Elements of Modern Storytelling: Romance, A Guest Blog by Dellani Oakes

By Stephanie Osborn
http://www.stephanie-osborn.com

Today we have another romance writer -- but Dellani Oakes writes romance/suspense/thriller/mystery crossovers! (Have you noticed a distinct trend in authors writing genre crossovers? I really think bookstores should look into this.) Dellani is an old friend and a skilled writer, blogger, book reviewer, and podcaster, with her own BlogTalkRadio show. This should be interesting.

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Dellani:

I write romance. More specifically, I write romantic suspense. Why the blend? Because I like some spice to my mysteries and some mystery mixed with romance. I like the conflict in my stories to be between the main characters and an outside force. I don't like stories where the hero & heroine fight constantly. Where's the fun in that? It's much more entertaining to have the characters work together against a common foe. They grow closer to one another and find that they are better as a couple than they are on their own.
     A little romance can enhance any story. I don't mean that the plot should grind to a halt so the characters can have a hot love scene. That isn't necessary. Instead, the main characters can find their strength by way of their union. Certain action films spring to mind, such classic movies as Demolition Man, Total Recall or Commando. Although the main characters are fighting the bad guys, they fall in love. The conflict brings them closer together. They conquer the foe, accomplish their goal and go home for some hot sex—which happens off screen.

Stories needn't have graphic love scenes to be effective. Clasped hands, stolen kisses, furtive glances can all add to characterization and plot development. The main point of a

romance is having the characters fall in love. The wonderful thing about romance is that it can be an element of virtually any story, adding depth, without distracting from the the plot.

Not that there's anything wrong with having some hot sex in the story. My novel, The Ninja Tattoo, has plenty of spicy scenes. However, Indian Summer and Under the WesternSky do not. In all three stories, the main characters work together against a common enemy. They may have disagreements and misunderstandings, but they work things out—together.

Do my characters argue? Yes. Do they have misunderstandings and get their feelings hurt? Of course. That's human nature. However, they employ a technique that works well in stories and real life—they communicate. I'm sick of stories where the main characters have a huge argument, make assumptions and refuse to talk to one another for 90 percent of the book—unless it's to fight. But by some miracle, they discover they truly love one another and are miserable when they are apart. I can't help wondering how long their happily ever after lasts. I give it a year.

Whether it's a mystery, sci-fi, thriller, suspense or noir, romance enhances the story. The reader cares more deeply and becomes more invested in a character's fate if they like him. If he's a jerk to his friends and his women, no one is going to care what happens. (In my books, those guys are usually murder victims waiting to be killed.) Regardless of genre, a little romance can add depth and scope to the storyline.

~~~

I'm in firm agreement, Dellani! Well said!

Everyone be sure to check out Dellani's books on Amazon!


-Stephanie Osborn
http://www.stephanie-osborn.com

New Book by Sara Stamey!

by Stephanie Osborn
http://www.stephanie-osborn.com

One of my Modern Storytelling authors has a new book out! Islands is a romantic suspense adventure by Sara Stamey! 

“Welcome to Paradise!” is what archeologist Susan Dunne hears on arrival on a Caribbean island to research petroglyphs and solve the mystery of her brother’s drowning. This sunny tourist paradise conceals shadowy secrets—violent native unrest, sunken treasure, and a bloodthirsty cult masquerading as Voodoo.

Despite threats, Susan literally dives into her investigation of the sunken treasure ship where John drowned. To find the truth, she must work with her number one suspect—Vic Manden, the troubled salvage expert who worked the site with John. Attracted to the unpredictable Manden, Susan is soon in over her head. 

~~~

Inspiration for Writing Islands

 by Sara Stamey

Since the new ebook edition of my romantic suspense novel Islands was released by Book View Café publishing this month, everyone has been asking if the free-diver on the cover is a photo of me, and I wish I could say yes. If I had pics of my underwater explorations from my time teaching scuba in the Virgin Islands and other Caribbean locations, this could have been me. In those hot, tropic days, I practically lived in the sea, and like my character John in the novel, I wished to be reborn as a dolphin.

