Fiction Fragments: Errick Nunnally

Last week I chatted with EV Knight about cats and her debut novel, The Fourth Whore. This week, Girl Meets Monster welcomes Errick Nunnally. I met Errick in person at Necon 39, but was first introduced to him virtually as the cover artist for my debut novel, Invisible Chains. When I asked Errick to submit a fragment, he had this to say about his submission: “This is the second part in a series of stories I’ve been putting together about a Boston animal control officer, Nora Tuttle (mixed ethnicity), who has found herself dealing with animal…anomalies…each worse than the last. My hope is to collect them as a novella. Which is nigh impossible to sell, of course, but… I can’t overstate how much I love this character.”

ErrickNunnallyErrick Nunnally was born and raised in Boston, Massachusetts, and served one tour in the Marine Corps before deciding art school was a safer pursuit. He enjoys art, comics, and genre novels. A designer by day, he earned a black belt in Krav Maga and Muay Thai kickboxing by night. His writing has appeared in several anthologies and is best described as “dark pulp.” His work can be found in Lamplight, Transcendent, Monarchies of Mau: Tales of Excellent Cats, The Final Summons, Protectors 2, Nightlight Podcast, and the novel, Lightning Wears a Red Cape. See more of his work online at erricknunnally.us

Three Questions

GMM: Welcome, Errick. I just finished reading Blood for the Sun, and I loved it. I love vampires and werewolves equally, but I always seem to root for the werewolves when they go to war. What made you decide to cast vampires as the villains in the novel? What was the inspiration for your wonderfully complex protagonist, Alexander Smith?

EN: Hello, and thank you for having me. I’m so glad you enjoyed the novel!

As for inspiration, I love monsters more than the other aspects of horror and I always rooted for the werewolves in movies–especially when they were subbed to vampires. Because they’re relegated to wild animal status, it wasn’t often, in popular movies and TV, that you got to see someone in control of themselves. The closest that I recall is the television series, Werewolf, where the main character had a modicum of control when transformed, but that control was eroding over time. I got a kick out of the Werewolf By Night comics and really liked the idea that Jack Russel finally makes peace with his beast, taking more control and revitalizing the series for a while. That is basically what drove my initial decision and fundamentally reimagining where these abilities come from–which is part of the trilogy’s overall arc. Smith himself was a long time in development, from that point. It all started in college, around ’95 or ’96. I painted a three-page comic of this loose idea that was jangling around in my head: a werewolf living on a frontier whose neighbors–Chinese immigrants–are murdered and their child stolen. He tears off after the culprit, recognizing that a wild vampire has taken the child. He saves the baby, but not before she’s bitten. He knows he should get rid of her, but he keeps her, instead, initially raising her out of guilt for crimes he’s already committed. And that’s basically the origin story of his adopted daughter, Ana. I loved the idea of Alexander growing up pre-industrial and Ana growing up post-industrial. It makes their personalities decidedly different. Over the years, I had other ideas for both his backstory and personality: he’s half-and-half African-American and First Nation. His dad escaped slavery in Louisiana, up the Mississippi River and married a Kainai woman, before settling in Saskatchewan and becoming a coal miner. Alexander is one of three kids, raised on a homestead. His sisters are married back into the tribe. His father dies of black lung, his mother dies of old age. The shapeshifter aspect is handed down bloodlines and Alexander is infected by a great-great grandfather. After a century or more the aspect starts eating memories, producing wild monsters that feed into myths. That memory stuff came from watching my grandmothers’ memories deteriorate and how disorienting and horrifying it was. Alexander’s skills were added with the idea that constant learning helps our brains stay sharp. The idea for sorting out missing children’s cases as a challenging puzzle as well as a parallel to his daughter’s existence. He fears the madness and roams from his homelands to avoid handing the lycanthropy down to someone else. I’ve always liked the irredeemable character, so I put things in Alexander’s past that he’ll never overcome. So much of his character stems from my counter-stance on pure heroism, popular vampires, and the unimaginable beauty associated with the supernatural in so many “urban fantasy” novels. On and on and on, over the years, until I got laid off around 2008. Being unemployed for a couple years put a lot of time in my lap and I came up with a bucket list. One of the items was to finally write that damn novel.

GMM: Judging by the fragment you submitted, Nora Tuttle is about to have her hands full. Nothing good comes out of mysterious egg sacs in my experience. You mentioned that you love this character, and that she is of mixed ethnicity. How important is it to you to write about characters who are people of color? Why are their stories important?

