The Shaman and the Roseby Bill Haynes

This is a book sent to my by the author for free, to review. I've sat on it for some time. In part because I've had several other books I wanted to read, in part because I didn't have a lot of time, and in part because being a self-published book I feared the worst.

Unfortunately, my fears were not put to rest once I dug into it. Actually, we started out having my wife read it to me and my two sons in the car. We made it through two chapters, and the kids didn't want to hear any more. The problem from their perspective? A bunch of seemingly unrelated and random events happen. Stuff just happens. Vortexes appear, one minute we're saving a drowning boy, the next we're fighting vampires, then next we're in a cave, brought there by none other than a vortex, which seems to be a common vehicle in this world.

Their basic problem was they couldn't make much sense of what was going on. It was hard to follow. There was simply no connection with the story at all for them. And I had to agree. Some things simply didn't make sense, like when their car stopped working, and instead of walking down the road, for some unexplained reason, they felt they had to climb down a cliff to escape something (they ran as if fleeing for their lives, but no danger was given). Why they would risk life and limb when they could simply walk down the road to the nearest station was never explained. Or why they suddenly found themselves in a cave.

Tonight I decided I would pick it up at chapter 3 while I roasted coffee, to see if this redeemed itself. It didn't. More random events, though at least they're sticking to the theme of vampires. But that was preceded by freeing one of the characters from some bone prison (have no idea how she got there, maybe I missed something in all the mayhem) and I don't really know what was going on. One second you have her talking to a dragon, the next you're in another head, and the next another character inexplicably appears riding  a dragon and frees her.

I read part way into chapter 4 before giving up. This book simply wasn't worth my time to read further. Why was it so bad? Several reasons that I could pick up from reading these first four chapters.

One, the author uses a camera/omniscient view point, but pulls it off very poorly. A lot of the problems with it involve head jumping that is jarring and not smooth. It ends up being all over the place, one point looking at things from a narrator's view point, then into one head and then another, sometimes all three in the same paragraph. Following the author in this story is akin to chasing a rabbit through the woods.

His writing style doesn't help either. Often the actions, dialog, and/or thoughts of two or more characters are combined into one paragraph, making it hard to know who's head and view point we are supposed to be following. His action descriptions contain no feeling, no sense of tension. I felt more like someone observing the scene, but observing while a strobe light was flashing, making the actions jerky and difficult to follow.

Due to the above, we are introduced to at least six main characters in these four chapters, all of them seem to get equal time and none of them appear to be the primary point of view. Because we're jumping around in their heads so much, we can never settle in and get a sense of who they are. As a matter of fact, the characterization of these people didn't distinguish them much from each other. There simply was no way to really connect with the characters.

While maybe there is a plot to this novel, and if I was willing to wade through all this till the end of the book, maybe it would all come together and make sense, I was totally lost as to what was going on. Where it started out didn't seem to point to where it went in the few chapters I read. None of the events appeared to be related to each other save the barest of links. Some scenes appear totally pointless. Nothing happens and there's no attempt to move a story forward. As my sons said, stuff just happens randomly, and without any apparent reason other than it just does. Situations are introduced which don't seem to play a role in the story, like saving the boy from the lake. It's as if the author said to himself, "Hum, I need some excitement here, I think I'll have someone drowning and they can save him. Yeah, that will be cool." Whether that boy ever plays another role in this story from here on out is unknown to me, but my guess is that's the last we hear of him. But neither would I be surprised to find out he returns at some point as some powerful wizard that pulls their rears out of the fire, which such events have already happened.

Aside from an omniscient view point that isn't executed very well, a non-existent or hidden plot line/story, difficult to follow narration, head hopping, irrational decisions and dialog by the characters, one also finds overused and trite plot devices and dialog, an occasional typo (missing question mark, "trioka" spelled differently at times, .38 pistol spelled out in one paragraph and then use numbers two paragraphs from that, are three I recall off the top of my head), "as you know, Bob" dialog, deus ex machina resolutions, the old "look in the mirror and describe yourself" device, and a heavy reliance on adverbs, sometimes telling me what he just showed me, so a good bit of redundant narration.

Needless to say, all this made it very hard to connect with the characters or a story to hook me in. Maybe the story comes together later, but if it can't hook me within three chapters, it doesn't matter. Very few will get far enough to find out if it comes together. But I had the fear of wasting a lot of time reading it, only to discover it had left a trail of smoking gun plot devices that were never fired or resolved. Most people are going to feel the same way.

My suggestion for the author is to hone his craft more. Get it good enough to sell to a publisher rather than taking the shortcut route of self-publishing, because the inexperience shows here big time. If I could describe this novel in one sentence, it would be the author's attempt to throw everything but the kitchen sink into one book before he's taken the time to learn the basics of fiction writing.