The question raises the issue of inspiration for my stories, and place has always been a big one. I’ve traveled and lived in a number of exotic locales, and my fascination with the geography and culture of foreign places stirs my writing muse. The Islands storyline started with my journals while living in the Virgin Islands – the diving and sunken treasure angle pretty obvious, since I did some diving on wrecks and found a lovely antique perfume bottle exactly like the one my archeologist Susan Dunne inherits from her brother John.

I’ve been accused of having a “Hemingway Complex” in needing to actively explore the world in order to write about it, and my literal immersion in the tropic seas permeates the story of Islands – crucial to both the plot and the rebirth that Susan undergoes. I will probably never succeed in capturing with words the magic and mystery of gliding weightless in the shimmering clear depths among fish and coral, but I hope I give readers at least a taste of it.

After moving to St. Thomas, I started research in the island archives, and pieced together bits of actual ship logs for the “Parker Manuscript” that starts Islands. And yes, crew of ships caught in storms or pirate attacks actually did seal notes or pieces of their logs in bottles or tubes and toss them into the sea, hoping they’d be found! The story blossomed with the colonial history of the slavers and African religion as the roots of Caribbean Vaudun (Voodoo). In one of the St. Thomas “jungle towns,” as the native quarters were called by many locals, I stumbled upon a funky little hole-in-the-wall café, Le Lambi’s, pretty much like the one where James takes Susan for lunch. And there I noticed some interesting décor suggesting the owners might have connections to the Vaudun, which officially didn’t exist in the formerly Danish Caribbees.

I started hearing references to “Jumbies” (mischievous spirits) and “power spots,” and some of these seemed connected with the petroglyphs Susan is researching in the novel, so of course I checked out any sites I could find. I also delved into the local herbal lore, and while on my petroglyph hikes tried to find some of the plants used for healing and protective charms. When I learned about two very similar, shiny red seeds – “crab eyes,” a nasty poison, and “Jumbie seeds,” a protection against tricksy spirits – they ended up playing a role in the plot.

In addition to working as a scuba guide and instructor, I also did some cruising through the U.S. and British Virgin Islands as deck hand on a yacht, absorbing the larger expanse of sea and islands, and I try to impart that glorious, sensual paradise that exists beyond the frantic pace of tourism taking over some of the more developed islands. There are so many contrasts of people and place, and that tension helps drive the plot and character issues for me. Susan is a fish out of water when she first arrives in the tropics, and part of the story concerns the unraveling of her preconceptions about the native society, as well as her ideas about “reality.” A scientist and self-described “logical person” from the cool, laid-back Pacific Northwest, she’s jolted by the unexpected fast pace of the tourist town and in-your-face locals, some of whom scoff at her quest for “the truth” about her brother’s drowning as well as possible pre-Columbian contact from Africa evidenced by the petroglyphs.

As a side note on creating characters: I must admit I enjoyed basing a flamboyant  anthropologist character, rejected by academia for his radical theories, on a real-life professor I had interviewed years ago about the theories of pre-Columbian contact in the Americas. He was insufferably arrogant and scoffed at the theories that, these days, are pretty much universally accepted by scholars. Just one of those little pleasures for authors!

