High Stone Chateau under construction

Hello from Bodega Bay. So far, The Birds haven’t attacked us. We’re not on vacation down south here. Oh no, we’re on a book research mission. Shelley and I’ve been touring Sonoma wine country and now we’re out at the coast partaking of salt-air hikes and sumptuous seafood. All this for the very businesslike purpose of backgrounding my next Peyton McKean mystery, tentatively entitled “High Stone Chateau.”

How better to get that verisimilitude that’s needed to give the reader a feeling for the place and circumstances of a story? Sip some wine at this chateau, hike the hills at that nature preserve, snap some photos of those vineyards, and, you know, get a feel for the milieu.

This is the hard work of fiction writing, and I take it very seriously. So far, Jack London’s Wolf House, built of huge rough hewn stone blocks, has been the favorite place where.

More later on this story as it reels off the keyboard. Enough for now. Gotta go get some fresh oysters on the half shell down at Inverness.

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Riding Quetzalcoatlus

Mark Witton's big pterosaurThose doggone pterosaurs were incredible creatures. Look at that big one over there, as tall as a giraffe! And when they got done lumbering around on land, they took to the air. I think it’s safe to say dragons have got nothing on these babies. Click the image for a closer look. Now, if only they could breathe fire.

I suppose it’s safe to say they weren’t fire breathers, but clearly you’d want to give them a wide berth if you were to travel back to the Cretaceous period 65 million years ago. Forget getting scorched. How about getting snipped in half by that five foot long stork bill and then swallowed like sushi in two bites.

I’m impressed with these creatures, and also impressed with one of the finest purveyors of pterosaur paintings on the planet, Mark Witton. Mark is a University of Portsmouth PhD who dedicates himself to entirely too much pterosaur study. He keeps a Flickr page of these beasties for anyone who wants to learn entirely too much about them.

The reason I bring all this up is, I’ve got a story under construction in which one of my characters in the Dinosaur Wars series gets up the nerve to take to the air on the back of one of these beasties. Kit Daniels, a Montana State University student and pretty good horseback rider, decides she needs to fly one of these babies to rescue a friend from a nasty Tyrannosaurus rex attack.

That’s all I’m willing to tell you about the story for now, but be assured you’ll see a whole new side of Quetzalcoatlus, the giraffe-sized flyer, when I complete the tale, which gets very up-close and personal with these amazing beasts of the past.

As I’m sure I’ve mentioned before, writing the Dinosaur Wars novels and the new Dinosaur Tales series of short stories is my way of casting the imagination back to take a new look at dinosaurs and their flying cousins, the pterodactyls. Science has learned a lot about these animals in recent years but some things must be left to speculation, and that’s where I come in. What did they sound like? What were their nests and babies like? What, or might I say whom, did they eat? If you can’t wait until my story is published in the next few months to find out, then you’ll get a little foretaste by checking out these amazing and sometimes bizarre creatures at another cool site, Pterosaur.net, where Mark is a contributor.

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The Ghost of a Chance?

Ghost TreeI mentioned a while ago that I had a new Peyton McKean mystery under construction. Well, I’m proud to announce that it’s finished and it’s been sent for consideration by the editors of one of the prominent mystery magazines. The story, entitled “The Ghost Trees,” deals with a murder in a grove of cedar trees sacred to members the Duwamish Indian Tribe who live hereabouts. Suspicion lands on one person and then another, but the answer is shrouded in mystery as thick as the fog and drizzle dampening the rain forest in Puget Creek Canyon.

I know I mentioned that the story would be published soon, but I’m going back slightly on that promise. You see, when I submit to the editor of a mystery magazine I never know what the outcome will be, although I do know the process will be slow. If they like the story then it might be published in the fall, perhaps just in time for Halloween, good timing for a story called “The Ghost Trees.” But if they decline my manuscript, then I’ll get it back in a timeframe of two or three months. That’s slow, but understandable. Publishing is a time-consuming business.

