Love is a Many Crazied Thing

"And remember. . . " Milnore pointed a long, bony finger at Josh. "Be careful with this spell. Love is a very powerful emotion. It isn't to be used without good cause."

Josh raised his eyebrows. "What is a good cause?"

Milnore tipped his pointed hat back and scratched his forehead. "When it is in the best interest of all parties to do so."

"And how will I know that?"

Milnore huffed. "Use the thought reading spell."

Josh wrinkled his forehead. "I don't think you've taught me that one yet."

Milnore's eyes grew wide. "I haven't, have I?" A smile cracked across his face. "I suppose you are right. But one spell at a time. Avoid using this one until I teach you that one, then."

Milnore raised a finger. He closed his eyes and murmured a spell. His eyes flashed open. "No one is around or listening in. Here is the spell to cause someone to love you."

Milnore leaned in and Josh tilted his ear to him.

"You obtain an item of the one to make love another. Hold it in your hand, and recite the following words after you initialize for a spell: Eros love comes from above, from within, from the heart, instill it in thee for me."

Josh recited the words a couple times.

Milnore nodded. "Good. Keep practicing. I have a meeting to attend. When I return, I'll see if you can use it."

Josh smiled. "If I can't use it on anyone, how can I practice using it?"

Milnore opened the front door to the house and paused. "Insects and animals." He turned and exited the door, shutting it behind him.

Josh grimaced. "I'll not be using that on mosquitoes." He pulled out a chair at the kitchen table and recited the words of the spell several times between gulps of water. After the tenth time, he yawned.

A knock echoed from the front door. Josh leaped up and answered it. His best friend, Sisko, stood in the doorway. "Hi. Come on in."

Sisko stepped inside the house. "Thought I'd come by and see how your training is going."

Josh smiled. "I learned a new spell today."

Sisko's eyes snapped wide. "Huh...I just remembered my mother had some errands for me to run." He wheeled around on his heels and headed for the door.

Josh mumbled the kinetic spell, and the front door slammed shut. "Not so fast! I'm not going to use the spell on you."

Sisko put his hands on his hips. "That's what you said the last time. You about killed both of us with those flying axes."

Josh held up his hands. "I know, I know. I blew it that time."

"And then there was the incident with the dentist."

Josh closed his eyes. "Okay, so I've blown it a few times. But this spell is easy. So easy, it is foolproof."

Sisko seated himself on the living room sofa. "So what is this spell?"

"A love spell."

Sisko rubbed his chin. "A love spell, eh? To make people fall in love with...?"

"Me."

Sisko smiled. "So someone would fall in love with you? Not me?"

"If there is a spell for that, Milnore hasn't taught it to me yet."

Sisko sat up. "I'll bet you can't make Sarah fall in love with you."

Josh gulped. "Sarah? Are you crazy? She's the last person I want falling in love with me." The crazy girl taunted Josh every chance she could.

Sisko pointed a finger at Josh. "That's just it. We both know she hates your guts. If she can be made to love you, you'll know the spell is working."

"It would be a test. But Milnore said not to use it yet."

"I'll do a chore for you."

"Really?" Milnore did expect him to haul wood in and chop it for the fireplace. The spell was simple enough. "Okay. Deal."

Sisko stood. "I believe she is at the market. Let's go."

What had he gotten himself into this time. Why did Sisko want to see this so bad?

-------------------

Sisko pointed down the isle of vegetables. "There she is. With her sister Lori."

Sarah held a brush, combing it through her hair every once in a while. Josh breathed deep and stepped toward them. Sarah glanced his direction as he approached, and then fixed her eyes on him. "What do you want, goofy."

Josh grinned. "Your love."

She gritted her teeth. "In your dreams, wizard want-a-be."

Josh laughed, and then stuck his tongue out at her. The action had the desired effect. She launched the brush at Josh. He ducked, but not quick enough. A thud resonated inside his skull.

"Ouch!" He rubbed his forehead as the brush landed at his feet. He glanced at Sisko, who covered his mouth in a controlled laughter as he approached. He began to think Sisko wanted to see him squirm.

Sarah laughed. "Now, give me the brush back, or I'll beat you up myself."

Josh picked the brush up and then mumbled the love spell. He focused on Sarah to see what she would do or say. Instead, Lori ran his direction.