People have asked for a sequel, and Susan and other characters clearly have issues and further adventures to explore. I’ve started the next novel, set in southeast Mexico, Belize, and Guatemala, drawing on my travels in those areas. Happy trails and pages to you!

~~~ 

Novelist Sara Stamey’s journeys include treasure hunting and teaching scuba in the Caribbean and Honduras; backpacking Greece and New Zealand; operating a nuclear reactor; owning a farm in Southern Chile; and now teaching creative writing at Western Washington University. Resettled in her native Pacific Northwest, she shares a backyard wildlife refuge with a menagerie including her very tall husband Thor. Follow her blog at http://www.sarastamey.com

You can purchase her new ebook edition of Islands on Amazon.com or www.BookViewCafe.com (formats available for both Kindle and epub readers)

-Stephanie Osborn
http://www.stephanie-osborn.com

Elements of Modern Storytelling: Romance, A Guest Blog by Sara Stamey

by Stephanie Osborn
http://www.stephanie-osborn.com


Sara Stamey is a new friend! Word has been getting around in certain parts of the writing community about this blog series, and Sara was one of those who stepped up to the plate and said she wanted to be involved! So you and I will be getting to know her together, through her articles on the art of storytelling. From what I can tell, I think she may be a lot like me!

Enjoy!

~~~

Sara:

  Thanks, Stephanie, for the opportunity to explore approaches to incorporating romance into stories that span all genres – and thanks to the authors of the fascinating excursions already posted.

My own novels tend to cross genres, including mainstream, science fiction, fantasy, mystery/suspense, and thriller plots, but they all include romantic subplots. As other writers in this series have noted, where would the human interest lie without relationship tangles? A lot of those tangles involve romantic attraction and/or consummation. Where I depart from Romance as a genre is that the love/sex relationship is not my main plot, but rather interwoven into other urgent story issues.  It’s another thread of tension to pull readers along – will the lovers get together despite challenges? Maybe because of my style or themes, I usually avoid a “tied up in a bow” neat ending to the romance – more gray areas and ambiguity about where this relationship might go. Because, well, that’s life!

I’ll illustrate my approach by starting with my early science fiction series from Ace/Berkley, the first novel Wild Card Run. The main plot concerns a rebellious game-designer from a restrictive home planet who is challenging the control of humanity by the Cybers, an artificial-intelligence network. (I published this back in the 1980s, and I’m actually listed in some databases as one of the first “Cyberpunk” authors along with William Gibson and others, which tickles me.) Anyway, my heroine Ruth Kurtis is forced to return to her family farm and polyandrous culture (women have multiple husbands), where she has to resist her attraction to her mother’s newest husband, a young man the daughter’s age. This underlying romantic tension helps drive the main plot of her rebellion against the Cybers, and also contributes to one of the themes of the novel, examining the impact of new technologies on human values. And of course, it never hurts to raise issues of social taboos, and the loyalty and betrayal connected with forbidden love –  perennials in storytelling.

The next two novels in the series, Win, Lose, Draw and Double Blind, explore ramifications of nontraditional romantic possibilities – sexual love between different humanoid races, and between human and machine – which seems to be a hot topic today, with the film “Her.” These elements serve to advance my larger plot speculations about the difficulty of defining humanity and identity, which again are timeless themes keeping writers and readers busy over the past centuries.

My recent novels are more mainstream, but again melding genre elements. Islands, romantic

suspense with a psychic tinge, is my closest approach to a romance formula, but again the romantic relationship has a lot of ambiguity and is not central to the mystery/suspense plot. Set in the Caribbean, where I taught scuba years ago, it concerns a young archeologist who arrives on a tropic island to research petroglyphs and solve of the mystery of her brother’s drowning on a sunken treasure ship. The romance angle concerns her chief suspect, whom she investigates while being reluctantly drawn to him despite warnings about the danger she’s courting with this volatile war veteran. The sparks fly between them, but the sexual relationship isn’t thrown in just for heat – it functions to provide clues and red herrings, as well as challenging a lot of preconceptions my heroine carries about the nature of truth and right and wrong, contributing to a larger Faustian theme. How far will she push to learn “the truth”? What happens when you get too deep a glimpse into the “dark side”? Can love help redeem you?