On the other hand, those manuscripts I’ve put online as ebooks have tended to be available to readers in a one-to-three week timeframe. That’s much nicer for author and reader alike.

Any means by which I can get my stories into people’s hands is all right by me. I like to support the traditional paper publishing industry because they are real pros who know a good story when they see one, so the reader can trust them to bring out some excellent material.

On the other other hand, and as I’ve said before, there is a long line of authors ahead of me, waiting for those same publishers to check out their manuscripts. Hence the long wait and, to be frank, the low likelihood of one of my stories showing up on their pages. Quite a few of those other authors have long histories with the publishers, many fans, and friendly first-name relationships with the editors. So newer authors like me often get bypassed or neglected. I don’t blame anyone, that’s just how it is.

So I’ve decided on a strategy that I hope hits the middle ground. I love to have my stories published by the big names, so I’ll continue to submit my Peyton McKean mysteries to mystery magazine editorial departments, and I’ll send some of my Dinosaur Wars science fiction stories to the science fiction magazines as well. But I’ll only go so far. If turned down by the first one, I won’t move on to the second, third and fourth. That becomes a double- triple- or quadruply-slow process, in which one of my stories might languish in editorial “slush piles” for more than a year.

I’ve already had enough calls from my reader fans for more, more, more, to know that I write good stories. It’s not fair to them or to readers as yet unaware of me, to eclipse my stories too long in the machinery of the paper publishing industry. So, as I said before, “The Ghost Trees” will be published soon — one way or the other.

Finally, one other rather mundane aspect has to be considered. I got my first royalty check from Amazon’s Kindle publishing service the other day and I must say, at the rate the royalties are coming, the rates paid by traditional paper publishers look like chicken feed already. All that said, I’d still love to see “The Ghost Trees” in print on paper next fall.

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In Search of Lost Souls

Salish shamans in their Spirit CanoeWhile researching my novels and stories I occasionally turn up some material that’s worth sharing without putting a fictional story line around it. Lately I’ve been delving into the local shamanistic traditions here in the Puget Sound region and some all-but-forgotten customs have come to the fore, that quite frankly amaze me.

I suppose anyone can see that the men in the photo are performing some sort of ritual. Indeed they are and sadly, they were the last practitioners of a now-lost piece of shamanistic healing practice. All that remains of the custom are a very few photos, all of latter day reenactments rather than real rituals in progress, as well as a few widely-scattered museum pieces of the paraphernalia that went along with the craft. But it’s a shame the practice is gone. Although I’m not prone to belief in witch doctoring or voodoo, nevertheless, I sense that something valuable has been lost along with this custom.

What you see in the photo is a group of shamans who have teamed up. That in itself is unusual because shamans were mostly solo artists and often bitter rivals, all the way up to and including murdering their counterparts. However, in the healing ceremonies practiced by Chief Seattle’s tribe before their culture waned, this team effort took on spectacular dimensions. Click the image for a closer look. I only wish I could time warp back there once to see and hear the phenomenon that has since been called the Shamanic Odyssey or the Soul Recovery Ceremony.

A flight of fancy is about as close as I’ll ever get, so here goes.

Imagine a cedar plank longhouse a hundred feet long and half that wide, with dozens of families gathered around a sick person. Hear the drums begin and listen to solemn singing in Indian style as a procession of shamans enters the single large room, carrying planks of cedar carved and painted with mystical symbols of the shamanistic craft. The planks are embedded in the dirt floor in the outline of a large cedar dugout canoe and smaller wooden figures are emplaced along with the planks — effigies of ancestors and power spirits. The shamans line up in the spirit canoe like paddlers in a real boat, hoisting staffs that serve as paddles, magic wands, and weapons of war.

The ceremony proceeds through a series of stops in a journey to the Land of the Dead, where the soul of the sick person is held captive by malevolent ghosts. In a series of speeches, songs, and enactments of hunting, gathering, and warring scenes, the shamans progress through their odyssey while the entire gathered crowd sings, chants, pounds drums and clacks sticks on cedar planks to make a concerted noise that was said to cause the entire longhouse to reverberate and shake and shudder.