And for the reader, this is not a book I would recommend, obviously. I wish I could, because I don't like giving negative reviews, but I have to be honest in my review of the work, and since the author sent it to me for that purpose, I feel I have a duty to give it. But I cannot recommend this book.

Flashpointby Frank Creed

If there is one thing that can be said about Flashpoint, it's this is not your father's Christian apocalyptic tale. This first book in Frank Creed's series (the next book is coming out soon, I understand), introduces us to a world controlled by a group referred to as "One-State Neros." This group attempts to subdue a rebel alliance of Christians who refuse to submit. It is into this group that Dave and Jen are thrown when their own church comes under attack and is captured.

But the world Dave and Jen find themselves in is nothing but unique. Reality finds enhancements with mind downloads, superhuman abilities, and fights that have a decidedly Matrix feel to them. Dave becomes Calamity Kid and Jen, E-girl as they take their places in this showdown and attempt to save their church family and parents from reformation by the Neros. What you end up with is a near-future world that is nevertheless significantly different, but very real.

The positives of this book are several. It has an originality few books have, especially in this sub-genre. The voice of the author itself is unique and compelling. The story and the world will keep you on your toes, and creates a very enjoyable ride through this intriguing world. If you like action, the book is packed with it. If you like cool abilities and science, this is for you. If you like all that with a dose of a distinctive Christian worldview, look no further.

But there are some areas a reader will need to be aware of going in. One, this book uses a lot of slang. If you have no idea what it means to slag something, that should give you an idea. I could usually figure out from context what the words meant, but even then, such terms tended to jerk me out of the story a bit until I became used to them, and I often had to recall what a specific term meant. Some terms I never was sure what they meant. The book is full of such slang, so if that kind of thing bothers you, take note and make your decision to read going in. If you're comfortable with that level of current slang, then you should have no problem.

The other issue that jumped out at me is the overuse of metaphors. He uses them frequently. That is not always bad in itself, but frequently the metaphors caused me (and my wife and kids) to pause the story trying to figure out what he was trying to say with it, because it was a bit obscure. And a few times the metaphors simply felt too much, overdone to the point of not directly linking with the thought being conveyed. The story even ends on one such metaphor we had to stop and figure out.

If you like such metaphor puzzles, this will not bother you much. If you just want to read without having to pause and think about what was being said, it might be an issue for you. I personally didn't mind them as much, but my kids and wife seemed to stumble over them more. We still enjoyed the story, however.

Due to the above, I sometimes had trouble following what was going on. I followed the basic plot all right, but in scenes I had this feeling of being a bit unsure if the picture in my head was what it should be, as if I might be missing something that would make it complete. Sort of like a puzzle with two or three pieces missing. I could make out the bigger picture, but I really would have liked to see it complete, and I'm not sure I did. But in fairness, I sometimes have trouble following narration/story with certain styles, and this felt that way to me. So it may be more me than the author on that point.

And any reader should know this is a Christian book. There is no attempt to claim it is anything but, yet some people may miss that point until they get to the first Bible verse mentioned in the text. They are sprinkled throughout. And while integrated well with the characters and the plot, those of the non-Christian variety, while appreciating the story itself, may find such things annoying. That said, I don't find here an attempt to preach, even though one will find a point made here and there. But generally it is more a showing than a sermon.

Myself, I found the book to be enjoyable. If the above issues don't bother you, I would certainly recommend the book. If they do give you pause, I would still recommend the book. I don't think they make the story inaccessible, and while you may have to work more than you'd like, you'll still find the ride enjoyable and interesting as I think there is a lot to be said for this author's vision and execution. Despite the road bumps I had personally with it, I still am glad I read it and would recommend it to anyone desiring to live a very different life though interesting characters.

Water Fight Goes All Antho

That's right. A YA space opera story I wrote has been accepted to be published in Residential Alien's new anthology: While the Morning Star Sings. It is scheduled to be published in May. The anthology is shaping up to be a great read, based on the authors I'm seeing who are making it in. So I'm looking forward to not only to see my own story in print, but also to read the other's.

You'll not want to miss it! Details will be forth coming.

New, Old Poem Now Up!

Back in 2007, I submitted a poem to Haruah.com, the magazine I worked at as an editor. After that, I later became the managing editor. The other editors liked it, but they also asked for a revision. As it happens, I became distracted and forgot all about that revision. So the other day I was browsing through our stash when I re-read the discussion thread on this one and realized that I had a rewrite pending. So, I rewrote it and now, about two years after I wrote it, it has finally gone into print.

It is called, The Angel of My Desire. I was inspired by the quick connection between mother and child, even before they leave the womb, but certainly after. And the emotion of a baby who has a disease that would send them to a early grave making that connection all the more striking.

So click on the title above and enjoy.

Which way does your action flow?

Passive voice and passive usage. What is it? When should and shouldn't I use it? Well, let's lay it out.