My upcoming metaphysical thriller The Ariadne Connection weaves together three perspectives on a near-future crisis concerning a geomagnetic reversal and a New Leprosy plague. My three main characters become entangled in various romantic subplots, from a tension-filled love triangle, to transgendered love, to traditional heterosexual love with reservations and spiritual dimensions. The main thriller plot is the focus of the novel – a young Greek scientist is christened “Saint Ariadne” when she discovers she can heal the New Leprosy by “laying on hands.” Various dangerous factions pursue her for their own agendas, and the three main characters are mostly occupied with evading pursuit while Ariadne learns to control her growing powers, which have the capability to destroy as well as heal. Love and sex under conditions of extreme uncertainty and stress are opportunities to explore dimensions of the characters, particularly Ariadne, who must weigh eternal questions: Does the end justify the means? Should you use people who love you in the service of a higher goal? Is the focus on a mission strengthened or weakened by allowing intimacy with a partner?  Do we lose ourselves when we give too much to another person? Does the joy of loving outweigh inevitable pain and loss?

I guess it’s obvious that I’m fascinated by the nuances of human behavior, the way our desires color our notions of “truth” and “good versus evil,” and I love to throw characters into stressful situations that test their mettle.  Love is always a big challenge to throw in the path of a character’s goals, as that tug of irrational attraction can really toss in a wild card. Will the relationship strengthen or weaken our characters? What will they learn about themselves that we can share? I hope my stories entertain as well as involve my readers in these enduring explorations.

Author bio:

Sara Stamey’s extended travels in out-of-the-way corners of the globe include treasure hunting and teaching scuba in the Caribbean and Honduras, operating a nuclear reactor, and owning a farm in Southern Chile. Now resettled in her native Northwest Washington, she teaches creative writing at Western Washington University and offers editing services as a “book doctor.” She shares her Squalicum Creek backyard with wild critters and her cats, dog, and very tall husband Thor.

Her romantic suspense novel Islands is described by reviewers as “an intellectual thriller” and "a superior suspense novel….a stomping vivid ride.” A new eBook edition will be released by Book View Café on May 6.

~~~

Yep, I had a feeling I was gonna like this lady.

Be sure to check out her books, folks! They're worth looking into!

And we'll have her back soon to tell us about her upcoming book release!

-Stephanie Osborn
http://www.stephanie-osborn.com

Book Release: An Elfy on the Loose, by Barb Caffrey!

by Stephanie Osborn
http://www.stephanie-osborn.com

Today is the official release date (and book bomb) for Barb Caffrey's new novel, An Elfy on the Loose! Barb is something of my protege, and when I read the original manuscript (which became An Elfy on the Loose and its sequel), I knew we had to get this into print. So I paid it forward; just as Travis Taylor helped me get published by submitting to publishers he knew, so I did for Barb. And here we are today, and I'm almost as proud as she is! I'm going to quote the review I posted at Amazon, and every word of it is truth:

This book has almost everything: fantasy, mystery, romance, suspense, thriller, paranormal, you name it -- and that sounds like it would be a hodgepodge, doesn't it? But it isn't. Everything flows together beautifully, leaving a fascinating story that will keep you on the edge of your seat! I highly recommend it, and since I don't usually write book reviews, that's saying a good bit!

What I didn't know was how Barb came to write the book in the first place, so I asked her to tell me in her guest blog for today!

~~~

"On the Writing of AN ELFY ON THE LOOSE"

by Barb Caffrey

To discuss how I wrote AN ELFY ON THE LOOSE – much less why I wrote it in the first place – I need to discuss the most important person who's ever been in my life: My [late] husband, Michael B. Caffrey. Because without him, AN ELFY ON THE LOOSE – much less the entirety of the Elfyverse – would not exist.

Michael was a much more assured writer than I was when I met him back in 2001, as he'd written two full novels and was working on another one. (I've managed to extract two stories from his first novel, and those stories,  A Dark and Stormy Night and On Westmount Station, are available at Amazon as e-books.) Michael also was an accomplished editor, and was probably the best person I could've been around as I started to seriously write fiction.

However, when we married in 2002, the novel I was working on wasn't AN ELFY ON THE LOOSE. I had no idea that I was about to write AN ELFY ON THE LOOSE, either, nor that I'd write more than 240,000 words in the space of about thirteen months.