EN: That fragment is from a story I finished recently. It’s the second time I’ve used Tuttle. She debuted in a story about dog fighting and genetic tampering that I wrote shortly after Blood for the Sun was published. She is mixed and that experience comes with its unique problems here in America. I’m not the sort that writes about “race” in particular, but it factors in because that’s the lived experience I have among the people I grew up with. It’s important to me because as I grew up, I didn’t see much of myself, the people, or the world I knew reflected in fiction. And I love science fiction! Non-white adults of my vintage will recall the lack of reflection when it came to stories about the future, as if entire swaths of humanity wouldn’t make it, that “white” folks would live forever. It was frustrating. Even more, in hindsight, as I’ve gotten older and seen so much more successful representation in media. Nora Tuttle, in particular, came into existence because I didn’t want to write a male protagonist and I wanted someone who would have some relationship with law enforcement, but wasn’t a cop themselves. The better to entangle them in danger without the offensive capabilities or resources to deal with it. Enter an officer for Boston Animal Control! Add monstrous elements and I had someone in way over their head. I think it’s very, very important to write protagonists who are as fully-formed as possible. Because of my experiences and background, that’s always going to include various POC. Tuttle has all sorts of background that I mine in the second story, further complicating her life. Because I love her, she will be in a third and final story before I step away from, uh, complicating her life.

GMM: I haven’t had a chance to read your latest novel, Lightning Wears a Red Cape, but it is on my list of books to read in 2020. What are you working on right now? Do you have any projects coming out in the next year?

EN: Blood for the Sun is currently out-of-print, but a newer, re-edited version will be back in circulation this summer, from Haverhill House Publishing! Two sequels will follow shortly afterward. The second, All The Dead Men, is already written! I can’t wait to start reveals of the covers et al. I’m also working on a few short stories–one of which has a home if I can get it done right–and two novellas that I’d like to release into the wild. There are two novels in the pipe that I need to get crackin’ on. One is a thriller–no speculative elements–about an Afghani translator and the father of a fallen Marine that he has befriended. The translator has to go on the run with evidence of a conspiracy to escalate conflict in the region. Both he and the father are pursued by bad actors, of course. There’ll be international action, mercenaries, political intrigue, all the good/bad thriller stuff. Everyone I’ve explained the full premise and story to is intrigued by the idea and I think it’ll be a good challenge for me to write. The second novel’s content is TBD, but a couple of good friends are pushing for a slippery, magical idea that builds off of my life when I was much younger. We’ll just have to wait and see about that one, at this point!

The Keeper of Taswomet, by Errick A. Nunnally

The slow whine of a cicada cut through the warm air and mixed with the other chirps and clicks of insects. A light breeze came in from across the marsh, tickling the tall dry grass. The dense green could barely be seen through a narrow corridor in the trees surrounding the last home on the lane.

Joshua shot out of the back of his house, cutting across the lawn and into the trees before the screen door banged shut. He wore the summer-ready haircut of most twelve-year old boys: buzzed short on the sides, his brown hair lightened by the sun. The day was especially warm, so he wore his favorite, tank top: light blue with Mjölnir on the front. Partway down his skinny biceps, the skin went from its usual fish-belly pale to cinnamon-toasted, exposing what his mother referred to as a ‘farmer’s tan.’ The youngster was an anachronism, belonging instead to the days when scores of children roamed through nature, picking it apart, living in it and on it. These days, most of his friends were more interested in music or the latest dramas of the latest pop stars.

He rushed to check on the well-hidden, briny pool he’d found just before lunch, a gift born of the marsh that defined so much of his life. Joshua was fortunate, he enjoyed the area to a degree that other kids did not. Taswomet Marsh made summers the best time of year and it made school bearable. The natural wonder’s proximity bent the science program to its will. And Joshua loved it.

A trip to the hardware store and chores with his father had kept him from exploring the discovery further, earlier in the day, but the precious gift of extra daylight during the summer meant he had some time after dinner.

He wound through the oak and pine wood, rooted in a sandy surface, cutting through to the well-worn path that meandered along the greater portion of the marsh. Insect cries intensified in constant whirrs and clicks. He imagined the long shadows were the devastating ice clubs of frost giants and Joshua danced around them. He slowed when he reached the next path, exposed to the setting sun on.

Bright light and heat slammed his face and arms as he eased the pace, picking his way along the narrow path that cut through low brush too thick to pass otherwise. He’d promised to get back before sunset, so he didn’t dally when a plover snapped out of the tall grass, capturing his attention. It beat quickly into the sky, then broke into the tree line before he could determine whether it was a western or a white-rumped.

