First Look

Hello, guys. I wanted to post the "back cover blurb" for the novel I'm writing. No, this doesn't mean I sold it, or even that I'm done writing it, but I thought that it was worth posting. This was my first attempt at doing this, and know that I don't even think it's perfect yet, but it works. It gets across everything that the story is about, so while it passes the utility test, I don't think it passes the aesthetic test. Work in progress!

Southern Hospitality

Jerry Steward and Henry Easton Lewis are best friends on a journey to forget. With an old pick-up, two duffel bags, a malfunctioning GPS unit lovingly named "Bertha," and a slew of their own secrets to keep, they set off from their small university in Maine on a trip down to the tropical climate of Florida. However, when they find their plans derailed on a plantation-lined back road in central Georgia, the pair will be forced to not only confront the grisly history of the area, but their own pasts as well.

It is in one of these houses that they find the one remaining soul who still calls Old Tawnee home. With no way to reach the outside world minus a long hike, the two are forced to take the strange Ms. Jeffries' hospitality for the night. However, with each attempt to leave Old Tawnee, the more they are confronted with the possibility that it may be impossible. All the while, Jerry is becoming increasingly aware of a nagging darkness that is growing more pronounced with each passing night. And with each attempt to leave, the mysterious matron of the plantation seems to recognize them both as people they aren't…

In a unique blend of "lad-lit" inspired literary fiction, forged by a plot with a grounding in the paranormal, Southern Hospitality seeks to ask and answer questions on masculinity, religion, slavery, and friendship all while following the chilling plot and secrets of Old Tawnee Road.

Totally Didn't See This One Coming...

So, I'm sitting at home the other day, happily scribbling on my yellow legal pad, minding my own business, getting a lot done on the manuscript, feeling all happy with the way everything is going, and then, completely unprompted, one of my main female characters just comes out and says "I love a woman," and means it.

"But… I had no idea," I said to her, laying my pen down and wrapping my fingers against the legal pad. "When did this happen?"

"Oh, I'm not really sure. I’m quite as surprised as you are by this recent development."

"I see… Does she make you happy?"

"Well, yes, but as you can see from everything else that has happened…"

"Yes, that does make it all a little harder, doesn't it?"(*)

We were quiet for a moment, afraid to say anything stupid. What do you say to the character who has just come out of the closet to you? I hadn't really planned on what I would say. I didn't think this would come about especially in my first novel. Maybe my fourth or fifth, you know? I wasn't quite sure how I would go about it. I asked her.

"Just write me like anyone else, I think," she said, dolefully. "I mean, I'm still human, I just have this monster crush on that other chick you paired me with. Does that somehow make me intrinsically different from anyone else and their love-affairs?"

"No," I said. "It makes you just like them." I paused, taking a look out my window and sipping on my tea before I continued, "I think, more or less, I'm scared about writing you like this because of the ramifications of it."

"What are you talking about?"

"Well, you know, being a guy, how would it look if I went around touting a lesbian character? Wouldn't it come off like I was just perv, getting off to some girl-on-girl action?"

"I don't think so," she said thoughtfully, "I mean, you haven't written anything like that this far into the novel. It would seem odd that all of a sudden, just because I was gay, that someone would rail on you just for putting down the truth about me. In fact, I would go so far as to say if you didn't portray me correctly, that it would eat at you for a long, long time. See?"

"Okay," I concluded. "You are totally now going to be a lesbian, and you are going to be awesome."

"Good," she said, smiling. "Now would you mind getting back to the story? I've been driving in this goddamned car for like, three paragraphs now. It's getting kind of boring."

"Sure," I said. I picked up my pen, and continued her story, one word at a time.


By the end of the conversation, I was very excited about the development. It is a part of her – the same way that other characters love members of the opposite sex. As it stands, it hardly takes up any place at all, but I think that in these times, one must be able to approach matters of sexual orientation with steadfast confidence that sexual orientation only makes up a small part of a character in the same way that it does with a hetero-normative character. She has already taught me a lot, and I think there is still much to tell. This is one of the perennial joys of story-telling: Letting characters that you thought you controlled doing something completely different, and ending up teaching you something. It makes me wonder if these aren't real people on some other plane, letting me borrow their own lives for some small moment, documenting their trials and tribulations, and asking only that I do it with the utmost conviction towards art and sincerity.