So what happened to jog loose the story of Bruno the Elfy and Sarah, his Human companion and friend? And why did I listen back in September of 2002 when Bruno popped up and said, "Hey, over here! I have a story to tell?"

Back then, Michael and I had just gotten back to San Francisco, California, which had been his home for many years, from a lengthy honeymoon visit with my family. And I'd read an anthology about Elves where the anthologist said something to the effect of, "These Elves aren't your normal Elfie-welfie stuff, either." While the name of that anthology didn't stick, the thought of what, pray tell, "Elfie-welfie stuff" might be apparently did, as it wasn't three hours after I closed the book that Bruno appeared.

When a character appears, fully formed, it's best to listen to what he has to say. But all I knew, when I started writing, were three things: Bruno liked to wear black – when his race, the Elfys, mostly loved bright colors. He was the equivalent of a teenager. And he did not like to rhyme, even if all the other Elfys did.

Even so, that was enough for me to start writing what I then called "The Elfy Story." I wrote the first six parts or so – less than chapters, about a thousand words per part – alone. Michael took a hand when I got to the seventh part because I had some sort of problem I couldn't immediately solve, and he got intrigued. Then he figured this story had legs, and he wanted to help me figure out where it went.

What did he do, exactly? Well, I have an Elfy Lexicon in the Bilre language – Bilre being what the Elfys speak, of course – and I wouldn't have that without Michael's help. He also helped me hash out how the Elfys are governed, and what their society is like. Trade is a must, and whoever Trades with all the other races can be a very wealthy and powerful person, but knowledge, too, is essential – because if you don't know what's likely to be important to each species, how could you possibly relate? (Or Trade, either?)

In figuring all of that out, we decided that the Elfyverse must be a true multiverse, where the various races tend to have worlds (or levels) of their own. And each race is different; for example, I knew from the beginning that Elfys were a type of shorter Elf (no Elfy is taller than four feet, two inches unless he or she is of mixed blood), but didn't have the same set of strengths and weaknesses as the Elfs (never Elves, as if you call them that in the Elfyverse, the Elfs will charcoal you for your presumption). And I knew that we had at least three races involved – Elfs, Elfys, and Humans. But as time went on, I knew the Dwarves were present (as they built air-cars), as were the Trolls, and maybe even the Ogres...

Still, world building aside, why should anyone care about Bruno just because he's an Elfy and from a magical society? You'd think that someone who has magic, and a lot of it, would be too hard to root for, right?

Not in Bruno's case. He's an orphan, a ward of the state, and because of a past traumatic brain injury, he doesn't remember everything he should. Further, most of what he's been told about himself is wrong. Worse yet, the Elfy High Council is so afraid of Bruno's potential magical power that they've intentionally mistrained him before sending him off to the Human Realm (our Earth), intending to maroon him there forever.

Despite all this, Bruno never completely loses his sense of humor, which appealed to me. He refuses to give up – it's just not in him – and that, too, appealed to me. So I kept writing...and my husband kept editing.

As I wrote, I learned that Bruno had landed in a house that was haunted. And where he mostly couldn't do magic. And where he only had one friend: the strange Human girl Sarah, with whom he had to make common cause due to her loathsome parents (as one of my friends put it, "Sarah's parents are straight out of reality TV"). They're in a bad situation, but it quickly gets worse when Bruno's mentor Roberto tries to rescue them, but instead ends up getting captured himself by Sarah's terrible parents. Who are themselves in thrall to a Dark Elf, who's up to no good...and then, of course, they fall in love, and everything gets better in a weird way because that's what love does, despite everything else going to the Hells in a handbasket.

With all of that going on, Bruno and Sarah realize they have to gather allies. But how can they? Bruno's new to the whole Human Realm (our Earth), while Sarah's been told her whole life that she's unimportant and way too young to be bothered with. And they need both Elfy and Human allies, which isn't going to be easy...