Sisko patted Josh on the shoulder. "Looks like you nailed the wrong girl."

Josh glanced at the brush in his hand. "This must be Lori's brush." Josh braced himself as Lori raced toward him, a crazed look in her eyes.

Lori flew past Josh and landed on Sisko, sending him sprawling into the dirt. Her lips locked onto Sisko's, as he stared wide eyed at Josh and flailed about on the ground.

Lori moved to kissing his face and neck. Sisko gasped. "Josh, do something!"

Josh snickered. He must have said "thee" twice instead of "me." But this wasn't innocent fun. Lori had started unbuttoning Sisko's vest. She'd have him naked in the middle of town if he didn't do something.

A hand grabbed Josh's shoulder and spun him around. Sarah bared her teeth. "What did you do to my sister, you perverted spell-caster?"

"Nothing really. I..." Sarah's fist landed across his face. Blood trickled from his nose as he staggered back, cradling his jaw in his palm.

Sarah reared her fist back again as she gritted her teeth. "Now fix her, or I'll knock your teeth out."

Josh blinked at the hovering knuckles. He could only think of one solution. He grabbed her arm and said the love spell under his breath.

Sarah's face relaxed. She jerked her head around to see Lori spread Sisko's shirt open, revealing his chest. Her kisses worked their way toward his stomach.

Sarah shoved Josh away and raced toward Sisko and Lori. "You can't have him. He's mine!" She banged into Lori, rolling her to the side. Then she caressed Sisko's bare chest. She closed her eyes and smiled into the sky.

Sisko tried to push her away. "Josh! I'm not doing your chore!"

Lori rose to her feet and plowed into Sarah. "He loves me! Get off him!" The two girls rolled off Sisko and into the dirt road.

Sisko scrambled to his feet. "Now what?"

Josh scratched his head. "I don't know."

A voice behind Josh said, "That's the first sensible thing you've said so far."

Josh spun around. "Master! Am I glad to see you."

Milnore lips tightened. "I thought I told you not to use the spell yet?"

Sisko raised his hand. "My fault. I encouraged him. I should have known better." Sisko glanced at the two girls clawing at each other.

Milnore frowned and shook his head. He mumbled a spell and cast his hand at the two women. "Never mess with a woman's emotions. Way too unpredictable."

Sarah and Lori stopped fighting. They paused for a moment as they stared at each other. Then Sarah rose and dusted herself off. She stalked toward Josh.

Josh ran behind Milnore and peaked out from behind him.

She pointed at him. "You better hide, numb-face. I'll get you back for this humiliation." She growled before turning on her heals.

She paused to look at Sisko, his shirt and vest hanging open. She wiped her mouth with her arm and spat on the ground. "In your dreams, scrawny." Then she stomped away with Lori in tow.

Sisko shrugged his shoulders. "What did I do?"

Milnore cracked a smile. "I do have a spell for turning people into toads."

Josh stood by his side. "Really?" That certainly sounded appealing.

Milnore cleared his throat. "But now would not be a good time to teach it to you. However, I hope you have learned your lesson today."

Josh nodded. "Yes. Don't let friends convince you to use a spell before you know how to reverse it."

Milnore nodded. "Good, but not what I was thinking of."

Josh stared up at him. "Then what?"

Milnore stroked his beard. "Eros love is not a tame mistress. Treat her with respect, and a good dose of agape love to balance it."

"I didn't know about that."

Milnore patted Josh's head. "That, my apprentice, is why I told you to wait. I hadn't told you the whole spell yet."

Josh groaned. Would he ever learn?

---

Read more stories about Sisko and Josh in Reality's Dawn!

Non-Fiction Readers Less Empathetic than Fiction Readers

Recently, at the Speculative Faith blog, I posted an article on how fiction affects the brain in the same way real-life experiences do. While non-fiction can transmit information, fiction transmits experiences that give context and concreteness to that information. The very reason so much non-fiction relies heavily on short story snippets to illustrate their points.

But those short story snippets are no replacement for total immersion into a story. At best they can illustrate the point being made, but the reader is not often lost in a story by which they experience the truth. This is where novels shine and non-fiction is severely limited.

This fact is highlighted by an article from NBC News by Meghan Holohan, titled, "Getting lost in a novel means you're more empathetic." She makes the following observation based on scientific studies:

People who lost themselves in the fiction showed more empathy than people who did not become as involved in fiction or read nonfiction.