First, I want us to think about this in a different way, a way I hope will make it clearer why and when you should and shouldn't use these modes of writing. I want us to think in terms of the flow of movement in your verbs.

There are three ways the action in the verbs you chose to write with will flow: forward, backwards, and static.

Forward action is what is generally referred to as "active voice." Simply, the action of the verb flows from the subject of the sentence to the object of the sentence. Henry kissed the blond girl. The action flows from Henry to the girl.

Backwards action is when the flow of action moves from the object of the sentence to the subject. The blond girl was kissed by Henry. Here, the subject, the blond girl, is receiving the action from the object of the sentence, Henry. This is known as "passive voice" because the subject is being passive, that is, not acting, but being acted upon.

But action can also be static. There is no flow from or to either subject or object. These are usually typified by the use of linking verbs. The girl Henry kissed was blond. You'll notice the action of kissing is still there, but it is no longer the focus of the sentence. It has been demoted to a modifier of which girl we are talking about: the one Henry kissed. Rather, the focus now is on the fact that the girl's hair is blond. Though it mentions kissing, there is no real action present here. Rather, it is descriptive in a non-active way. This is what is known as passive usage in that the sentence itself contains no real action, the whole sentence is passive. So, I'm terming it static action.

Now that we have the definitions down, let's take a look at these. I've heard some people want to say that backwards action is simply their style, how they write, and chaff at the suggestion that they should change it. Why do editors want and good fiction writers use active voice or forward motion? Why do they say to avoid passive voice or backwards motion in fiction writing?

It's very simple. In story telling, in most all cases (there are always exceptions to most any "rule"), people want to see your main character do something which affects the outcome of the story and brings resolution. A story where everything happens to your main character isn't nearly as tense or interesting as one where your main character struggles to overcome some obstacle, whether they succeed or not. But to see your character do that, you have to use active voice. Otherwise, your main character will either not be the focus of the sentence(s), or the action will be flowing at him all the time instead of him doing the action.

But is there a valid use for backwards action? Yes. One, when you want to show your main character as having lost control, when things are spinning out of control and everything is happening to him. That's a time to use passive voice. If you know what affect it has on the reader when they read a passive voice, you can intentionally use it at times to create a sense of disaster happening all around.

Also, there may be times when you want the keep the action with your main character, but you want the focus to shift to a different character for some affect. For instance, your "hero" is about to strike the final blow that puts the villain in the slammer. Rosh was hit by Captain Flyboy, knocking him out cold.

Another time passive voice is handy is to create distance. The direct object isn't as intimate as the subject is. You are no so much in their head, so distance is created. In the example above, you may not want to make the action of Captain Flyboy as harsh as it might be, and so use passive voice to create some distance so the view is more objective than subjective.

The goal here is to know when you are using backwards action and do it to produce a specific affect. To use it as a style of writing may work for a news article or academic research paper, but for telling a story, its use would be limited to some very special cases. Otherwise, what you will produce is fiction lacking tension or intimacy.

While there are those who overuse backwards action, the bigger overuse is static action. Most writers who don't train themselves, will tend to write with a lot of static usage.

Don't think you do? Try this. Open your story in your word processor of choice. In most, you will find a search function which will highlight your search parameter throughout your document. Open that up and use "was" for the search parameter. Have it find all, and note how frequently this word appears in your story.

For most writers unless they've trained themselves otherwise, you will see it in nearly every sentence, sometimes multiple times in one sentence. What does this mean? It means your action is static which is really worse than backwards action, and you lose the effect it could have when you do want to use it.

Here are some common ways that static action tends to happen. One, when we attempt to describe the action of someone, but instead of describing the action, we describe the state of being of the one doing the action. She felt he was an idiot for not taking her seriously. Here, you are saying what she thought he was instead of describing the action itself. It would be more active to say, She felt he didn't take her seriously. In both, the subject does have forward action, but here the subject of the dependent clause is more active.

More commonly, you see static action appear in descriptions. The car was red. The dog was shaggy. Her hair was brown. In each of these, you are simply saying what something is. There is no action to speak of at all. But how much better to put all that into action when you describe something: A brown haired girl drove a red car as a shaggy dog chased it down the street. Make such statements into adjectives describing the objects, while those objects are in motion, when they are doing something.

But you can even make descriptions themselves come alive: The car flashed red as it passed a dog's bouncing shaggy hair covering a collar connected to a leash held by a girl flipping her blond hair in the breeze. A little wordy, but you get the idea. Learn to drop the linking verbs from your descriptions and they will move the story along rather than put it on pause while you lay out the scenery.

