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Saundra, thank you. I am very touched by the appreciation you all have for my writing. But, I have to disagree that the members of this board are "everyday readers." I have found the men and women here to have an extraordinary appreciation for the written word and for those who create with it. Most readers pick an author and read that writer and others like him. Or, they choose a genre and read within it. Not so on this board. I've never known a group with such eclectic tastes and the ability to bring far-flung influences into direct contact with their souls. You are an exceptional group, not just for your literary gymnastics, but for your openness in expressing your relationship to the characters, plots and themes you read. If I never wrote for any audience but you all, I should feel accomplished by that alone.

And Ian,

I am forced to agree with your assessment of the Stokers. I've been very disappointed in the past with their selections. Stunned, when it came to winners like "The Silence of the Lambs." As you say, not even horror.

But mostly, I just want to thank you for what you said about Bound in Flesh. As you well know, what you write and how it's perceived, are normally two quite different things. Each reader brings a bit of himself to the story and colors it with his experience. So, to see my exact intentions reflected in your appraisal is extraordinary.

I have explained to student writers many times in the past about the relationship between writing and the five senses. Since we can only perceive in these five ways, we can only communicate with them as well. Therefore, it's essential that as writers, we engage the reader through the senses and make them see, smell, taste, feel and hear the world we've created.

As for language, that's the only tool we have. We must read those who have come before us and hear the music of their prose. Homer, Shakespeare, Lady Murasaki. Joyce, etc. We must learn the major and minor chords of language and how they effect the reader.

As for the panels in the chapel and what they eventually meant, yes, I plan very carefully in my outline. Foreshadowing and backstories are especially helpful in speculative fiction, where the movement of the story ebbs and flows. The scene that was depicted had to fit into the general description of the chapel, so that it didn't stand out, light up and point arrows at itself. But, it had to be important enough, so that when it became a plot point, the reader could say, "Aha!" The reader has to "get it" at the same moment Mike does.

But just as the arc of the novel must have its hints and clues, so must the arc of the series. Mike is convinced that Phillipe's design of the chapel isn't arbitrary, yet he doesn't realize that he is part of that framework. So, too, are the prologue and epilogue of BinF foreshadows of series books to come.

I'm very happy that you liked Baum & White. I loved creating them. Characters are normally added to a book to help resolve a plot. But, sometimes they take on a life of their own. Aspros and Dentro are "two" characters who insisted upon their own life. They didn't want to be "bit players." They will have big parts to play in Bound in Thirst and in the final book, The Vampire Maker, but I had intended to leave them out of Bound in Hunger. Silly me. As if they'd rest and sit out a whole book! So, don't be surprised if they show up in BinH as well.

Thanks again.
David

Thanks, Queen. I hope that each of my books is a better read than the ones before it, and that you'll all continue to look forward to them.

Ian, from your comments about writing and about different books, it's easy to tell that you have very good instincts--something essential for a writer. I believe it's more important for a writer to follow his instincts than it is for him to spend time in creative writing classes. Not that the classes aren't helpful. It's just that learning all the technique in the world is no substitute for "sensing." What you have is a precious gift you need to retain.