“[W]hen we get lost in a book, we are in another world, in which we can freely experience the character’s feelings and thoughts as if they were our own, through which we ‘learn’ how other people think and feel about problems in life. This again can be transferred to real life, so by reading a book and getting involved in the story, we are able to sympathize with other people,” Bal says.

Chalk up another point to the benefits of reading fiction. Not only do those who eschew fiction in preference of non-fiction lose out on experiencing reality from different perspectives, a broader cultural exposure, and increased brain functioning, but also lose out on the opportunity to break out of our ego-centric focus. Fiction gives us the opportunity, as my mom always used to say, to "walk a mile in their moccasins." Or as St. Paul would say, "Treat each other as more important than yourself."

Do you think those who are more empathetic lose themselves in fiction, or does losing oneself in fiction makes one more empathetic, or both?

House Cleaning, God Style

Not too many people enjoy cleaning. Yet my wife cleans houses for a living. Being unemployed the last several months, I've been helping her when she needs it. While it is a little physically demanding for an aging man like myself, it is doable. But every once in a while we get a "special" job.

Such a job came up last Saturday. A client's father had died and the client had done some refurbishing to the house: new ceiling, carpet, and some other work. But not everything had been cleaned up from the move out. So the job had the worst of both types: move out and new construction.

Like most move outs, we had to clean everything. Vacuum out the drawers and shelves. Since they had installed a new ceiling, a visible layer of dust coated everything. And I mean everything! Small rocks lay on the fireplaces. The freezer needed extensive cleaning. The bathtubs, especially one, had crud that needed scraping out. Fun, fun, fun!

On most of these jobs, I get the floor duty. I'd say about 90% of the house was carpeted, with brand new carpet. Did you catch that? Brand new pile carpet! Do you know what that means? I didn't until I started vacuuming.

You see, new pile carpet isn't dirty. But, it is fuzzy. Extremely fuzzy. We use a bagless canister vacuum (luckily). We would have gone through several bags if we hadn't. For each bedroom, I had to empty the canister at least twice. Full of dirt? No, full of carpet fuzz. I must have emptied it out at least 5 or 6 times in the living room. Lots and lots of carpet fuzz! I never realized that new carpets were so full of loose fuzz.

It took both of us working a full 6.5 hours to clean the house, for a total combined 13 hours of work. We were tired, to say the least. And hungry! We'd hardly eaten more than a 6" sub all day. So eight o'clock at night, we went out to eat before heading home, and refueled. Long Saturday!

He texted my wife today. "Great job! Thanks." Another satisfied customer. Not to mention the pay was good. Now he can show the house and sell it. And we can pay some more bills.

The surprise? I expected to be sore the next day as my back was hurting after we finished. But I felt good. While I can't say, "Oh, I love cleaning houses!" I do feel a sense of satisfaction at a job well done. And the joy of spending the whole day with my wife.

Come to think of it, isn't that our motivation with God? Why we "buffet our bodies" and spend time worshiping Him? Because we love Him, and want to spend time with Him, and He deserves it? I think that is part of letting your light shine so that He may be glorified. Whatever you do, do all for the glory of God. Wise words to keep in mind whether we're cleaning a house, worshiping, or writing a novel.

How do you glorify God in your daily activities?

Sex Sells

We all know it. That title alone probably brought you here. It has become common place in many movies to have a sex scene or two. Many books, especially in the general market, have them. Some more descriptive than others.

The Christian market's response appears to be "don't indicate it happens at all." Even in the romance novels, hints that a couple have had sex, even when married, are absent. The buyers of those books read them primarily because they don't have to worry about running into a sex scene, among other "naughty" things.

Somewhere in the middle is a group of writers who want to offer a more "realistic" but not "erotic" set of stories. Show that it happens, but not end up writing erotic porn into their stories. I've seen various views presented, including those in the past on Mike Duran's blog to most recently in a series of articles on the Speculative Faith blog about Vox Day's new book, Throne of Bones, published by an imprint of Marcher Lord Press.