But are there times you want to use static action? Of course! One is in using a valid progressive verb. Henry was thinking she was smart. The first instance of was is a valid progressive verb use, "was thinking." You wanted to indicate that he didn't just think that in the past but had now moved on, but that he started to think that in the past and was currently thinking that in the present. But be careful, there are actions that progressive usage doesn't fit with, actions that by their nature can not be a continuing action. Henry was blowing up the building. There is only a split second when that statement would be true. He's either about to blow it up or he has. Yet, you'll see people use the progressive verb usage when it would be better to simply use past tense.

Another prime time to use static action is when you want to state specifically what something or someone's state of being is. This is often used for a revelation of some kind. Henry was right! Or in a murder mystery you might read, Henry was the murderer!

However, what happens if these statements are buried in an avalanche of static action usage? They don't stand out at all. They are simply one among hundreds of such statements. But, if they are one of the few, the brave, the proud, guess what? They have impact. The realization has force because the story isn't full of wases.

Another time I will use the more static action is in dialog. You don't want to overdo this, but it does give a more natural way to talk. We frequently use them in talking with each other. One of the reasons this works is that static action is more "telling" while forward action is more "showing." While showing is good for narration, we don't naturally talking in showing mode, we talk in telling mode. So, instead of, Henry said, "Did you see her car? It flashed red as it sped past me, the exhaust vibrating in my ears," it would sound more natural to say, "Did you see her car? It was an awesome red!"

But do searches on "was" and other linking verbs and evaluate each use to determine if you could say it in a more active way. This also will identify much backwards action which frequently uses a linking verb. What you should be left with are those uses you really want to keep in there, and they will stand out more when not in a crowd.

As you train yourself, you'll find your writing will be more dynamic and exciting by only using backwards and static action flows to specific instances when they serve a purpose.

Home for Christmas--Wherever That IsPart II

A few who read the first story wanted to find out what would happen once Sisko brought the ogre home for Christmas. I thought the story did end well enough for the original purpose, but obviously there's more story as well! So I decided to bring on part two so you can see the consequences of Sisko inviting an ogre home for Christmas.

---

Sisko and Josh strolled down the street in Raul. Xilner, their newly befriended ogre, followed close on their footsteps. Citizens of the town stared at the ogre as he walked by. One man in a horse drawn cart nearly ran over a child as he stared at the bulky creature.

Josh turned down a street. "See you later. Have a good Nativity feast." He smiled at Xilner. "And you too, my friend."

"Thank you." Xilner bowed.

"And Sisko..." Josh drummed his fingers on his jaw. "Good luck with your mother."

Sisko smiled. "Have a great one yourself. I'm sure my mother will be fine, eventually."

Josh turned and proceeded to his own house. Sisko resumed his trek toward his own.

Xilner stepped up beside Sisko. "You sure your mother will be all right with me?"

Sisko sighed. "It'll be a shock to her, I'm sure. But you are my guest, and I think she'll come around. She's a very loving woman."

"Is there anything I can do?"

"Just be your loving self."

Xilner grunted. "An ogre? Loving isn't usually associated with us."

"You'll be fine. Don't worry." Sisko considered the best way to break this to his mother now that the time had come. They traveled down his street until he arrived in front of the white fence to his house.

Sisko turned to Xilner. "Stay out here."

Xilner nodded.

Sisko walked up the steps and entered the house.

"Sisko, is that you?" His mother's voice rang from the kitchen.

"Yes, Mother." He stepped into the kitchen.

"It's about time. I'm busy getting ready for the Nativity service and you're out playing around. Probably with Josh no doubt."

"I wouldn't say playing around. Josh and I were exchanging presents." Sisko sat at the table.

"Oh, well that's nice. What did he get you?"

Sisko rubbed his chin. "Well, ah...a new friend."

She turned from her dough kneading to stare into his eyes. "Josh got you a friend for Christmas?"

"Yes, and a friend who didn't have anywhere to go for Christmas. I hope it is all right, but I invited him to spend Christmas with us."

She kneaded the dough two more times, slammed her hand into it, and folded it over into a wooden slab, covering it with a cloth. She wiped her hands as she gazed into Sisko's eyes.

"You could have asked me before you invited him."

"Well..." Sisko bit his lip. "That would have been nearly impossible since we were miles away."

She put her hands on her hips. "Miles away? Did Josh do something crazy again?"

Sisko shrugged. "I tried to stop him, but he used a transport spell before I could react. Next thing I know, I'm in another land, who knows where. I met my new friend there. When I found out he would be alone for Christmas, I was sure you would agree I had to invite him."

She stared at the ceiling for a moment before resting her eyes on Sisko. "You have a big heart, son. I can appreciate that. It certainly is the spirit of Christmas to help those without family. I'll set another place at the table tomorrow and increase the size of the meal."

Sisko jumped from his chair and hugged her. "You're the best." He released her. "He's outside waiting. Would you like to meet him?"

She strolled toward the door. "Of course. Why wouldn't I want to meet your new friend. We can't leave him outside." She reached for the doorknob.

