Back cover blurb:
Gavin Lewis, 20, is the kind of guy who picks worms off the sidewalk so they don’t get squished. So, of course, when Gavin finds a naked girl in the People of the Bog exhibit, he takes her to his sarcastic, cynical best friend Topher Soper so they can take care of her, obviously in trouble.
Her confusion, her demeanor, and the fact she can heal wounds lead Topher to realize she is one of the bog mummies, reanimated. But they don’t know how.
How is Annie Miller, an anthropologist with a pension for necromancy. Albeit, the magic takes hold of her when her four-year-old daughter dies of cancer. Now Annie can bring her daughter back to life, but it takes the bog girl to heal her of cancer. Annie will let nothing get in the way of her daughter’s rebirth. As the three figure out the riddle to the bog girl, she must find her own rebirth into our world, even as Gavin and Topher need to learn live anew as well.
I actually wrote this book before Weaver's Web--Weaver's Web is my most recent book, really. I have to say Rebirth is the most rebellious book I have ever met. Most of the rebellions went on during the designing phase. But it was a bull headed, charging bull of a book. First of all, the bog girl was supposed to be the main character. Gavin elbowed her over, and now it is clearly is book, which I like because he is not the magical power in the book. He's not some weird magical creature. He doesn't learn any magic. He's not so hot in a fight. He's just a good guy. And the book totally belongs to him.
The romance totally threw me through the loop as well, but I once I thought of it, I understood it was the only way it could go.
Amber, Gavin's sister, developed a plot line I had completely not expected either. Though, once again, once I thought it through, I realized it was the only thing that made sense.
In this book, the characters controlled the book more than I did. I generally don't say this, but I'm really proud of that. It is not as if I just let the book run away on me. Like I said, the rebellions were in the development stages. What I'm proud of is that I so solidly created unique, strong characters, that they led me through the book. To me, a promising sign of a good book is when the characters are so strong, I can ease up on my reins. What they say and how they say it and what they do--I never have to ponder, because I know them so well, they speak for themselves.
The final big change on this book was this was the book where I developed my signature style of heavy dialogue and light description. In my old days of writing, I had complex, long descriptions and an absolute abuse of adjectives and adverbs. Rebirth taught me to pare down as much as possible. I relied on small character insights from the characters--a line or two. Then actions--not just fight scenes, I'm talking small movements that suggest anger or fear. And a lot, including forwarding the plot happens through dialogue. I actually went through my other books and stripped them down to this style. I like dialogue and the occasional character wisp of emotion or thought leading the reader through the story. They have to think about it. Their thoughts may not even run along what I originally thought I was accomplishing in a scene (though so far it has), but that is even more awesome that they are putting that emotional and thoughtful analysis.
This has a heavy fusion of horror and fantasy, along with my usual other influences. The style I just described in part came from poetry--the meaningful double meanings and meaningful, single images. Of course the background in film came into play as a script has to tell the audience pretty much all they need to know, but it is interpreted through actors and directors and producers and editors. It is fluid. So I carved it down to bare bones. Crack those bones open, and eat the marrow inside.