I'd sum them up like this:

No show. Among those willing to go further than nothing, one group doesn't mind indicating it happened or is about to happen, but don't show anything about it. Perhaps the most you're likely to get is kissing and holding hands. Then a statement, if any, that he took her to his bed. The rest you fill in for yourself. Scene break, and you are on the other side of the event. Note: this is what one might refer to as the Biblical model, since this is how the Bible tends to speak of a couple who has had sex.

Stop short. That is, more showing is done to indicate where this is headed. Some heavy petting, maybe touching in more suggestive ways, but the scene cuts away before anything too erotic-like happens. Maybe a telling statement tacked onto the end, but usually not. It is real obvious what happens after that. This is more natural for fiction in that if one is going to show it, then it comes across as more realistic. The "no show" method can appear like someone is purposefully avoiding it and coming across unrealistic. After all, the Bible isn't fiction, and mostly tells rather than shows.

Crack open the door. In this version, the reader follows the characters into the sexual act, but very scant detail is given or more allegorical terms are used. It might be as brief as "he pulled her under the sheets and enjoyed his wife's love." This would use language more like that found in The Song of Solomon. One must keep in mind, however, that the Song of Solomon isn't describing a specific encounter, but is more a teaching on faithfulness to one's spouse, and therefore to God. It isn't going there to tell a story, but to instruct readers.

The primary issues with both the "stop short" and "crack the door open" models is where is the cut off point? At what action in the "stop short" method have we crossed over into a lead up to sex and are getting into the act itself? Once you crack the door open, how far is too far before it becomes erotica?

Some of these can be "gray" areas. For instance, in my novel Reality's Fire, I used the "stop short" method for showing that a married couple who have been apart for a long time were about to have sex. I had them involved in some semi-heavy petting right before cutting away. One of the last actions I had written was him running his hand along her thigh. My editor felt that crossed a line. I was okay cutting it, even though for me, it seemed minor. But that represents that gray area. Some draw the line slightly differently.

That said, it is easier to draw a line with that method than the latter. Certain actions will obviously be crossing that line. If I'd had him groping intimate parts of her body rather than sliding a hand along her thigh, there is no doubt we would have cracked the door open and followed them into a sex act. There is some gray area, but not a lot. Only on the boarder between heavy petting and sexual acts. Most people will know the difference.

But the "cracking the door open" method has its problems in there is no well defined boundary when one has gone too far. Some will find any description of a sex act, no matter how medical, allegorical, or brief, to be too much. Such an intimate act is reserved only for the couple, and to crack open the door on the bedroom is invading their privacy and causing the reader to be voyeuristic.

Some might accept my brief example above as fine, but balk at referring to any body parts, or touching any of them. Others are fine with the body parts or touching, but any descriptive words that convey emotions or feelings would put them into erotica-land. Each person would have different boundaries as to what is too much. So, it is much harder to write with that method and not cross lines.

One also has to consider the unique nature of this act. Unlike a lot of other things: violence, greed, gossiping, eating ice cream, etc., a couple in bed together is an intimate act. Few of us would (or should) feel comfortable sitting in a chair watching their married friends have sex.

Most of us, sitting with the family watching a movie, will feel real uncomfortable when a hot sex scene comes up. "Don't look kids!" But if we are in the room alone, a different feeling arises. Suddenly it is okay, because we're adults and can handle these things. But is it any different, really? When reading about it in a book, are the mental images it creates any less voyeuristic?

The key for me is based upon the following guidelines in my own writing:

Is it gratuitous? That is, does the scene further the plot and/or characters or is it tacked on adding little to the plot? This can be a fuzzy line. What may not be to me could be to an editor or reader.

For instance, the above mentioned sex scene, to me it would have come across as unrealistic to not have that there (more on that in a moment). Removing it and the consequences of that act would have drastically changed what happens. So some case could be made that it furthered the plot. But I could have left that out, even though it would have created a gaping hole. As a sub-plot, it wasn't essential to the main plot. But the initial reason I put it in there is it would have felt extremely unnatural to ignore it based on the circumstances in the scene. Some, however, may conclude the scene was gratuitous. For me, it had a distinct purpose in furthering the story, so it wasn't gratuitous.

Does it promote a sinful lifestyle? When take as a whole story, does a sinful encounter, and this goes for showing all sinful actions, not just immoral sex, give the appearance of endorsing that sin? I've said before: It isn't where a story starts that makes it Christian, but where it ends. I have no problem showing sin, but its negative consequences and moral failure should be shown as well. Otherwise, I'm not being realistic within a Christian world view.