Sisko put a hand on hers. "Hold on, first you should know..."

"Yes?"

Sisko breathed deep. "His name is Xilner."

"You could have told me that when you introduced me." She reached for the knob again.

"Wait!" He pulled her hand back.

"Sisko, do you want me to meet him or not?"

"There's one other thing you should know about him."

She stared at him.

Sisko tried to think of a way to break this gently, but nothing came to mind. This was as gentle as it would get.

"My friend, he's an ogre."

She continued staring at Sisko as if his words failed to register. She appeared frozen, but then she sucked in a breath and let it out slowly.

"Are you sure this is a good idea, Son? We're as likely to be eaten by him as to eat with him." She peered out the window and stopped breathing again.

"Mother, he's really nice. If he wanted us for Christmas dinner, he had plenty of opportunity with Josh and I. I doubt I would be here right now."

She shook her head. "I don't know. He's so big."

"He's my friend. I promised him he wouldn't be alone this Christmas. If I need to, I'll spend it with him out of the house."

She pulled away from the window and faced Sisko. "I'd better send your father out to kill another calf."

Sisko smiled. "Thank you, Mother."

She straighten her dress. "Now can we meet him?" She put on a smile and swung the door open. "Xilner! How wonderful to meet you."

###

The time neared for the Nativity service at Church. Xilner sat on the floor, not finding a chair big enough for his rear. "I've never been to a Nativity service before. What's it like?"

Sisko pulled on a fresh pair of socks. "Very joyful and reverent. Just what you'd expect at the birth of a king."

"You'll have to tell me more about this king sometime."

Screams echoed from the street outside. Then loud, deep voices gruffly arced through the night air.

Xilner's jaw dropped open. "Not now. Not here!"

Sisko leaped to his feet and raced toward the door.

Xilner scrambled to his feet. "Wait, Sisko! Don't go out there."

Sisko swung the door open and stumbled outside. If anything bad was to happen, he couldn't allow it to happen inside the house. He didn't want to put his family in danger.

Sisko gulped as he examined four ogres holding torches in hands. Xilner exited the house and stopped on the porch.

One of the ogres spun his head around and saw Xilner. "There you are. We followed your smell from your house."

Xilner clinched his fists. "Can't you allow me this one luxury?"

"We told you not to leave your house. We warned you what would happen if any should help you." He turned to Sisko. "Men, we have our Christmas dinner."

Xilner leaped into the yard beside Sisko. "I will not let you take him."

The ogre threw his head back and laughed. "As if you could do anything to stop me. Have you not learned anything?"

Xilner growled. "I've learned more from this human than I ever have from you."

Sisko whispered toward Xilner. "Is he serious about eating me?"

Xilner nodded. "I did say some ogres do eat people." Xilner met Sisko's eyes. "Problem is, he's a wizard too."

Sisko groaned. "Naturally. Why wouldn't an ogre be a wizard. Especially one who wants to eat me."

Xilner stepped toward the group. "Leave us alone."

The ogre grinned. "Good idea. Why don't you leave us alone!" He cast his hand out and mumbled some words. A bluish light emanated from his hand and enveloped Xilner. He froze, grew bright, then dimmed until he had disappeared.

Sisko felt his gut wrench. "Where did you send him?"

"Back where he belongs. Alone, in his house."

Sisko stepped toward them. "What gives you the right! He's my friend."

"Not anymore. You're our dinner." He spoke more words Sisko couldn't hear and flung his hand out. Bands of silver whipped themselves around his body, immobilizing him. Sisko fell onto the ground with a thud.

The world dimmed. Sisko fought against it, but the spell pressed in upon him, overran his thoughts, numbed his fingers and toes, and then darkness rolled over him, drowning him in frightening thoughts and dreams.

###

Sisko heard gruff voices and felt rocks jabbing him in the back. He cracked his eyes open and attempted to wiggle into a more comfortable position. Tree's lined a clearing. In the center of the clearing, a cast iron pot sat on a fire, filled with bubbling liquid. Several ogres sat around the area. Some in conversation, some napping.

Sisko found the moon in the night sky. The Nativity service would be in progress now, and his mother would be worried sick. Probably blame Xilner for carrying him away, never to be heard from again.

A foot jabbed Sisko in the back. He rolled over.

An ogre knelt beside him. "You're a bit scrawny, but the bones are the tastiest part anyway. I think we're about ready to chop you up and add you to the soup. Any last words before you provide us with enjoyment?"

"Yes. If I get a last request, I would that you cook me in the main steam house in Raul."

The ogre laughed and shook his head. "You think ogres are dumb, don't you. You think we don't know about your steam house? When's the last time you saw an ogre enter there?"

Sikso sighed. "Never."

"Exactly. And for good reason. We know what would happen to us in there. Now, do you have any last words at all? Any message you want us to convey to your parents?"

