss to discern why.
More edits and another critique in 2007. Still not right.
In 2008 I workshopped this story at Borderlands Writers Boot Camp in Baltimore. I got some great feedback (altogether a terrific workshop experience that really boosted my writing at the time—I can’t recommend it enough), but I still couldn’t make the story work. I vaguely remember another participant saying, “The story should be longer.” That was helpful yet simultaneously frustrating because I didn’t know exactly how to do that—should I pour more words into it simply for the sake of making it longer? (This was the beginning of progressing from something’s wrong to what’s wrong.)
One of the many problems with the piece was that I relied on a lot of “telling.” Looking back on it now, it was an indication that, instead of the narrative of an actual story, I had the narrative of an outline of a story. (This is when I progressed from knowing what’s wrong to knowing how to fix it.)
In 2008, I completed a series of worksheets I’d previously developed from helpful writing texts. This got me closer to the story I wanted to tell, which I’d retitled as “Oddington.” From that process, I expanded some of the outlined portions into dramatized scenes and grew the piece from 3000 words/13 pages to 13,000 words/60 pages. I now called it “Dinosaur Rock.”
I was getting closer but, nope, the piece still didn’t come together. I shelved it for over adecade.
The missing puzzle piece
I wrote no fiction and read little in 2020, especially the second half. Terrible time with health problems compounded by COVID isolation. But at the beginning of 2021, I got back into reading writing-craft books and came upon three by K. M. Weiland: Creating Character Arcs, Structuring Your Novel, and Outlining Your Novel. (Character Arcs was new, but the other two I’d had on my shelves for five years and never read.)
What I learned in these books wasn’t new (I’ve read and studied hundreds of craft books in the past thirty years), but it crystallized a portion of my writing process. Along with the study of theme (The Moral Premise by Stanley D. Williams, Writing Your Story’s Theme by K. M. Weiland, and Writing Deep Scenes by Alderson and Rosenfeld), developing a workable process to get from Idea through Outlining enabled me to fill in the story’s holes so I could get to the Drafting stage. I developed many more worksheets/questionnaires that are now part of my Scrivener project template that I copy to begin a new book.
How I proved my writing process
I codified my writing process and cultivated a new idea received January 21 (for which I highly recommend Meredith and Fitzgerald’s Structuring Your Novel) into a Plot with a beginning, middle, and ending. Using the new worksheets I developed from the Weiland books, I co-developed my protagonist’s internal character arc with the external story/plot arc into a somewhat detailed scene-by-scene outline in a month. I spent another twenty-nine days Drafting. I finished April 18 with the first draft of novel #7, a 40,553-word horror/mystery. You can read more about my stats at Novel #7 Finished.
The previous paragraph is here simply to prove (at least to me) my process works.
While #7 gelled before I began Editing, I wanted to get to work on something new. I toyed around reviewing my ideas file but, clicking through my FICTION folder on my laptop, I came across the dusty “Dinosaur Rock,” and a bloody flower budded in my twisted little mind. Forgetting everything about Lucy holding the football for Charlie Brown to kick, I reviewed the old worksheets and reread the 60 pages I’d written back in 2008.
I was convinced this piece still had potential and that finishing it was imperative because I had something important to say. (Certain pieces nag you for a reason—don’t give up!)
Even though part of my work was done years ago, in that I’d completed a few worksheets, I went through my entire, newly developed Brainstorming, Plotting, and Outlining stages and completed all of my current worksheets.
Lo, and behold, missing pieces showed up, and I began to see what was wrong as well as how to fix it.
I Outlined those plot holes, Drafted the dramatized narrative, and plugged the results into my Scrivener project. I compiled and printed, Edited it, and sent it off to a beta reader last week. “Dinosaur Rock” finally came out to 17,800 words/71 pages, a novella on the shorter side.
It took nearly twenty years, but because I intended to finish the piece, continued to study writing craft and occasionally worked on the story to apply new things I’d learned, I was able to move from something’s wrong to what’s wrong to how to fix it.