The backpack he wore added a layer of unneeded warmth to the small of his back. It contained his notebook, sample bags, a small shovel, and other knick-knacks for research and sample collection. He shrugged the bag off and carried it by the handle. Just ahead, there was a less worn path cutting towards the marsh proper. Softer soil gave beneath his feet as he wound his way through the flora to the pool, pushing tall grasses and thick underbrush aside. The stink of mosquito repellent stung his nose. It was necessary to wear in the marsh, but he always felt like his mom laid it on too thick. Still, he was fortunate to be part of a new generation allowed to roam, to drift away and explore only to return when hunger saw fit to remind him. As long as it happened before dark.

He crouched down at the edge of the hidden pool and peered into the dark water. Just below the surface, he could make out eight gelatinous sacks about the size of raviolis and trending in color from brown to translucent to gray. He couldn’t tell if there were more of them deeper in the water, but it didn’t matter. He only wanted one for his project. Being careful not to fall in, and using a heavy-duty zip-locking bag, he scooped up one of the sacs and as much of the brackish water as he could. He only wanted a sample, something to study. Of all the species he knew that reproduced in this manner—he presumed they were egg sacs—this one escaped him. It looked like the egg case of a catshark, but square and smaller. The marsh was a cornucopia of ecology accentuated by the sea.

Joshua held the bag up to the sunlight and peered through the odd mass. Inside the sac, a tiny creature lay curled into a tight ball. It twitched in the glare. Overhead, two Osprey observed the marsh in widening circles. Joshua was anxious to get his find settled into the glass habitat he’d constructed in his room. He’d dubbed the thing a “terraquarium” since it approximated, as best he could manage, the mixed environment of the marsh. He was going to have the best summer project on display when school started again.

Thoughts of the future danced in his mind as he hurried home, the kind of open-ended musings only a 12-year old could think of; a future of discovery and fortune.

Do you have a fragment that should probably see the light of day? Send it my way at chellane@gmail.com. See you next week!

Love, Sex and Beautiful Death

I read a lot of Paranormal Romance…or Urban Fantasy…or Vampire Romance…or Vampire Erotica… or essentially, any fiction that features vampires and other supernatural creatures engaged in sexual relationships that are complicated by the threat of violence from external or internal forces. Conflict, sex, and the threat of death makes for interesting fiction. Well, as long as the characters aren’t too annoying. As is the case with a lot of contemporary popular fiction featuring vampires, werewolves, witches, and other dark characters, eventually someone is going to get laid. At least, if I’m reading the book they had better get laid or I’m going to quickly lose interest. The exception to this would be a series that features characters who are constantly building toward a promised release. They don’t have sex right away, but man when they do, and you know they will, it is going to be HOT.

Jean-Claude, Vampire Master of the City of St. Louis

Jean-ClaudeWolf

In the first few novels in Laurell K. Hamilton’s Anita Blake, Vampire Hunter Series, that is exactly what we get as readers. The tantalizing promise of sex, without release. Anita has taken a personal vow of celibacy and is waiting to meet Mr. Right before she has sex with anyone. She goes on dates, but never seems to like or trust anyone enough to make them a permanent fixture in her life. To be fair, her life is complicated. She raises zombies for a living and is also a licensed vampire hunter. She works with the police to solve paranormal crimes and she hunts monsters. Initially, even though she has the ability to raise the dead, she considers herself human and anyone with fangs or who occasionally turns furry, she considers a monster. Simple right?

Well, as is the case with most things in life, nothing is ever that cut and dry. In Hamilton’s first novel, Guilty Pleasures, we meet a vampire who could give Anne Rice’s vampires a run for their money. Jean-Claude is a master vampire, but he serves under a more powerful vampire who is the Master of the City of St. Louis. Jean-Claude was born in France, he is tall, slim, but muscular and has a feminine appearance due to his long black curls and angelic pale face. While he is a bit androgynous, Anita makes it clear that you would never mistake him for anything other than male. His preference for black and white clothing in fabrics like silk, velvet, lace and leather tend to the more dramatic and are reminiscent of 17th century fashions, including black leather boots that reach his thighs and shirts with frilly lace collars and cuffs. Jean-Claude’s most noticeable attributes are his beauty, his charm, his biting wit, his seductive voice that enables him to enthrall humans, a laugh that caresses your skin and puts naughty ideas into your head, and an uncanny knack for diplomacy and leadership. His maker, Belle Morte, that’s right, the beautiful death, is a very powerful vampire and has the power to control humans, lycanthropes, and vampires with her sexuality, and each vampire in her bloodline has some skill associated with love and sex. Her power is like a drug and many have become addicted to her power, which is called the ardeur.