Sisko didn't want these guys going anywhere near his family. "No, but we have some calves you can have for your dinner. No need to eat me."

The ogre grinned. "We eat cattle all the time. Humans, on the other hand, are a delicacy. Only for special occasions, like Christmas."

Sisko shook his head. "How can you celebrate a birth with a death?"

The ogre drew out a long knife. "Who says we're celebrating a birth? Christmas for an ogre only means two things. Giving gifts and eating good. You're the eating good part." He turned to the ogre manning the pot. "Is the broth ready for the meat?"

It nodded. "Good and ready."

The ogre flipped the knife around so that the blade pointed down. "Nothing personal, you understand."

Sisko's mind raced. What could he do? "My name's Sisko. What's yours?"

The ogre sputtered. "I don't need to know my food's name, nor do I give mine to a meal. Hold still, I'll make this painless." He pulled the knife back.

That didn't work. Sisko closed his eyes and gritted his teeth.

"Stop!" Another ogre entered the clearing. Sisko flung his eyes open to see Xilner moving toward them.

The other ogres all stopped what they did and stared. The ogre over Sisko ground his teeth. "How did you get here?"

"I've had a lot of time to study in my house. Some of my time I spent on learning spells."

The ogre curled his lips. "If so, why haven't you used them before?"

"I didn't have a reason before. Now I do." He stared at Sisko and smiled.

The ogre threw a hand out and said something under his breath. A flash of light blasted toward Xilner, but Xilner cast his arms up and it blasted short of its target as if hitting an invisible wall.

Xilner raced toward them.

The ogre over Sisko pulled his knife back and plunged it toward Sisko's neck. A hand grabbed the knife's hilt and shoved it back up, the tip missing Sisko's neck by less than a quarter inch.

The two ogres rolled onto the ground. Xilner ended up under the other ogre. The knife pressed toward Xilner, the tip of the blade inching downward.

Sisko prayed for God to do something. He couldn't even move his arms and feet. Only pray and hope it would be enough.

But his gut wretched when Xilner's grip gave way, and the knife plunged into his heart. "No! Xilner!" Sisko felt his eyes tearing up.

The ogre lifted himself to his knees, and then pulled the knife from Xilner's chest. Xilner breathed twice before his chest rose once more, fell, and then remained still.

Sisko wiggled, but his binds remained strong. The ogre knelt beside him once more. "Now his blood will be mingled with your own. We'll still gnaw on your bones." He raised the blade. "Time to finish this."

He thrust the blade once more toward Sisko. But he stopped in midair as another blade shoved its way through the ogre's chest. He exhaled a gasp, his eyes wide. Then he fell over onto the ground, revealing a bright angel holding a red sword.

The rest of the ogres scattered like cockroaches when a lamp is lit, leaving Sisko alone with the angel. The bright being waved his hands and the silver bands snapped one by one until Sisko could lift himself to his feet.

He gazed at his rescuer. "Who are you?"

"You don't recognize me?" He cast his arms out as if allowing Sisko to get a better look.

"Sorry, not at all."

"I'm Xilner."

Sisko's gasped. "Xilner! How? You don't look anything like him."

"This ogre put a curse on me, turning me into one of them. I denied them of a meal one other time. This ogre had cast a spell on me that locked me into an ogre's body and required me to stay in the house where you found me.

"But there was one condition he didn't know about. An angel told me if I were to ever give my life for another, the curse would be broken, for no greater love can one show than to give his life for another."

Sisko smiled. "So when he killed you in your attempt to defend me, the curse died and this is the real you."

"As God created me. Yes."

Sisko smiled. "I always knew you were beautiful inside."

"Thank you for being a friend. Without you, I couldn't have been saved. I had to have someone to die for."

Sisko had to grin. "You're welcome."

"Have a blessed Nativity celebration. You'll find Raul about a mile to the east." Xilner vanished.

Sisko didn't waste any time grabbing a torch and jogging back home before the ogres decided to show up again. He dodged trees and brush until the village of Raul broke into view. He kicked up dirt as he shot through the streets until he reached the steps of the church.

He put out the torch in his hand and laid it by the entrance. He entered the service to hear the singing of the Nativity hymn. He slid in by his mother.

She jerked and saw Sisko beside her. She bent down and whispered, "Where were you? I thought that ogre had dragged you away."

Sisko smiled at her. "Helping a friend to give birth, actually."

About that time the priest raised his hand and said, "Christ is born!"

The congregation responded in unison, "Glorify Him."

Sisko felt a warmth settle upon him. He mumbled under his breath, "Yes, it was glorious."

THE END

Home for Christmas—Wherever That Is

As a Christmas Gift for my blog readers, I'm offering this free 1922 word Christmas story from the Realities' world. What happens when you mix an ogre and Christmas together? You'll never guess. Read on to find out. And have a Merry Christmas!