Certainly, I have more revision and editing ahead of me, but this piece is finally realized. And I now have a new perspective on “abandoned” ideas and Inspiration in general.
The importance of having a writing process
First, as a writer, you must have a process. Yes, your process may be different from mine, it will develop and change over time, and you may abandon its belaboring if you become practiced enough to internalize it (see Lee Allen Howard’s Eight-Step Writing Improvement Process at Wordsmithereens.net). But, unless you have a defined process, you cannot identify failure points.
Knowing your process helps get you from something’s wrong to what’s wrong, and perhaps even how to fix it.
The prescient power of ideas
Second, not to get all religious or metaphysical (well, maybe metaphysical), inspiration takes faith as well as hard work to realize.
Have you ever had an idea for a book, but either didn’t know how to execute it or didn’t get around to writing it, and meanwhile someone else published a book based on that same idea? (I’ve kicked myself more than once over this.)
I believe that Inspiration in the form of Ideas is “out there,” seeking any and every channel to be communicated to humanity. Those with sensitive receivers (a.k.a good old-fashioned imaginations) pick up on these Ideas. Fewer have the capabilities and skills to develop these ideas into a Plot that can be encoded as narrative (Drafted). Others who have studied their craft and developed a process are able to realize those ideas into a finished product (Marketed).
Ideas are like seeds that seek to propagate themes in the soil of humanity’s minds. Inspiration, whether it comes from the Divine or the Collective Unconscious or your own creative brain, needs a process to materialize Ideas into marketable material that can be consumed by the reading public.
Some writers are fortunate enough to realize this process early in their careers. And some are blessed enough to have it internalized. I ain’t one of them.
I took AP English in high school. I earned a bachelor’s in English and a master’s in Writing Popular Fiction. I attended many workshops and conferences and classes, read hundreds of books on writing craft, and wrote a lot of unpublishable stuff. It took me fifty years (I started writing horror fiction in second grade) of grueling work to identify and codify a process to generate fiction from Idea to Market.
Inspiration doesn’t take your present skills into account. If you’re open to receiving an Idea, you’ll get it. Your ambition may outpace your capability at this point in time, but ideas and ambition have a prophetic influence on your career: They give you something to work toward and live up to; they call you to develop your art and skills so that someday you’ll be able to realize your literary visions.
Ideas and ambition have a prophetic influence on your career: They give you something to work toward and live up to; they call you to develop your art and skills so that someday you’ll be able to realize your literary visions.
—Lee Allen Howard
Never criticize your capabilities. They are what they are at this point in time. And that’s good reason to keep working hard, reading fiction and writing craft, studying, trying, burying and resurrecting, and trying again. You can’t force professional development, but you can get better over time if you apply yourself.
How to nurture a big idea
If you’ve conceived a story you don’t yet have the ability or know-how to write, the first thing to do is set your intention that you will write it. If you can’t be positive about it, at least remain neutral; anything else is unproductive.
Recognize it will take a while until you get to it. Know that you’ll need to think about it, consciously and subconsciously, until things percolate. Understand you must continue to study and practice to get to where you can write it.
Then do what you can on the project today, even if it’s creating a folder on your computer, starting a Scrivener project with your working title, and making a bulleted list of possible ideas for the piece. (Again, I recommend Meredith and Fitzgerald’s Structuring Your Novel for its chapter on turning your idea into a plot.)
In some small measure, you’ve moved from thought to materialization. Even if you don’t touch the project for a year or a decade, you’ve begun. As further inspiration comes, be sure to capture it.
Granted, not every idea you receive or generate will become published material. I have a slew of ideas I’ve recorded over the past thirty years that remain seeds. A few will someday germinate; others may never progress to Brainstorming. Some might make it to Plotting, where I’ll lose interest in them.
But there are certain seminal ideas that will not let you rest. They may frustrate or disturb you. They haunt you and won’t let you go.
If you’re in possession of one of these, nurture it. Though you may be unable to fulfill that vision today, don’t give up. Set an intention for fruition. Remain neutral and receptive. Do what you can do today. Develop your writing process. Study. Learn. Apply what you’ve learned. Try again.