Like Gallowglass de Clermont, there is no actor to reference, because there has been no TV or film adaptation of the novels at this point. But, there is a comic book series based on the books and lots of fan art floating around out there to give you a sense of Jean-Claude’s good looks. And, like me people have their own opinions about who should be cast as extremely sensual vampire.

GuiltyPleasures

Anita’s skill set allows her to sense the relative age of most vampires, something she does through feeling the amount of power they have. She can usually guess the age of a vampire within a hundred years give or take. However, she underestimates Jean-Claude’s age by roughly 200 years when they first meet. Although she has made a career of hunting vampires, she has not been privy to their secrets because she does not have access to their world beyond hunting and killing them. Her knowledge is limited to literal textbooks and what she has been able to observe in the field.

As she gets to know Jean-Claude and the other vampires in the kiss (a group or clan of vampires) he belongs to, Anita starts to realize she knows a lot less about vampires than she thought. Jean-Claude seems to be hellbent on getting into Anita’s panties in the first novel and is puzzled, but excited by the challenge when he realizes that she isn’t driven by her libido. He claims that it has been centuries since anyone has turned down his offer for sex. Given that his super vamp powers stem from his ability to seduce people with his voice and touch, and he is apparently well-versed in the art of giving pleasure, he relies on his powers of persuasion from the neck up to convince Anita that she can trust him. She continually refuses his invitations to dinner even after he saves her life.

But…he saves her life by binding her to him through the use of vampire magic. So, he saves and enslaves her at the same time. And, in turn, because of their close connection she ends up saving him and kills the vampire who stands in the way of him obtaining more power. In fact, she keeps saving until she realizes she’s doing because she has feelings for him. They are friends and allies, and the more she gets to know him the more she realizes her feelings for him are of a sexual nature. Well, no shit, Sherlock. I mean aside from the fact that his accent alone is enough to peel panties, his vampire powers are based in seduction, he dresses like a model on the cover of a romance novel and has a body made for sin. He has a black belt in flirting and the ability to make Anita believe that it’s her idea to have sex the first time they finally do. He allows her to come to him and questions her decision even though it is the one thing he wants most from her. Well, that and genuine love and affection. He’s smart, funny, powerful, handsome, could write an encyclopedia on fucking from memory, and has sincere emotional attachment to the vampires and shapeshifters he rules.

Despite some of his manipulative habits and almost serial killer level need for keeping secrets, he’s still one of the best choices for boyfriends among the many lovers Anita acquires over the course of the novels. He does trick her into to becoming his human servant. And, he threatens to kill her boyfriend, a werewolf, Richard Zeeman, if she refuses to date both of them at the same time. Up until the point when she finally gives herself to Jean-Claude body and soul, she dates both of them, has sex with neither of them, and Jean-Claude’s angle is that he believes eventually she will choose one of them. One of them will appear to be too mostrous and in that moment she will choose the other. Richard wants to marry Anita and initially she wants the same happily ever after. But, as Richard gains power within his pack, she freaks out when she seems the darker side of his werewolf self. Her rejection of him only serves to make Richard hate himself even more.

At any rate, as readers, we wait a long time for Anita to drop her guard and her panties. There are a few scenes when you think she’s going to have sex with Richard, but they either get interrupted, don’t have time, or allow fear to talk them out of it. There is a lot of kissing and touching and elevated heart rates, but we barely even get foreplay until Anita sees Richard let his beast loose and runs into the arms of Jean-Claude. She literally feels safer in the arms of a vampire. So safe, that she fucks him in the bathtub and despite her moral high horse, she does it without any admission of love for Jean-Claude. Technically, she used him for sex. She was feeling so terrible about her feelings for Richard that she ran to Jean-Claude and used him for sex. And thereby punishing Richard for being too much of a monster.

Yes, Jean-Claude is a vampire. He feeds on blood and in his case, sexual pleasure. He feeds on the sexual release of his partners like an incubus, but he can also feed off people’s arousal at a distance. Since he owns and operates a strip club featuring male lycanthropes and vampires, there’s a lot of sexual energy to go around. In fact, as Anita’s powers and needs evolve, most of her additional lovers, with the exception of Richard, Micah and Asher, come from the line-up of strippers at Guilty Pleasures: Jason, Nathaniel, Requiem, Damian, London, and Byron. I’m probably forgetting someone, but it’s kind of hard to keep track of all that man candy.