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Sikso held out a gift. He hoped Josh would like it.

Josh smiled and lifted the gift from Sisko's palm. A couple of children passed by on the road in front of his house as Josh ripped the wrapping off.

They had decided to exchange gifts on Christmas Eve. Sisko wished he could have found something prettier than green leaves stitched together, but he had nothing else to wrap it in. He put such thoughts aside. He knew his best friend Josh wouldn't mind. The excitement of the Christmas celebration forgave many minor trespasses.

Josh pulled it out of the wrapping. A polished wooden stick. Josh smiled. "A wand."

Sisko nodded. "I carved, sanded, and stained it myself. Should be useful in your wizard training."

Josh waved it around. "I like it. Thanks." He glanced at Sisko and back to his new wand. "Did your ring add anything to it?"

"No, why would it?" The ring he'd received allowed him to do miracles, heal people mostly, help them in general. He'd been charged to be his brother's keeper, helping whoever God led him to.

"Just wondering." Josh examined the wand close up. "As a matter of fact, this will help me to give you a gift."

Sisko raised an eyebrow. "Josh, tell me what you're planning."

He smiled. "That would spoil the surprise." He twirled the wand through the air over his head and mumbled some words.

"Josh, hold on!" Sisko jumped from the porch. He felt a wave of distortion pass over him. Combined with the movement, it caused his stomach to lurch. His front yard vanished and a forest of trees took their place.

Josh scanned the area as if searching. Sisko followed his eyes to see a house nestled among the trees. Josh pointed at the house. "Does that look familiar?"

Sisko shook his head. "Never seen this place before."

Josh sighed. "I thought I had the transport spell down better."

Sisko frowned. "Where are we?"

Josh stared at the ground. "I don't know."

"But you sent us here."

"I thought I had a better picture of your Uncle Seth's house."

Sisko slapped his forehead. "So that's why you kept asking me all those questions about my uncle's house."

"Milnore said a transport spell worked if you had a clear image of where you needed to transport to."

Sisko leaned against a tree. "So why didn't it work? I think I painted a clear enough picture of my uncle's house."

Josh thought for a second. "Milnore must have meant I needed to be there. To have a complete visual picture in my mind, I have to experience the place."

"Do me a favor? When you're experimenting with spells, leave me out of it?"

Josh hung his head. "Sorry. I only wanted to let you visit with your Uncle for Christmas."

Sisko placed a hand on Josh's shoulder. "You had good intentions. No harm done. Just send us back. You do have a mental image of our village, don't you?"

He smiled. "Of course."

The door to the house flung open and then a young boy flew from it. A man wielding an ax chased after him. "Get back here, you thief!"

Sisko's heart leaped within him. He glanced at Josh. "I'm supposed to help someone here."

"Are you serious? Who, that boy?"

Sisko shrugged. "That's the only one I can see in trouble at the moment."

Josh shook his head. "You can't go running between that boy and an ax-wielding man."

Sisko jogged toward them. "Someone has to."

Josh huffed. "And of course it has to be you. Some Christmas present this turned out to be." He ran after Sisko.

As Sisko drew closer, the man's features grew clearer. Despite his size, he appeared hunched over, and big warts protruded on his forehead and cheeks. The young boy fled too fast. His black hair, shoulder length, flapped behind him as he ran.

"It's an ogre," Josh huffed from behind Sisko.

An ogre! Sisko had never met a live ogre before. The stories he'd heard weren't too flattering either. And this one's face, jaw locked as he chased after the boy, didn't dispel those impressions.

The boy tripped and tumbled to a stop in the grass. The ogre caught up with him and held the ax over his head. "Give it back!"

Sisko drew close enough to attract their attention. They both watched as Sisko and Josh slowed to a stop before them.

The ogre growled. "Stay out. This is none of your business."

Sisko stepped beside the boy. "When I see bullies chasing someone with an ax, it becomes my business."

The ogre pointed at the boy. "He stole from me. I have a right to get it back."

The boy shook his head. "He wants to eat me."

The ogre laughed. "I don't want to eat him."

Josh cleared his throat. "I heard ogres like to eat people."

The ogre shrugged. "Some do." He raised his ax higher. "I don't have to explain myself to you two. Step aside. I have no reason to cut you down, but I will if I have to."

Sisko nodded his head. "Sorry. You'll have to kill me first."

Josh's eyes widened. "Sisko, what are you doing?"

The ogre nodded. "He's right. Why would you want to die for someone you don't even know? Why protect a criminal?"

"Because he's worth as much in God's eyes as you or me. All I know is you're chasing him with an ax."

The ogre sighed. "Have it your way." He pulled the ax back.

Josh flipped his wand out and said some words. Mud flew from the ground and splatted over the ogre's eyes. The ogre dropped the ax and then wiped his eyes. "You idiots!"