Implicit in the pageant was the understanding that the Land of the Dead was a real place and, while the shamans were merely carrying out a symbolic journey, nevertheless their own souls were at the time actually off among the Dead, and their own safety and lives were at risk. This notion strengthened the emotional impact of the proceedings and brought out great expressions of fervor among the onlookers as well as participants. As the shamans grappled with the ghosts and captured the lost soul and rushed homeward in their canoe, the bedlam of pounding rhythms and fervid massed singing must have been a truly awesome sight and sound to behold.

Home again, the shamans gathered around the sick one and blew the breath of the soul back into the sick body, made final speeches, and then withdrew from the longhouse. Given the incredible amount of attention given to the patient, it doesn’t surprise me that most were said to immediately get up and sing and dance their own personal power songs with life restored and health returning.

I’ll leave it to you to decide what level of credence you choose to give the practitioners of this soul quest, but consider this. When an entire village turns out to console and encourage a sick individual, how surprising is it really, that a quick recovery was the result? Perhaps we should find some analogous way to encourage our own sick patients, from people down with the flu to cancer sufferers, to take heart, be of good spirits, and rise up from their sick beds. If we gathered enough people around and if they were as passionate in their well-wishing as the Duwamish Indians once were, then the power of positive thinking might work medical miracles.

It’s a shame the old shamans are gone, leaving so few traces. Maybe someday, somehow, we can recapture the essence of this lost craft. Call it witch doctoring, call it what you will, but it seems to me it’s an art of healing that has no counterpart in today’s society.

Our loss.

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Enter the Shaman

Hamatsa ShamanNow, don’t think I’m gonna get all New Agey on you. Rather, I’m getting old-timey with a close look at the shamanistic culture that existed in the Pacific Northwest during the millennia since the last Ice Age, and still exists today.

The image is a portrait of a Hamatsa Cannibal Shaman photographed by the legendary cameraman Edward S. Curtis at the beginning of the last century on Vancouver Island. He’s taking part in a ceremony whose purpose was to initiate young folks into the rituals of the Cannibal Bird Society. The legendary ethnographer, Franz Boas described the cult as a central part of the old Kwakiutl culture.

Now, there is some doubt as to whether these guys ate human flesh or not, but the legendary cannibal birds were said to consume it whenever they could get it.

I’ll be discussing this, and other interesting shamanistic tidbits from Northwest Native American culture at the Paranormal Fair, next Sunday, April 24, at the Norwescon science fiction convention in SeaTac, Washington. You might consider dropping by my display table to chat about things shamanistic, if it isn’t too far to travel. If you can’t travel that far, consider doing what the ancient shamans of Seattle’s Duwamish Tribe did. They constructed a “Spirit Canoe” with sacred cedar planks and performed a seance-like ritual to travel to the land of dead spirits and retrieve lost souls, which they then brought back to their rightful owners, their sick patients.

I hope to see you, or at least your disembodied emanation, there.

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Jurassic Park it’s not

Hopp's feathered UtahraptorDinosaurs change over time. When Michael Crichton penned the novel, Jurassic Park, he brilliantly conceived a bevy of ancient beasts that stomped, chased, and munched on the human protagonists of the book and movie. However, Michael was hampered a bit in all this, given that the feathery, birdlike nature of dinosaurs hadn’t been worked out yet by the scientists of the real world.

That was fine, Crichton went ahead and put out a best-selling novel and a blockbuster movie with leathery skinned, scaly, lizard-like dinos. He didn’t know any better and I’m sure he didn’t care that much. Scaly giant lizards are doggone frightening beasts, excellent for thriller movies.