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Jean-Claude is attracted to men and women, but Anita is his only lover throughout the first fourteen novels. Anita and Jean-Claude have sex with other people in their bed, including Asher, Richard, Micah and Nathaniel, and even Jason. However, everyone is having sex with Anita. There is blood-sharing that takes place between the vampires and the male lycanthropes, but there is only hetero sex happening between Anita and all of her lovers even if more than one of them is in the bed. However, Jean-Claude and Asher were lovers in the past and they are still in love. They avoid having sex together, because Jean-Claude is worried that if Anita is uncomfortable with him having sex with men she will no longer accept him into her bed. He doesn’t even feed off other women, so he has essentially made himself celibate except for Anita when he is in fact an incubus. His willingness to play by her rules based on a very limited scope of sexuality actually weakens his power as Master of the City. There are men willing to have sex with Jean-Claude and he continually refuses even though he may be attracted to them. Asher is the least happy about this situation and continually complains about it. Asher will definitely get his own blog post this month if not this week.

Meanwhile, because of the metaphysical fuckery associated with becoming Jean-Claude’s human servant and becoming part of a triumvirate with Richard as Jean-Claude’s animal to call, Anita develops the ardeur and must have multiple lovers to feed like a succubus and even has two live-in boyfriends. That doesn’t exactly seem fair does it? Especially since Richard is still counted among her harem and he goes on dates and has sex with lots of other women. What the fuck, you might ask. Everyone else who has sex with Anita, with the exception of Jason, Richard, and Asher, remain faithful to her. So, she has these really weird relationships with everyone where she continually questions her feelings, their feelings, and pretends to be clueless about alternative sexual needs.

For example, one of her boyfriends, a wereleopard and stripper, who was also a former child prostitute and porn star, has a taste for BDSM. He’s submissive and enjoys being dominated. In fact, he enjoys feeling pain. Anita claims to love him, but can’t seem to get her head around the fact that he’d like her to dominate him more sexually. He even tells her they can start out slow and simply try binding him while they have the regular sex they would normally have, which by the way isn’t always vanilla. She’s uncomfortable with the idea, so keeps avoiding his requests. Then he suggests going to someone else for domination without sexual intercourse. Again, she doesn’t know what to say, because she’s jealous and worried about sharing him with someone else. Again, what the fuck? I’m going to stop talking about Nathaniel right there, because I’m pretty sure he’s going to come up in another blog post. Because, I’ve thought about Nathaniel a lot, and I have several solutions to alleviate the problem of him not getting what he needs from his relationship with Anita.

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There are a total of 32 books in this series. Apparently, in book 23, Dead Ice, Anita and Jean-Claude plan their wedding. I can only assume that Richard is dead at this point, because I can’t imagine him standing by to allow that to happen. He’s tried killing Jean-Claude for less. I’m on book 15 right now, The Harlequin, and I had a moment of clarity while reading a scene in which Anita and Richard are bickering over some bullshit jealousy issue, as usual, and rather than sitting back and letting them fight with each other, Jean-Claude whips out his power and makes them both come to heel.

Jean-Claude called the fight. He called it with a push of power that staggered both of us. I nearly fell, and Richard looked ashen. We both turned and looked at the vampire. HIs eyes were glittering blue pools, like the night sky was on fire.

“Enough of this.” His voice whispered through the room like and echo of bats, bouncing off the curtains.

I knew he was our master, but I’d never felt him do anything like this to us. Never felt him simply throw his power into us and stop us in our tracks. I hadn’t known he had it in him.

We watched him come toward us like small birds that wanted to fly from the snake, but couldn’t make ourselves move. (205)

There’s nothing sexual happening in that scene. But I couldn’t remember ever being as turned on by Jean-Claude in that moment as I had been during all of his sex scenes. Jean-Claude has a lot of sex scenes. Some of which are super-fucking hot. Power is sexy. Vampire power, when used strategically by the right vampire, is heart-palpitating, knee-quivering, and panty-peeling sexy.

More often than not, Jean-Claude will defer to Anita. He allows her to be in control of situations, unless he knows better or is worried that emotions will cloud her judgement. His fear of upsetting her practically castrates him, and there are many instances when he has to lie or simply omit information so that he can effectively run his businesses and manage his territory.

The scene above was one of the first times he simply told both Anita and Richard to shut up and do what he said. He reminded them that he actually is more powerful than they give him credit for, and it freaked them both out. They shut the fuck up. For a little while anyway. As powerful as Anita and Richard are, Jean-Claude is still their master.

Several vampires who sought freedom from the ardeur and Belle Morte’s cruel and perverse behaviors, have chosen to live with Jean-Claude and accepted him as their master. Jean-Claude is no joke. With each newly acquired vampire and each new acquired metaphysical power he becomes more and more powerful. But, despite all that power he is still a formidable foe, a shrewd businessman, a clever diplomat, a reliable ally, a loyal friend, a kind master, and a generous lover. Without a doubt, Jean-Claude is one of my favorite vampires of all time and he is unquestionably fuckable.