Does it end up drawing the reader into reading pornography? For me, whether an affection can be done in public or not is the key. What happens in the bedroom, stays in the bedroom. Even for fictional characters. Strictly speaking, when the actions and descriptions move into experiencing a sexual act, it becomes pornographic. Once you've gone there, you've drawn the reader into sin, not just observing it. If it would be sinful to watch in real life, so should it be in fictional life.

Is it realistic? Hold on before you jump on that and let me explain. I'm not one to suggest because people do it, we need to show our characters doing it all the time. That would be violating the gratuitous rule. For the same reason we don't show our characters going to the bathroom very often, or taking a bath, or think all the random and meaningless thoughts that go through our heads everyday. Why? Because we'd have one ultra boring book on our hands, and it would take a mega-volume to write it that way.

No, fictional stories are very unrealistic. Few people are put through what most fictional characters endure. How many times in your life have you saved Earth from annihilation? You would have multiple times if you were the Doctor (Doctor Who). If everything that happened to Sisko, my protag in Reality's Dawn, had happened to me, I'd be in a mental ward. Not riding off into the sunset to my next adventure.

But despite that, we give stories the appearance of realism. What destroys that isn't failing to include every bit of realistic activities possible, but to include any that would destroy the illusion of realism. Big difference there. That's why I said to have a husband and wife who have been apart for months, suddenly be together again for a short time and avoid thinking about sex would have broken that sense of realism. It would be expected in that situation. To not go there would have felt artificial.

So I wouldn't include those things to be realistic, but I would to maintain realism in the story.

The issue for me in moving from "stop short" to "crack the door open" is in necessity. Rare would be the plot, short of writing an erotica book, that would require us to follow a couple into the sex act. It is enough to know that it happened whether through telling or cutting away. Much beyond that is venturing into pornography.

Where are the lines you draw as a reader? As a writer? If you are both, do they differ?

Successful Plot Holes

One of the interesting facets of books and movies are how easy it is to write into your story gaping plot holes, to forget well-known facts, or to become inconsistent with what has gone before. Usually books and scripts will get line edits and copy edits, but often not content edits.

Yet despite these plot holes, violations of nature, and the laws of physics, some of these book and movies go on to great success and acclaim. So much so, I'm beginning to think I should purposefully write plot holes into my stories just to increase their chances of success!

By way of example, and I could chose many, let me take the movie, Star Trek, directed by J.J. Abrams and released in 2009. According to the stats, it received an 8 out of 10 rating. It had an estimated budget of $140,000,000 and grossed in the USA alone $257,704,099. By all rights, a successful movie venture for the studio, which is why two sequels are already in the works.

And yet, the movie was filled with problems from a content point of view. To give you a taste, we'll deal with the primary threat/conflict premise.

The "bad guy" has plans to destroy the Federation, one planet at a time. We'll give them the inter-parallel world travel through a created black hole of some kind. While that would be more akin to a worm hole, black holes are unknown enough that space opera like this can postulate such an affect without breaking believability.

However, the evil plan to destroy the Federation is to hover over a planet, drill a hole into the planet by dropping the drilling platform into the atmosphere, dangling by a big chain, from the ship in orbit. Then once the hole is drilled, drop a substance into it that will create a black hole, breaking apart and sucking the unsuspecting planet into it, effectively eradicating the planet from that universe. Right away we have problems.

1. For a ship to maintain an "orbit" over one spot on the planet, they would need to maintain a speed to match the plant's rotation, which would be not enough speed to maintain an orbit. Instead, they would have to have enough power for the ship to counteract the planet's gravity, while maintaining the correct position. Even if we give them a powerful enough ship to do that, what are the odds they can keep that drill right over the same spot? Would be hard to pull off from that altitude.

2. Related to the above, how precise can a drill hanging by a chain hundreds of feet long into an atmosphere from space possibly be? When you account for wind and other atmospheric turbulence, that platform should be bouncing and swaying like a drunkard at a drinking party. No way would that drill be as still as it was and create such a narrow hole.

3. Dropping the drill into the atmosphere on a long chain would create drag on the platform, and the chain would have been flexed, not a straight down drop, further complicating accuracy of the drilled hole. Likely the drill would not be perpendicular to the planet's surface, and would drill a hole diagonally into it as it shook from the forces being exerted upon it.