But look at my Utahraptor painting. Click it for a bigger image. It almost looks kinda cute, with all those bird feathers on it. Not so scaly. Not so scary, until you realize it’s about horse-sized and hungry enough to eat one. I made the image by pasting the feathers of several different species of hawks and falcons onto the framework of a dinosaur that I had adapted from older drawings of velociraptor (Remember him, the villain of the Jurassic Park movies and books?). That velociraptor image was naked and scaly, the way Crichton and others had imagined him, although even in Jurassic Park the evolution of thinking could be seen as velociraptors got less scaly and more feathery from one movie to the next.

And Crichton’s not the only one to come up a bit short. In Arthur Conan Doyle’s classic dino story, The Lost World, the big meat eating dinosaur was described as frog-like. Boy, that’s really off the mark, but Doyle had little to go on in the late eighteen hundreds and early nineteen hundreds, when very little of what we now consider basic knowledge about dinosaurs had yet been unearthed.

In the mid twentieth century came several King Kong movies, in which dinos were a bit more active than frogs, although they still came across as big, lumbering lizards. Nowadays, with exquisite new fossils from China coming to light, they’ve gotten a whole lot more like birds, and in TV shows like Walking With Dinosaurs, they’ve tended to show up dressed in more and more feathers and fuzz. Regarding those shows, the plots seem to be the only elements that continue to plod. Maybe things would liven up a bit if they changed their concept to Running From Dinosaurs and put some people in the mix to make the struggle for survival seem more, er, personal.

Anyway, I’ve been tracking these developments over years, and the Utahraptor image is one I created long before the details were known from fossils. It was a speculation at the time, in 2001, but it’s pretty well born out by the new fossils. It’s still among very few images showing a dinosaur as a sleek, fully feathered, birdlike creature, so mark it well. Soon all the dinosaurs will be feathered or furry and fast and furious to boot. Did I mention that Utahraptor was as big as a horse and easily as fast on its feet? You wouldn’t want to meet one on the farm, which is what Kit Daniels, the heroine of Dinosaur Wars: Counterattack does. In fact, it was my need to portray the animal in fine detail for that story that led to the feathery concept I drew back in 2001 for the cover of the soon-to-be-published book.

Boy, I sure would like to see these big, bad, birdy beasties made into a movie. Hollywood, are you paying attention?

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Osama Bin Laden Is Dead

Re-Election Plot CoverMy blog rarely touches on geo-political subjects, but once in a while it does. As the title of this entry suggests, I have an opinion about the mastermind of the 911 attack. The reason I bring it up is, well, have you noticed how the news headlines are full of Gaddafi, Assad, and a few other Mideast despots, but the most feared man of a generation has gone silent?

I think there’s a good reason for that, but not a reason you’d immediately guess. That’s why I wrote it several years ago into my short story “The Re-Election Plot.”

Now, I’m not going to write a spoiler that explains everything about that story, but I’ll point out to you how the lack of Osama in the news these days is consistent with my belief that he was killed by a bomb dropped on a desert tent in the first days of the Afghan war.

The lack of current Osama audio tapes pairs well with my feeling that they never were the product of a surviving and still deadly Al Qaeda organization, but rather the product of youthful pranksters. These days, every young Egyptian, Libyan, Bahrainian and Saudi has turned his or her attention fully to the popular uprisings. Hence, the college prankster types are too busy with other excitement to bother making scary Osama impersonation tapes.

The question then becomes, why would anyone in high places in Washington DC accept such pranks as legitimate proclamations of a demonic leader?

Um. Er. Does the title of my story, “The Re-Election Plot,” suggest any reasons?

If you’d like to lighten your burden of evil world leaders by one, check out the story. It’s only 99 cents in ebook format at Amazon.com, Barnes and Noble.com and Smashwords.com, as well as other outlets. Enjoy. Breathe easier. Tell a friend.

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My Nanotechnology Device

Molecular HandleWho created the world’s first commercially successful nanotechnology device? That would be me, all modesty cast to the wind.