But somehow, some way, they will do it – or die trying.

With this huge, complex plot, I could've easily gotten lost. Fortunately for me, Michael was there every step of the way. He told me when I'd get frustrated, "Don't worry. The story will come." Or he'd tell me jokes in a similar way Bruno tries to do with Sarah from time to time in AN ELFY ON THE LOOSE (where do you think I got that from, hm?). Or he'd help me draw diagrams when I tried to figure out why the Elfy High Council did anything at all...plus, he edited what I wrote, gave me excellent advice, and heavily edited nearly all of Dennis the Dark Elf's dialogue to make it even nastier and more hissable.

What more could anyone ever ask from her spouse than that?

So, in closing, if you enjoyed any part of AN ELFY ON THE LOOSE, please remember my husband Michael. Without his presence in my life – without his understanding, patience, and love – this novel would not exist. Because I'd not have known enough about love to write it.

~~~

And there's her story, and it's delightful and wonderfully romantic. And so is her book! I urge you to purchase An Elfy on the Loose for your Nook or Kindle right away! Like I said, we're book-bombing her today anyway, so what better time to buy, than to help a new author? Go forth and read!

-Stephanie Osborn
http://www.stephanie-osborn.com

Excerpt: The Case of the Cosmological Killer: The Rendlesham Incident

This is the prologue to the third book in my Displaced Detective Series, The Case of the Cosmological Killer: The Rendlesham Incident, a science fiction mystery. Books 1 and 2 (The Case of the Displaced Detective: At Speed) are in release, ebook and treebook; book 3, (The Case of the Cosmological Killer: The Rendlesham Incident) has been released THIS WEEK! Book 4 (The Case of the Cosmological Killer: Endings and Beginnings) will be released this fall. You can purchase all of them in pretty much any format you like through my website, www.stephanie-osborn.com. Hope you enjoy this excerpt.


~~~

Prologue—Encounters

"Leeming Tower, this is Blue-One-Niner; Tower, this is Blue-One-Niner."

"This is RAF Leeming. Go, Blue-One-Niner."

"Tower, I have visual at one o'clock low, approaching coast along south-southeast heading; range, estimated twelve klicks. Request verification and possible change of altitude."

"Blue-One-Niner, this is Tower. Please repeat visual info."

"Tower, Blue-One-Niner. Visual at one o'clock low, estimated range ten klicks and closing."

"Blue-One-Niner, Tower. I thought you said twelve klicks."

"Tower, One-Niner. I did; it's incoming."

"Blue-One-Niner, radar shows no other aircraft in your vicinity."

"Leeming, better look again. It's right there, range now…HOLY SHIT! It just accelerated! Range now seven kilometres and closing fast! I am executing evasive manoeuvers! Climbing to twelve thousand metres! Bogey heading south-southeast, nearing coastline…"

"Copy, Blue-One-Niner. Evasive manoeuvers; you are cleared to twelve thousand. Be advised, radar still shows no—hold one! Where the bloody hell did THAT come from?! Contact Fylingdales—you did? They don't? Roger that! All other traffic on this channel, this is Leeming Tower; please move to Channel Four immediately. Blue-One-Niner, this is Tower! Do you still have visual on bogey?"

"Roger, Tower! Closing fast…"

"You are authorised to pursue and bring down, peaceful preferred. Scrambling backup."

"Copy, pursue and bring down. If peaceful refused?"

"You are authorised to use whatever means necessary. If peaceful refused, consider hostile."

"Roger that. It's passing below me now. Turning to pursue."

"Copy that. Blue-One-Niner, can you identify aircraft? Radar signature is…inconclusive."

"Uh…Tower, that visual is an inconclusive, too. It doesn't look like any bloody aircraft I've ever seen. In fact, it doesn't even look like an aircraft…"

"Description?"

"It's a…big fuzzy ball, glowing kind of…yellowish-orange. And moving like a bat out of hell."