The young boy leaped to his feet and fled into the forest.

Josh motioned for Sisko to leave. "You've done your helping thing, now let's go."

Sisko checked his heart. "No, I'm not done here."

Josh groaned. "Why not?" He watched as the ogre splashed water over his eyes from a basin by the side of the house.

"All I know is I still haven't helped the one I'm here for. The boy must not have been it."

Josh stared at the sky. "I would at least recommend we go to a nearby town to find the one you're supposed to help. I'd rather not still be here when the ogre comes back. He's not likely to be too happy with us."

Sisko ran fingers through his hair. "I feel this ogre is the one I'm supposed to help."

"You can't be serious."

Sisko watched the ogre wiping his face with cloth. "I'm afraid I am." But what the ogre needed help with, Sisko couldn't imagine. Finding out would be the tough part.

The ogre approached them. "You two! Why did you interfere?"

Sisko glanced at Josh before facing the ogre. "Like I said, it appeared you intended to hurt the boy."

"I wouldn't have hurt him. I only wanted to scare him." The ogre sat on a stump. "He's stole from me before. It's become a game with them. See who can steal from the fat, slow ogre." He stared into the forest.

Josh glanced toward Sisko, and then back to the ogre. "What did you do to deserve that?"

The ogre jerked his head up and glared at Josh. "Why do you think I deserve it? Because I'm an ogre!"

Josh stared at the ground. "Uh, no, that's not what I meant."

"Of course it's what you meant. Everyone assumes because I'm an ugly and lumbering hulk that I must be mean, dangerous, and deserve every bad treatment." He barred his teeth. "What are you two still doing here anyway. You've done your humiliate-the-ogre bit. Begone and leave me in peace."

Sisko wondered if the poor ogre's problems would be changed if he appeared more handsome, trim, and winsome. He could change that with one prayer and the power of his ring. He reached out a hand, but stopped. No, it didn't feel right. The creature had been created an ogre, and he shouldn't mess with it. But then what should he do with his healing ring to help this ogre with his problems?

Josh met Sisko's eyes. He motioned with his head to leave as the ogre suggested.

The ogre stood. "Go away. I've no patience for trouble makers." He stepped toward the house.

Go away? The words resounded in Sisko's mind. How lonely must this ogre be? Sisko froze. Orge. That's all he was to the boy, to those who lived in this area. To even Josh and himself.

Sisko stepped forward. "My name is Sisko and this is Josh. What's yours?"

The ogre stopped and paused. A few seconds passed, then he turned. "What did you say?"

"I asked, what's your name?"

The ogre's eyes softened and his mouth relaxed. "No one's ever asked me that before." For the first time, a hint of a smile creased his lips. "My name is Xilner. Glad to meet your acquaintance, Sisko and Josh."

Sisko bowed. "The honor is all mine, Xilner."

He sat back on the stump. "So tell me, how come you stayed?"

Sisko grinned. "Because God told me I needed to help you."

"Help me?" He shook his head. "That's a first. No one has ever helped me. Called me names, scream at me, beat on me, steal from me, yes. But help me? No."

An idea popped into Sisko's head. He'd likely get in big trouble for this. "Xilner, do you have any plans for Christmas."

"Plans? What I do every year. Sit in my house, munch on food, and watch the world drift by oblivious to me."

Sisko nodded. "Not this year. This year, I'm inviting you to my house for Christmas."

Josh's mouth fell open. "Your mother isn't going to like this."

Sisko smiled. "Probably not. But I have a feeling Xilner will grow on them pretty quick."

Xilner grinned. "I wouldn't be too much of a problem, would I?"

Sisko waved a hand. "No, no. You're my personal guest."

"And your mother isn't going to like it." Josh glanced at Sisko. "Just sayin'."

Sisko stared into the sky and nodded his head.

Xilner rose and headed toward his house. "I'll get ready. I need to change clothes." He stopped and turned around. "Sisko, thank you."

"For the invite?"

"Well, yes, for the invite. But mostly for treating me as a person." He grinned big before heading back to the house.

"What do you know, Josh. I didn't even need to use my ring to fix this one. He's just lonely. Needs someone to care about him." Sisko slapped Josh on the back. "You gave me the greatest Christmas present ever."

Josh watched Sisko from the corner of his eye. "Really? You're helping him. What are you getting out of it?"

"The satisfaction of being my brother's keeper. And for finding that brother in the most unlikely of beings."

Josh crossed his arms. "Well, glad I could help. I had this planned from the beginning. Just wanted it to be a surprise."

"Right. Now how about getting that transport spell back in gear. And please, please, get a good image in your mind of Raul before you do the spell? I don't want to end up in some strange place for Christmas."

He blew air from his mouth. "No problem. I'm ready." He watched as Xilner exited the door. "But I know your mother isn't going to like this."

The End