What is nanotechnology? You know: those futuristic sub-microscopic tools and gadgets so small they can float around in your bloodstream and accomplish all kinds of otherwise impossible tasks. On the drawing board, they range from tiny spheres that act like mini lubricating ball bearings all the way up to ultra-mini submarines to navigate your bloodstream and do micro brain surgery from the inside, complete with crews of tiny sailors, surgeons, and gorgeous girls.

As far as I know, the mini-subs are still some time off in the future, but not too long ago I made a molecular handle. A handle’s a device, right? And this one is very-super-extremely-ultra-tiny, so it’s definitely in the nanotechnology realm. And it’s one of the most commonly used laboratory tools in genetic engineering labs around the world these days, so that’s in the commercially successful realm, right?

So there you go, I may just be the inventor of the world’s very first commercially successful nanotechnology device. Click the image for a bit closer look.

Let me tell you a little bit about this handy gadget.

The picture above shows a protein molecule in shades of gold and yellow, with my molecular handle attached to it shown in red. You see how the handle sort of sticks up and waves in the breeze, so to speak? That prompted me to nickname it the “Flag,” although scientists know it by the techno term “epitope tag.”

So why would anyone want to use a molecular handle? Frying pan handle, okay. Screw driver handle, okay. Molecular handle — what? Well, consider what my Flag handle is attached to in the picture. That yellow blobby thing is diphtheria toxin, one of the deadliest molecular poisons known. You’ve got to handle this stuff very carefully or it will drop you in your tracks. Hence the need for a handle to keep it at “arm’s length” so to speak. Most scientists handle the Flag with an oven-mit-like molecule called an “antibody,” which is a whole ‘nother story. Once you’ve finished your studies, the handle may be detached to yield the original toxin by clipping the handle off at the connection shown in blue, by means of a proteinase. Never mind what “proteinase” means, either. A detachable handle, then. Very clean. Very nice. Very useful for medical research. So useful, in fact, that thousands of researchers around the world have reported success using my method to advance their own experiments. These include studies on deadly viruses, heart ailments, tumors, or any other endeavor where the culprit is a protein of one kind or another (there are millions of ’em). In the time since I described the Flag in a patent and a scientific paper, literally tens of thousands of other researchers have published discoveries based on my invention or perhaps one of the knock-off, copycat handles that have appeared more recently.

The Flag PaperClick on the image at left if you’d like to read an article I published on the subject. Warning! It’s ver-r-r-ry techno. In the years since that seminal paper, I’ve seen reports of researchers using the Flag handle to study proteins involved with Alzheimer’s disease, smallpox, arthritis, neurotransmission, and about a zillion other types of cells, molecules, and diseases. It’s quite gratifying to know a tool I developed two decades ago has taken on such stature in modern molecular biology and medical research.

I’d better take pride, because I got precious little else for it. When I filed the patent in 1984, my bosses at Immunex made me sign over the rights to them and they were pretty miserly in sharing the wealth they won with my invention. Ah well, such was my life as a working stiff. No member of the privileged class, I.

Knockoffs of my nanotech gadget are pretty widespread now, but the original is still the most widely used and–I’m happy to tell you–still the best little molecular handle in the world. If you’d like to learn more about the Flag molecular handle, check out the following links:

The original description of the Flag in Nature Biotechnology, a leading scientific journal.

The cover page of my first patent describing the Flag.

The Wikipedia page explaining the Flag Epitope Tag.

Finally, here’s a link to Protein Research Laboratories, the small biotechnology and consulting company I run here in Seattle, just in case you or somebody you know would like some advice on how to use my molecular handle.

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Dinosaur Wars Fan Art

In the science fiction genre, artwork produced by a story’s fans has a long history. That history is so rich that there are even publications and websites dedicated to it. I’m delighted to discover that Dinosaur Wars has its share of fan-created art, as well. The image at left was created by Bluedramon and posted on her web pages at Deviant Art.