-Ken

*What does this mean? Oh, wouldn't you like to know…

The Very Short Prologue.

I have a theory on prologues: they shouldn't be too long.  They should, in fact, be short.  A prologue should be succinct and to the point.  In this vein, I have constructed one for my novel -- Southern Hospitality. So what we have here is the prologue to my WIP (Work In Progress).  I believe it accomplishes what any good prolouge is supposed to, which is to entice without giving much away.  It is a taste and a nice little bite-sized chunk of my novel.

Without further adeu, Southern Hospitality:

Old Tawnee Road was never very well known. It seemed like from the moment that it was laid (from anyone’s best guess it was around the time of the Van Buren administration) it was forgotten. The old road linked two major highways and could save travelers upwards of thirty minutes if they had spotted the street sign that hung slightly askew on a metal pole when it bisected with their path. It was unfortunate then, that the entrance to either side came at a particularly difficult intersection to navigate and so, for the most part, the road remained unchecked for the better part of a century. Traveling southeast along the byway, a traveler would have seen a distinct dichotomy between the two sides: on the driver’s side was untamed and unbridled forest – Georgia Pines, smothered with kudzu and a few bushes skirted along the underbrush; to the right, there were the scant signs that civilization had once prospered in the area – old and rotted clapboard plantations, white and periwinkle paint peeling from the shudders and tiles missing from the roofs. Old Tawnee Road stood as a barrier between the virulent wilderness and the long-forgotten memories of what was.


These skeletons of the past harkened back to a time when slavery was the norm and a house without a bustling team of Negros would be deemed inefficient and quaint. But with the Emancipation Proclamation came an unsustainable business model. The southern rural aristocratic society was born, raised, and died among the shackles of the slave ships that hailed from the shores of East Africa. The great families had long disappeared from the plantations and taken the crops with them. The fields that once bore black-eyed peas, corn, wheat, peaches, and cotton were now fallow, and surrounded the houses that were now mere husks of their former selves – the corpses of the extinct southern gentry

Despite the gentle beauty and glimpses into the past that one could have found on Old Tawnee Road, its ability to keep the forest from encroaching upon the plantation side of the road and the small amount of decay that had come to the structures lining it had created stories about that twenty-five mile stretch of largely uninhabited roadway. The locals spoke of ancient evils that lurked beneath the ground, and ghosts of slaves that lingered in the fields, waiting with scythe in-hand to lop off the heads of any white person dumb enough to walk into their domain. Other stories spoke of specific houses and the histories of their residents, and of murders and infidelities of those residents that branched out to other families and created a web of intrigue and malice that terrified its listeners to the point of taboo.

Perhaps the most intriguing part of those stories wasn’t the variation, but rather the constant. Despite the innumerable ghost sightings and ethereal experiences, there existed one unimpeachable and absolute fact that pervaded every story told: On some nights, at two o’clock in the morning, at 455 Old Tawnee Road in the upper left-hand window, there is a flicker of light where the silhouette of an old woman is seen in a rocking chair – slowly going back and forth, to and fro. After exactly four minutes the wavering, dancing light would extinguish with unnatural abruptness. If one had been unfortunate enough to see that rippling, fiery light through the window, they would not hear, but feel the grating sepulchral lament of that woman as she screamed and moaned in great convulsions of pain that mutilated their senses and coursed through their very being. It would be followed by a feeling that was so brief yet so intense one wondered if they had actually felt it: the cold edge of a steel knife piercing their breast and rending their still-beating heart.

This was the only fact in the lore of Old Tawnee Road. It was never questioned by any of the locals because, at one point or another, they had all had their very essence shaken by that old woman’s death rattle.

Probably still not in its final form, but I like what I have so far.  Thanks for reading!

-Ken