"Blue-One-Niner, please repeat last transmission. It sounded like you said a big fuzzy ball?"

"Affirm, Tower, that's exactly what I said. Think…giant tennis ball, only more orange. Still approaching coastline near Scarborough… correction! Bogey has changed heading! Damn! Stand by, Tower…"

"Leeming Tower standing by."

"Tower, this is Blue-One-Niner. I don't know what the blazes they've got, but it's way the hell more manoeuvreable than my Typhoon. They just executed a sharp turn to port, and I do mean sharp! I overshot by several miles inland, trying to make the turn. They are now paralleling the coastline, bearing southeast."

"Roger that, Blue-One-Niner. We…saw the turn on radar…"

"Yeah, you probably see something else, too."

"Roger that. Bogey is…ACCELERATING?!"

"Like that bat out of hell—on warp drive. Punching 'burners…"

"Blue-One-Niner, this is Leeming Tower. Report."

"Leeming, this is Blue-One-Niner. Sorry, mates, she's outstripped me by a long shot. Keep 'er on radar as long as you can, and try to anticipate and scramble interceptors. I've already almost lost visual."

"Roger that…"

* * *

Inside the radar room at RAF Fylingdales, the Officer of the Day discussed the situation with his chief technician.

"Are you sure?" the OD pressed his radar tech.

"Positive, sir," the tech replied, grim. "We've been watching it for the last five minutes, ever since it showed on radar. The only thing I know of that can travel that fast is a blasted Space Shuttle, and even they couldn't make manoeuvres like this ruddy thing is making. We're gathering all the radar data on it we can, profiles and such, but so far, we've not been able to put a plane close. Blue-One-Niner got a good visual on it, but that was sheer dumb luck."

"What kind of craft was One-Niner in? Recon?"

"A Typhoon, sir. And the bogey left it in the dust, even on full afterburners."

"Bollocks!" the OD exclaimed, shocked and gawking. "Left in the DUST? A TYPHOON?!"

"Like it was sitting still, as near as I can tell from air-to-ground transmissions. Radar supported the assessment, too."

The OD thought hard for several moments.

"Any idea where it's headed?"

"Yeah." The techie scowled.

"Well?"

"You're not gonna like it."

"Tell me anyway."

"Bentwaters." The engineer gazed solemnly at his superior. The OD blanched.

"Bugger. Get the brass on the bloody horn!"

* * *

Deep beneath the seemingly abandoned RAF Bentwaters base, ciphered telephones were ringing off their hooks. Frantic officers and enlisted personnel scurried about, attempting to ascertain under what sort of threat they were operating.

The underground facility itself was under full lockdown, with absolutely no sign of life visible to the outside.

And that was precisely how they wanted it.

Far overhead, in the deepening twilight sky, a glowing golden sphere floated, searching.

* * *

In the Headquarters of Her Majesty's Secret Service, the Director General was in her office, reviewing the dispatches as soon as they arrived.

"Not again," she muttered under her breath, obviously deeply concerned. "I thought we were done with this decades ago."

"Doesn't look like it, madam," Captain Braeden Ryker noted, subdued, handing her another report. "All hell is breaking loose out there, by the sound of it. Some of the public reports are probably spurious, and some of it—seventy-five percent, I'd say—likely due to hoaxes and copycats and just plain power of suggestion. But that still leaves the remaining twenty-five percent as real. We've got jets scrambled all along the coast, and except for the initial intercept, which was accidental, not one of our aircraft could even get close enough to see the thing." He looked down at the paper in his hand. "We did luck out on one point. Our local field office got a heads-up from Fylingdales at the same time they notified Bentwaters, and Gregory got his ass in gear with record speed. He mobilised a field team in time to have a gander at the object. They're still in the field, so we don't have word yet."

"Is it still out there?"

Ryker glanced again at the communiqué in his hand.

"Not according to the latest information, no, madam."

