As my followers know, I’ve been writing a series—epic historical novels set primarily in ancient Minoan Crete. The series started as one standalone, now called Beyond the Waning Moon. But I couldn’t leave my people so I just kept going. It became an intergenerational family saga. While each story has its own protagonist and story arc, the overall series also has an arc. A quest. A purpose. The haunting fear of a final destruction. The desperate fight to hold on. The glimmer of hope.
The photos here show the reconstructed hub of Crete, the temple (or palace) of Knossos which was dug out of the earth a hundred years ago after being buried for some 3,000 years. After seeing it and learning of the strong women depicted there, I wanted to immerse myself in that world. And so it began.
I named the overall saga the Distant Glimmer Series to reflect the distant light shining into our own times. The stories take place long ago, but they speak to our own lives today.
I’m putting finishing touches on Book Seven.
Up until now I had the impression that in marketing the work, all emphasis should go on the first book. Maybe mention that there are more to come, but don’t stress it. So I haven’t stressed the series aspect.
This September I attended a virtual writers conference, the annual conference of the Pacific Northwest Writers Association headquartered in Seattle. During workshops I kept hearing about the power of a series.
I attended a pitch fest because I planned to pitch the opening book of my saga. Gerri Russell, award-winning, bestselling author of stacks of books, led the session, and when we broke out into smaller groups I felt fortunate to have her as coach for my group. We all gave our pitches for the agents, publishers, or producers we hoped to convince to take a look at our work. I hoped to lead the listener into the world pictured on this post and to bring the Cretan characters alive who walk through my thoughts and dreams in these fabulous places.
Gerri immediately got what I was doing with the book from the pitch I gave. But from that she began to question me to ferret out ways to better present it. Who are my characters? What are their goals, their conflicts? Could I be more personal about their dilemmas? I don’t remember all her specific questions but I quickly saw I needed to dig much deeper if I was to reveal the book’s strengths to the listener.
The group members had a chance to try once more, and I bumbled through mine as I tried to rethink it in the moment. Gerri kept going back and forth with me, quizzing me, plucking out salient points. Those salient points gave the pitch new life. Then I hesitantly asked if I should say I have seven in the series written. She burst out with surprise. Yes! Of course! Yes!
So there it was. Emphasize the series. Each book has to stand alone, true. But its place in a series gives it much greater impact. Perhaps the market has changed. Maybe readers are wanting a series more than they did before. Something they can really get their teeth into. In any case that’s what I have. That’s what I’ll promote to those who hold the keys to entry into publication.
Back in February of this year I announced in a blog post that I had done a major rewrite on Book One of my trilogy set in early Greece. Having put so much effort into recasting the story, I felt certain I had it ready this time. After all, I had been improving it for 20 years. I proceeded to update Book Two and Book Three to reflect those changes and wrote a blog post in early April on the whole trilogy, putting a bow on it.
I thought it was done.
With that accomplished I headed out in late April on my trip to Europe to research settings for the full series, having drafted six books so far.
The emphasis on my trip was the second trilogy, since I thought the first was essentially complete. Of course I was open to any tweaking my new explorations might dictate.
My impulses first drew me back to the center of it all, the fabulous ruins of Knossos on the Greek island of Crete. I hoped I wouldn’t see anything that would require significant changes, but I opened my senses to the wonders around me.
On my return home I was happy to report that in the first trilogy my descriptions held up. Except for a couple of additions I wanted to make in Books Two and Three, that trilogy was virtually ready to go.
Then reality hit. I received a harsh critique on Book One. Because of that critique and because this first book is the foundation of the entire series, my agent asked me to focus only on this one now and to give it another thorough revision with feedback from new readers. Another comprehensive rewrite!
I backed up and approached it one more time. I plunged into new research, including discussion with experts on the setting and technology. I gave it substantial new polishing, new scenes, clipping and reshaping of old scenes. I received new critiques by beta readers who never saw it before, did more adding and clipping to address their concerns, and more thorough polishing to see that everything works together.
Last February I thought I couldn’t make it better. Now I know I could because I have.
Besides all that clipping and adding and reshaping, whispers of memory infused the pages from my recent visit to the site. I could see it more clearly through the eyes of my characters because I had just seen it through my own eyes.
Yesterday I sent off the new rewrite of Book One with hope that this time is the charm. Fingers crossed. I can say for certain it’s another milestone in the process.
Welcome to the opening day of my journey, which began in Greece on April 24, 2018. Over the next few weeks I’ll share the highlights of that 37-day trip through Greece, Portugal, the UK, and Ireland, where I traveled to research scenes for my upcoming series of epic historical novels. If you read my last two posts, the overview and backstory, you’ll have a better picture of why I went. Now here’s post #1 of the trek.
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I woke up in the morning in the Greek Isle of Crete after a long, long flight from Eugene, Oregon, via Seattle and London and Athens. Waking in the morning might not seem so remarkable, except that morning in Greece is about 10 hours after morning in Oregon. The flight adds 10 hours to the 24-hour day, so I had leapt a day ahead, and jet lag can do strange things with your sleep patterns. Maybe it was a good thing that I couldn’t sleep on the plane. Some say you get adjusted better that way. In all my travels overseas I don’t remember ever experiencing such a bright-eyed morning on the first day. That turned out to be more important to me than I anticipated.
I checked out the view of the Mediterranean from my hotel balcony and headed downstairs for breakfast. I must say, that breakfast ranked with the best on my trip–lovely Greek pastries, a custardy egg dish, muesli, nuts, fruits, on and on.