4. What is the point of dropping a drilling platform into the atmosphere on a very long chain to drill a hole? The Enterprise itself has drilled holes into planets using phasars on more than one occasion. Surely someone from the same era wouldn't need something so error prone as a huge platform dangling from space to drill a hole. Why have all that technology if you don't use it?

5. Black holes aren't easily controlled. Even if they could be confined within a predefined spherical circumference, the ship had a platform still hanging just over the planet. The black hole yanks on that, and the whole ship gets yanked down with it. By all rights, the first black hole they created to destroy Vulcan should have sucked them into oblivion too. It wouldn't just eat up the planet and leave everything else in orbit alone.

6. Kirk should be dead. He and the other two dive off the ship and fall along the chain, entering the atmosphere, and parachute onto the platform in an attempt to cut off the drill. Problem is, aside from the fact it would have taken them a lot longer to fall, being they are in orbit (hours at least assuming they are not at a full orbital speed), in which their air would have run out, they experience no atmospheric reentry burn. Kirk should be one crispy human falling into the atmosphere at that speed.

7. Here's the big plot hole large enough to fly the Enterprise through. The first planet the bad guy attacks and destroys is Vulcan. This is a race who have had warp drive longer than humans. They have flying ships. Ships with lasers or phasers or at least some kind of cutting tools for research. What's to prevent them from hopping in their ships and shooting that chain to bits, putting the drill out of service? As long as it took too drill, they had the time. Yet they are portrayed as helpless victims hiding in caves as their world collapses around them. This is an ending for the "How It Should Have Ended" crew.

Those touch on just some of the consistency problems and plot holes surrounding the main threat and conflict of the movie. But despite those huge problems, the movie did well. More are on the way.

Did I enjoy it? You bet I did. Why? The characters were done well, the chemistry was there, and it was a fun ride. I'll be there to see the sequels, which I'm sure will still have plot holes. Big ones. But I'll still enjoy them.

What other plot holes did you notice? What other successful movies do you like with big plot holes? Do those ruin a movie or book for you?

Interview with Mickey Linerman from Mind Game

R: Today on Entertainment Tomorrow, we have as our guest Mickey Linerman from the smash hit series, "The Virtual Chronicles." Book 1: Mind Game, book 2: Hero Game, and coming in 2013, book 3: Virtual Game. Mickey, say hi to our audience and say a bit about yourself.

M: Hi, audience. (waves hand) I'm a teen...I mean, young adult of 17 years. I live in a town in Montana, or did. Long story yet to be told. But it's a cool story. Anyway, I like games, so these stories play right into my strength.

R: And that would be...?

M: Why, flying space ships and shooting down the bad guys. What else is there?

R: I see you're a bit single-minded on that subject. But how old were you when this series started?

M: 15. To say the least, I've matured through the experiences.

R: In what way?

M: Well, I don't want to brag, but when you're going through the crazy...uh, excrement I've gone through, and helped to save the world more than once, it grows you up fast.

R: So what would you say is your role in this series?

M: (Laughs) To save Jeremy's butt.

R: Fill us in on who Jeremy is, for those unfamiliar with the books.

M: Oh, sure. Jeremy is my best friend. Most of the story is written from his point of view, but I get a slot here and there. He's a lot more cautious than me, but way too trusting of people sometimes. That's where I have to come in and keep him on his toes.

R: This might be a good time to let people know what the series is about. Give us a quick summary of Mind Game.

M: Summary, okay. Mind Game is about me and Jeremy getting trapped in a virtual reality game that, surprise, surprise, isn't all virtual, but interacts with reality in a galaxy far from Earth. Some dictator uses us and other players from Earth to fight in a real war. We try to escape. Things go horribly wrong. How it ends, you'll have to read to find out. Obviously we survive because there is a book two. Duh. But people do die.

R: And Hero Game?

M: We end up having virtual superhero powers, which is cool. We can change into any number of heroes. We thought we'd be fighting normal Earth crime, but then...don't want to give away too much, but some bad stuff happens because the brother of the bad guy in Mind Game comes looking for revenge on Jeremy and to take over Earth. Again, horrible stuff happens, and how it ends, you'll have to read. Plenty of twists and surprises in both books to keep it interesting.