One day, you’ll find the missing pieces that let you complete the puzzle and see the big picture.
I attended Seton Hill University’s In Your Write Mind writing conference June 28-30, 2013. It was the third time I presented, this year on “Self-editing for Publication,” which was well-attended.
Matt Dowling of FCTV’s Going LIVE, a variety show focusing on arts and entertainment, was there to interview many of the authors. Here, I share the spotlight with the fabulous Sally Bosco, author of The Werecat Chronicles.
Asylums once used to confine those deemed mentally unfit to linger, forgotten behind trees or urban development, beautiful yet desolate in their decay. Within them festers something far more unnerving than unlit corners or unexplained noises: the case files left to moulder out of sight, out of conscience.
Stephanie M. Wytovich forces your hands upon these crumbling, warped binders and exposes your mind to every taboo misfortune experienced by the outcast, exiled, misbegotten monsters and victims who have walked among us. The poetry contained in Hysteria performs internal body modification on its readers in an unrelenting fashion, employing broad-spectrum brutality treatment that spans the physical to the societal, as noted in Stoker Award winner Michael A. Arnzen’s incisive introduction.
GREENSHIFT is a tale set within the world of AMBASADORA.
Mari’s rare eye color makes her a pariah within Upper Caste society, which is why she prefers plants to people… except David, the former Armadan captain who shuttles scientists around on a refurbished pleasure cruiser.
But someone else is interested in Mari and her distinctive look—an obsessed psychopath who tortures and murders women for pleasure.
When the killer chooses Mari as his next victim, the soldier inside David comes alive, but it is Mari who must fight for her own life and prove she isn’t as fragile as the flowers she nurtures.
Sometimes a battle between good and evil doesn’t look much like the ones they show in movies. The good guys don’t always wear white, and they don’t always walk away with the win.
And sometimes you’re better off with the devil you know.
The last time Preston went down to the crossroads, his best friend died and he nearly lost his brother. But Old Scratch doesn’t take kindly to fools, especially not those who come knocking at his front door. And before all is said and done, he’s going to teach Preston a thing or two about what it really means to sacrifice.
And the winner of the DEATH PERCEPTION giveaway is…
What a release party it was! On Facebook from May 15–31, 2013, I posted special offers and trivia questions for prizes, including DEATH PERCEPTION magnets, signed limited edition postcards, coffee mugs, books, and… a Kindle Paperwhite!
Winner of the Kindle is Meg M. of Michigan. Congratulations, Meg!
Kindle Paperwhite
I will be sending out prizes this week. A BIG THANK YOU to all who participated and purchased a copy of DEATH PERCEPTION! All trivia contents on the Facebook events page are closed as of May 31, 11:59 pm.
I’ll be reblogging the guest posts hosted at various sites over the past two weeks. Thanks to everyone who hosted me.
I’ve gained about 50 new Twitter followers, and over 100 new followers on my Facebook author page. THANK YOU, everyone, for your growing interest!
You made the release of DEATH PERCEPTION a special and exciting time for me. I hope you enjoy the book. If you’ve read it, I’d love to hear from you personally, or in a review on Amazon, Barnes & Noble, Goodreads, or my book page.
Richard Matheson’s 1971 novel, Hell House, is a nasty little haunted house story. It’s a harrowing, action-filled tale stuffed with debauchery and sex about “the Mt. Everest of haunted houses” (Matheson Hell House 17).
In the following scene, that hovering omniscience—which is like a globe of consciousness that can expand to include many characters, places, and times (as in the opening scene), or shrink to concentrate on the thoughts, feelings, and actions of a single character—engulfs and primarily accompanies protagonist Eleanor Vance.
Considering that the house takes on the status of an antagonistic character, omniscient works well. It enables the narrator to make many statements about the house such as: “Hill House itself, not sane, stood against its hills, holding darkness within” (182).
Back in 2006, I completed SHU’s Writing Popular Fiction graduate program to earn a Master of Arts in genre fiction writing. 