My plan for the day was a quick visit to the ruins of Knossos if I felt up to it. One reason for starting the trip in Crete, though it was my farthest point from home, was that it was familiar to me, relatively inexpensive, and I assumed I’d find it easy to deal with a day or two of jet lag there.
I had spent a month in Crete on my first trip to the island, about half of that time in the island’s chief city, Heraklion, and had spent a good part of my second trip centered in Heraklion too. Now, on my third visit, I stepped out onto streets I knew, and I enjoyed getting back in touch with this special place.
Feeling good, I soon headed out for the ruins of the temple (or palace) that graced the ancient city of Knossos on the outskirts of Heraklion. It took me awhile to find the bus. The old bus stop didn’t exist anymore because they had turned the main drag into a pedestrian street. I asked for directions and got many confusing answers. That was familiar too. People so want to help, but communication becomes uncertain when their English is limited and my Greek is almost nonexistent. One woman simply said, “Come. Follow me.” I did. Love it when they do that.
Soon I was on my way, rumbling through the streets of Heraklion on one of their many buses and out to the edge of town to a site that has filled my mind for years as the characters of my books stroll through the corridors and halls and surrounding slopes of that ancient city. Knossos, heart of the early Cretan world. A rush of joy lifted me as I entered the compound.
I first came out onto the West Court where my first story in Crete opens. I needed to stand on that broad paved courtyard and look around. Could I see what I thought I could from that place? Could I see Mount Youktas on the horizon, the mountain that looks like the face of a reclining person? Were the slopes the way I remembered from my last visit 23 years ago? And from my many recent visits by Google Maps? I stood on the ancient stones and smiled. Yes. I could see the mountain. Rearrange a few trees and I would see it even better. My descriptions held up. I relaxed and let the place wrap around me as it had done so long ago.
I found the spot where I had taken a picture in 1994 that has hung on my wall ever since, an outlook past one of the unique red columns of the site to Mount Youktas beyond the hill of olive groves. This time I took a new picture with the little Nikon digital camera I bought a few years ago to help me illustrate my blog posts.
Note that the column is larger in circumference at the top than at the bottom, a style found throughout Knossos. These pillars once lined corridors and divided rooms. Most of the large ones are red. Others are black with red trim.
I wandered all around the perimeter seeking the settings of many a scene. Some of those scenes grip my heart and I relived them here where they took place, shedding a few tears for my characters.
Since my last visit the throne room has been opened. Such a thrill to see this room I call the receiving room of the High Priestess of Knossos. The alabaster chair gave a clue to researchers that the person who sat on this small chair might be a woman rather than a man, because a woman might more easily fit in that gracefully molded seat.
Visitors aren’t allowed into the room itself. You walk through the anteroom (also described in my stories) and from there you look across a low glass barricade into the inner sanctum. The barricade is low enough to lean over so you get a good feel for it. The space seemed a little smaller than I had imagined from photos but every bit as powerful with the waving swaths of red giving a womb-like impression.
In my stories, and I suspect in reality, this is a sacred room. So much at Knossos shows signs of the people’s appreciation for the sacred. I put this photo on the banner of my Facebook Author Page, and someone asked if the object in front of the chair was a toilet. The Knossians did have flush toilets some 3,500 years ago, with a plumbing system so advanced it wouldn’t be equaled until the 19th century AD. But those toilets were modestly enclosed behind doors. The basin above was interpreted by scholars as a lustral basin for ceremonial bathing. When archeologists dug these objects out of the earth some things were in a jumble and they didn’t know where the basin belonged. On the far side of the room from the alabaster chair, several steps lead to a lower level.
I believe that would be a more likely place for the basin, deeper in the earth, and put it there in my stories. I don’t portray this room in the first part of the book, although there were several lustral basins around the temple, and I managed early on to come up with a steamy scene in one of those.
I depict this room as part of the temple’s reconstruction after a dramatic earthquake. The extension of the room beyond the black pillars tends to create a space both infinite and intimate.
The griffins portrayed on the wall represent three aspects of nature, the eagle’s head for the skies, the lion’s body for the land, the snake’s tail for the deep earth. They were likely considered sacred.
The Knossians seemed to wear their religion comfortably. Frescoes show them enjoying life, sensuous, wearing clothing that clearly reveals their sexuality, but without guile, suggesting a healthy acceptance of this aspect of life. You see no seductive scenes like those found in the Roman ruins of Pompeii. Nor do you see scenes of war and aggression so common in other art of the day. Clearly, Knossos was different. But it would not go unchanged.
I stopped in the afternoon to enjoy a wonderful Greek salad in a restaurant within the compound, perfect fresh-picked tomatoes and Greek olives and more, topped with a thick square of feta cheese, sprinkled with dill and other herbs, and drizzled with Greek olive oil, a delicious sliced baguette on the side.
Restored, I climbed the grand staircase. The receiving room is just beyond the anteroom on the ground level to the right of the staircase shown above. Then I trudged up the north ramp past the relief fresco of the charging bull. And I peered into column-lined rooms.
The jet lag I feared didn’t hit. I stayed and saw it all. Sometimes I rested on a low wall and just let the wonder of the place seep in. I took notes. I studied the maps I had copied for the little trip booklet I put together. I imagined scenes and assured myself that I had relayed the sense of place I needed. Unsure of some areas I went back to check them again.
I began to wonder if I needed to spend another 15 euros for the full second day I had planned for Knossos.
That question of necessity turned out to be a good thing. More on that in the next post.
For this day I felt fully satisfied. Resonant with joy.