"Get a detail out there and start looking into the situation." The director shook her head, obviously gravely concerned.

"What about…?" Ryker began, then added candidly, "Do you want me to override Gregory, madam?"

"No, I want you to work WITH him," the Director declared with a wave of her hand. "Get some of the Headquarters experts out there right alongside his team—specialists, to aid him in his assessment, not supersede him. I know Gregory. He's a good man, with a good team. I simply want all the data we can gather. I want to know what this thing is, where it's from, what it's after, and I want to know five minutes ago."

"Right away, madam," Ryker nodded, exiting swiftly.

* * *

The field excursion team filed into the back of the nondescript office building, entering an equally bland conference room. They appeared to be college students and young professionals, clad in jeans or chinos and shirts, carrying attaché cases or backpacks, as appropriate. When the last of them arrived and the conference room door closed, they turned to the man in the corner.

"Here we go again, Gregory," the field team lead sighed, shaking his head. "It's the Halt transcript all over again, right down to the imagery in the night vision goggles."

"Any feeling of intent?"

"Definite intent," another remarked. "It was…looking…for something. A natural phenom doesn't sweep a grid pattern. This bugger did. Nice and precise, too."

"Blast and damnation," Gregory sighed. "What was it looking for? Any ideas?"

"That's the prize question, isn't it, boss?" the second field investigator shrugged. "If we could answer that, problem solved, and on to the next issue—which is, what to do about it?"

"Yeah," Gregory muttered. "Well, boys and girls, get your reports together fast. Headquarters is breathing down our necks. Word has it the Director General herself is involved, and you know to whom SHE reports. We're likely to have help soon. In fact, some experts are supposed to be coming down from London as we speak, to work alongside."

There was a collective groan from the room.

"All right, boss," the team lead noted. "Everyone, laptops out, reports in half an hour. Type fast."

* * *

Ryker came into the Director's office at speed, bearing the collected dispatches from the field office.

"Here you go, madam," he noted, handing them to the Secret Service director. "The latest on the phaenomenon. I can't say I'm pleased with the way this is headed."

The scowling director scanned through the reports, speed-reading. "Ah, I see your point. Are the subject matter experts on their way?"

"They are."

"Very good. Dismissed." As Ryker turned to leave, she changed her mind. "Ryker, wait a moment."

"Yes, madam?" He stopped, pivoting smartly on his heel to face her once more.

"Your…friends…in America…" She pondered briefly.

"Williams, madam?"

"No, the scientist and a certain detective." She threw a small grin at the agent.

"Ah," Ryker grinned back at her, "Dr. Skye Chadwick and Mr. Sherlock Holmes."

"The very ones. What are they doing at the present time?"

"I don't know offhand, madam, but I can contact Williams and find out," Ryker said. "I have strong reason to believe they may be coming across the Pond for a visit after the first of the year, however. Are you considering calling them in on this?"

"Possibly," the director confessed, looking over one of the dispatches. "Certainly they possess the specific expertise necessary to look into so abstruse a problem as this. They…" she paused, staring at the paper in her hand. "The night vision goggles showed a HOLE in the middle of the object?" She raised her head, gazing at Ryker in astonishment.

"Yes, ma'am. It makes no sense, I know, but that's just like it happened back in 1980."

"And you have every confidence in Chadwick and Holmes." She eyed Ryker sternly.

"Yes, ma'am," Ryker responded smartly, with confident emphasis.

"And this is really THE Sherlock Holmes?"

"Without doubt," Ryker smiled. His certainty was almost palpable. Despite this fact, the Director sighed without enthusiasm.

"Very well. Yes, Captain Ryker. Contact Captain Williams and have him ascertain their availability. Provide Williams with a detailed abstract of events through appropriately secure channels, and see to it he briefs Holmes and Chadwick on the matter as soon as possible. Ensure they are instructed to stand by in the event they are called in on the case."

"Consider it done." Ryker snapped off a salute before spinning and exiting the office.

~~~


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