R: And can you tell us anything about the upcoming book, Virtual Game?

M: Hum, we'll, I can say the threat comes from Earth, one we weren't expecting. I'd say of the three, it has a more ominous feel to it, and there is more conflict between us characters. Plus, we are put in an impossible survival situation. And what happens to us by the end was a surprise. Even for the author.

R: Thanks, Mickey, for being here with us. I look forward to reading your next adventure.

M: Thank you. Hey, is it time to eat that burger you promised?

R: (Clears throat) Sure. Let me sign us off here. Until next time, faithful followers, when we'll be back for another celebrity interview.

M: Wow! You mean I'm a celebrity?

R: (Shush) Goodbye, everyone.

Read more about Mind Game and Hero Game, along with sample chapters and where they can be purchased.

The Pain of Paradise

Josh breathed heavily as he lugged an urn of water into the clearing. Milnore's black house lay in the center of it, surrounded by axes, grass cutters, a small plow, and a wooden storage shed toward the back. Green, knee-high grass surrounded the small house.

Milnore exited the house. "Josh, I'm going to town for supplies. Finish filling the water urns and then work on your transport spell."

Josh groaned. "Master, I've practiced that spell hundreds of times. Can't we do something else?"

Milnore stopped his progress toward the trail and turned toward Josh. "Basics first, my apprentice. You have to know it so well that you can do it without thinking."

Josh sighed. He mumbled the words of the spell he'd been taught. His perspective shifted from the edge of the clearing to the porch of the house. "How's that, Master? Now can we move on?"

Milnore stroked his beard. "Not bad. But there was a slight delay in recalling the words. Keep working on it." The wizard turned to continue his journey to town.

Josh shook his head as he let out a breath. "This may be the only spell I ever learn."

"Then learn it well," returned the wizard's voice from the forest.

Josh opened the door and entered. He wound around the couch perpendicular to the fireplace, and set the urn of water next to its companions by the kitchen basin. He turned to get a drink of water before practicing his spell when he noticed a book lying on the kitchen table.

He stepped toward it, and examined the open page. The title at the top said, "Revealing Aura Spell."

Josh raised his eyebrows. "This is Milnore's spell book!" The wizard always kept it hidden. He must have been using it and forgot to put it away before leaving.

Josh flipped the page. "Mental Communication Spell" labeled the page. "Cool. I could use that with Sisko at some point." He grabbed some paper and ink, then copied it down, and stuffed it in his vest pocket.

He flipped through a few more pages until he read, "Visit Parallel Worlds Spell." Josh widened his eyes. "Really? There are parallel worlds we can visit?" He studied the words.

Then he read, "Warning, remember the following words to return from the spot you entered: Reverse the last spell I uttered. Which means, you can't cast any spells in between."

Josh smiled. "I can do this. I'll just go there and come back. What could go wrong?" He read over the spell, memorizing the words.

Once he thought he had it down well enough, he stepped back and stood straight. He whispered, "Worlds of old and times abound, pick one for visiting today, we pray."

The furniture of Milnore's house vanished. Trees and dense foliage replaced them. Birds tweeted happy songs as wind grazed the grass and leaves of the trees.

Josh gazed at the wonder. Every tree, every branch, every leaf, shown as if it had a light of its own. Indeed, he could see no sun in the sky, but light existed around everything.

"Where am I?" he wondered aloud.

"Paradise," a hissing voice said behind him.

Josh turned to see a long lizard-looking creature wrapped around the branch of a tree. Its tiny claws held tightly to stems. Its face flared when it talked.

The creature moved closer. "Would you like to partake of my tree? It is delicious and will make you the most powerful wizard ever."

Josh stared at the fruit of the tree. "Really?" It did look enticing. It begged to be eaten. "How can it do that?"

"By making you like God, the most powerful wizard of all."

The most powerful. That was tempting. Josh shrugged. It was just a piece of fruit. Worst that could happen, he'd eat some food. Best, he'd become the most powerful wizard ever.

He reached out to pick some of the luscious fruit.

"I wouldn't do that, if I were you," a new voice rang out.

Josh jerked his head around to see a man clothed in bright light walk toward him. Josh had to squint. "Who are you?"

"I am man. Don't eat of that tree. It is commanded by my creator to not eat of it."