I made some fan art myself, long ago, but had no place to publish it and it’s long since vanished into old boxes in my basement. I was a big fan of Rudolph Zallinger’s dinosaur art, which graces the walls of the Peabody Museum at Yale University. His paintings, it’s safe to say, inspired a lifetime of dino fascination in me. It’s nice to think that there’s a chain of artistic continuity where one artist inspires another, inspires another, inspires another…

Here’s another by Bluedramon, who goes by the earthly name of Kacie:

This is my personal favorite for two reasons: first, it shows the villain of Dinosaur Wars, Ugon, the Kra leader and High Priest of Death, in his full battle array with the towering plumes on his helmet signifying his role as general and all-round commander of the invasion force. Nice! Second, although I imagined and wrote Ugon in this sort of attire, I’ve never actually seen him. Thanks, Kacie, for my first look at Ugon! I only wish he were in color. His blood red plumes and scarlet inlay on his armor would make him doubly impressive, the Dino Darth Vader!

You might want to check out more of Kacie’s work at Bluedramon. She’s got some interesting and very creative takes there on dinosaur fiction by me and others, including her own work. A budding dinosaur fiction writer or illustrator? We’ll see.

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Peyton McKean’s Seattle: Life Under A Cloud

Where does a writer draw inspiration from? A good starting point is to look around right where you’re at and view things in a new light. For example, when I was invited to submit a story to the Seattle Noir mystery anthology I was advised by my editor, Curt Colbert, that one way to think of noir fiction is that the protagonist lives life “under a cloud.” He meant it figuratively of course, but I got to thinking about it literally — after all, every Seattleite lives under a cloud most of the time. But the mission to write “Blood Tide,” which was chosen as Seattle Noir’s lead-off story, was an exercise in learning to see my own environment in a new way. Take a good look at the picture. I snapped it just the other day. The place really does exist under one cloud or another most of the time, doesn’t it?

Still, born and bred Seattleites like me grow so used to clouds that we hardly notice them. But when one takes Seattle as a whole and asks what sorts of figurative clouds are floating overhead, then that new light begins to shine.

The destruction of Chief Seattle’s culture was not fully completed until city engineers diverted the Duwamish River headwaters and changed Tukwila from a river village to a barren wasteland. That happened in the early nineteen hundreds, barely a century ago, and the oral tradition of those times carries on among the displaced natives here to this day. A bit more than a half century ago, I was born and raised in a housing project on the banks of what remains of the Duwamish River, in what’s now the South Park neighborhood. So I feel an affinity for the people who lived there and drew sustenance there before me. Not many Seattleites can say they grew up on those banks, although in old times nearly all Duwamish people did.

The hardships of the Duwamish people continue today. Some still fish the muddy waters of what’s left of the Duwamish River although even Cecile Hansen, Chairwoman of the tribe says she wouldn’t eat a salmon caught in a Federal Superfund Cleanup Site, which is what the river has become. A few years back, Bill Clinton issued a decree establishing the Duwamish as a Federally Recognized Tribe, but George Bush immediately rescinded all Clinton’s orders, either without reading about the Duwamish, or at least not giving a damn about their fate.

What’s all this got to do with writing? Let’s just say I’ve found my place, and a voice, and a cause. I contributed cash to help the tribe build its first longhouse in West Seattle since their old “Herring’s House” was burnt by a mob of pioneers in the 1890s. I’m learning a bit of the almost-extinct Lushootseed language in classes at the longhouse. And I’m writing fiction that dramatizes conditions among Seattle’s native population.

By extension of my own experience, then, my lead character Peyton McKean is imbued with personal background and qualities of mind that derive as I did, out of the mud of the heavy metal contaminated Duwamish River, under a sky heavy with clouds that portend rain. Maybe that rain will wash away some of Seattle’s original sins. If not, then plenty more black days lie in store. No matter which, my stories will draw strength of character in the telling of old hurt, old calamity, old bigotry and hatred. Fertile wellsprings for hard-edged mystery fiction.

And that’s noir. It’s life under a cloud. It’s Seattle.

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