Josh reached and grabbed one of the fruits. "What's the harm? It's just fruit, isn't it? Why can't we eat of it?"

The radiant man waved a hand at Josh. "Because, the creator said the day we eat of it, we shall surely die."

The lizard hissed. "Surely you shall not die."

Josh realized not only where he was, but what time. "I don't think that is a good idea." He withdrew his hand from the fruit.

The lizard flicked its tongue and slid out of the tree, and fell on Josh, wrapping himself around Josh. "Take me to your world."

"I think you're already there." Josh mumble the words of the transport spell. His perspective shifted to further away from the tree. The long lizard fell to the ground, then climbed back onto the tree.

Josh gasped. "I've done another spell! I can't get back."

The man lifted his hands. "We're in paradise. Why the desire to go back?"

He did have a point. And yet..., "Sorry. I don't belong here. I need to get back to my world and time."

Josh rubbed his forehead. "Maybe if I do it twice?" He opened his mouth and stopped. "Wait a minute. If I do that twice, it will only undo the undo spell." Josh stomped his foot on the ground. "I'm trapped here!"

The man shrugged. "Not a bad place to be trapped."

"But you don't understand. Look at me? Do I look like part of this world?"

The bright human rubbed his chin. "You are clothed with something other than light. Why is that? We're you not created?"

Josh smiled. "Uh, long story." He snapped his fingers. "At least I can stop it. I can change history."

The man cocked his head to the side. "Change history? What is history?"

Josh pointed at him. "Right, you don't have much of it yet."

A rolling thunder shook the ground and caused the trees to sway. But in the midst of the noise, Josh could hear a voice say, "Josh, where are you?" A brilliant light grew as the being approached. Josh cringed at the sound of the voice, and shielded his eyes. The pain grew unbearable, so he ran to a fig tree and ducked into its leaves. He gripped the trunk, and shut his eyes, praying he wouldn't die.

"Josh, what have you done? Why are you here?"

Josh tried to steady his shaking body, to no avail. "I'm sorry, Lord. I can't get back."

"Use 'next to the last.'"

Josh almost opened his eyes, but slammed them shut. It was all he could do to not focus on the pain searing his body. He'd have serious burns if he survived this. "I don't understand, Lord." He hated asking the question, for he couldn't bear the thunderous voice speaking to him.

"In your spell, Josh. Next to last."

"Oh!" Josh winced from the sound of His voice. "Good idea, Lord."

The pain vanished. Josh cracked his eyes open. The blazing light no longer filled the area. He relaxed his grip on the tree, though his arms and legs still shook from the experience.

The shinning man spread the fig leaves apart and stuck his head in. "Of course it's a good idea. He is God, after all."

Josh stood on shaking legs and pushed his way into the clearing. "I thought I was going to die." He examined his arms. "Why, I don't even have as much as a sunburn."

The man's forehead wrinkled. "Have you already eaten from the tree before?"

"Who? Me?" Josh stretched his fingers and arms, attempting to get the shakes out. "Not really. Well, in a manner of speaking, you could say I did, through..." Josh froze for a second. "It's a really long, long story. So long, it would take at least 66 books to tell it all."

The man crossed his arms. "You are a strange fellow. What is a book?"

Josh bowed. "You'll find out." Josh shook his hand. "Thanks for your help. I'll take my leave now." Josh stood straight. "Reverse the next-to-the-last spell I uttered." The forest vanished and Milnore's kitchen reappeared before him. Josh let out a long breath. "Whew. That was close."

"I don't think we've finished with close yet."

Josh turned to see Milnore sitting on the couch, his arms crossed. Josh hung his head. "Sorry, Master. I shouldn't have gone there."

"What did I tell you to do?"

Josh stared at the floor. "I did do a transport spell while there. Quite nicely, if I do say so myself."

Milnore nodded. "The Hebrew word for man is 'adam'."

Josh stared at the wizard. "You know where I went?"

Milnore smiled. "Of course. Don't you think I tried it myself once. I nearly ate the fruit."

Josh nodded. "If it had not been for Adam, I would have too."

"Remember that. Spells you are not ready for can bring about nasty curses."

Josh nodded. "Yes, sir." But he did meet God in person and still lived. That was an experience he'd never forget. And didn't want to repeat, at least until he was ready for it.