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How to Spend a Rainy Weekend: Dreamslipping!

Get the Entire Dreamslippers Series on Ebook for 75% Off

Boxed Set Dreamslippers WIDE

It's May and still raining here in the Pacific Northwest, which probably explains why we're such a readerly culture. Nothing says "stay home and read a book" like nine months of near-continuous grey skies. So to ease you in this time of need, we've slashed the price on the Dreamslippers Series boxed set by 75%. That means you can get the entire award-winning series plus the bonus story for only $2.99. 

Series highlights:

  • Answers that all-consuming question, What if you could slip into the dreams of a killer? 
  • The Dreamslippers are a family of private investigators who solve crime using their ability to see the dreams of others
  • For mystery lovers who like a bit of realistic psychic flavor in their whodunits
  • Gay and trans-friendly, with a diverse cast of characters
  • Respectful to Christians and conservatives, not that those two things have to go together (a shout-out to liberal Christians and conservative atheists!)
  • Features a grandmother/granddaughter duo, and they have lots of conversations that don't focus on men or dating
  • Still, they get their romance on, too, so plenty of hotness, even at Granny Grace's age
  • Winner of the indieBRAG medallion, finalist for the Nancy Pearl Book Award, and nominated for a RONE Award

The sale applies to the boxed set, which is on ebook only and available pretty much wherever ebooks are sold, for any device in any format. 

Pass this on to your friends! Word-of-mouth sells more books than anything else. And do post a review of the boxed set when you're done reading, whether doing so made you into a committed fan or not. While book one in the series, Cat in the Flock, is up to 75 reviews now on Amazon, we don't have any yet for the boxed set, so potential readers are missing out on Grace and the gang. :( That's just how this works.

Also... exciting news! We're in talks with Hollywood representatives about interest in adapting the Dreamslippers Series to film/TV. Stay tuned... 


What If How the Story Ends Is Up to You?

An Interview with Lifeline Writer Dave Justus

Dave Justus 1
 
Dave Justus is author of the first and many other games in the Lifeline series from Big Fish—including the eponymous original; Lifeline 2: Bloodline; Lifeline: Silent Night; and Lifeline: Halfway To Infinity—which have enjoyed nearly 7 million worldwide downloads to date. He is also the co-writer, with Lilah Sturges, of the comic books Everafter: From The Pages Of FablesPublic RelationsFables: The Wolf Among Us; and more.
 
Lifeline games are games, but they're also novels. Part of the growing "interactive fiction" genre, the games are entirely text-based, with the reader making choices throughout. It goes like this: A stranded astronaut contacts you, asking for help in the form of a person to talk to as well as ask for advice. Sort of like if "The Martian" were a game instead of a movie, and you got to talk to Mark Watney the entire time he's stranded on Mars. 
 
Lisa: How did you get involved in writing the Lifeline series? Did you have any background in the game industry? What was the genesis for the first game?
 
Dave: I came to Lifeline in a sort of roundabout way. The original game was being developed by Three Minute Games, a tiny three-man skunkworks within Big Fish. They'd had some minor successes, but they'd come up with the concept for Lifeline and wanted its release to coincide with the release of the Apple Watch. They offered the job to my friend Daryl Gregory -- who is one of the best writers I've ever read, and I thought as much before I ever met him -- but he was too booked to do it, so he very kindly suggested me for the position. Three Minute took a chance on me (I'd barely been published at that point), and gave me tremendous freedom under a very tight deadline. They knew they wanted about three days of gameplay, a sci-fi story with a nongendered protagonist in a "choose your own adventure" style, and they needed it in five weeks. Beyond that, I was free to do whatever I wanted... which was both amazing and daunting.
 
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I had no background in games whatsoever, but I honestly think, in this case, that worked to my advantage. I'd been an avid NES gamer in my childhood, had spent plenty of time with Infocom games like Hitchhiker's Guide (whose DNA you can certainly see in Lifeline), and had played several Playstation games growing up, but the last one I'd really sunk any amount of time into was Tomb Raider 2, back in college. Once I graduated, I had very little "mad money," and I chose to apply that to comics (which I've been collecting since I was eight) rather than video games. But in the case of Lifeline, I think it worked out very well, because I wrote the game purely as a conversation. I wasn't thinking in terms of "power-ups" or acquiring weapons or typical video game structures; rather, I wanted it to feel as much as possible like the Player was receiving texts from a real human being. And the feedback we've gotten has largely indicated that that's exactly what people feel when they're playing: They're not controlling a sprite, they're talking to an actual person.
 
Lisa: How much text is in these games? As much as a typical novel, say 80,000 words, at least? Or far fewer? Also, you say they wanted three days of play, but I note there are breaks when Taylor is busy. What's the breakout between "idle" time and actual play? How did you figure out how long the breaks should be? What's the longest? The shortest?
 
Dave: The first Lifeline game is a little over 50,000 words -- more in the range of a novella, or possibly a YA novel. Because of the way I ended up structuring the game (in that I didn't really know what I was doing and wanted to give people the most bang for their buck), a Player who makes it to the end of the game alive will actually have seen the bulk of the game's text. Hopefully no passages that contradict any others, obviously... but I wanted to put as much info as possible on the screen.
 
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Lifeline 2: Bloodline had almost twice as many words. It was very freeing for me, because I felt like I could go into so much more depth on Arika's character, her world, and her quests... but it was a lot to ask of the team on the other end, specifically in terms of translation to other languages. For subsequent games, we've looked for a happy medium in terms of word count: not so much that it causes panic attacks at the Big Fish offices, but enough that the authors can stretch their legs a bit and the Players can, we hope, feel satisfied with the end result.
 
The "idle" time was essential to Three Minute's concept of a real-time conversation; it takes time for the characters to walk to a new location, or to eat a meal, or to rest for a bit. The first "long" break in the original Lifeline comes when Taylor sleeps on the first night -- the Player must give Taylor some information that creates a life-or-death scenario overnight, and we wanted Players to be tense, anxious to see whether their advice had been Taylor's doom or salvation. I believe that the longest break is six hours (for a character to sleep); delays can be as short as a couple of seconds, if we want to employ them to help with the timing of a joke or something. I originally feared that the breaks would be a turn-off to Players, that no one would want to wait an hour while Taylor walked around a crater. And indeed, after one death, the games give you the option to switch off the "real-time" mode and play with no delays whatsoever. But what we found was that, overwhelmingly, the majority of Players chose to switch back to "real-time" after trying "fast" mode. The preference for the delays is considerable.
 
Lisa: Let me return to what you said about wanting players to feel as if they're talking to an actual person instead of "controlling a sprite," and how your lack of game-industry experience felt like an advantage to you. This might rankle seasoned game writers and narrative designers, since we're quite serious about our craft and its tradition beyond power-ups and what's "typical." Have you since become part of the game-writing community, instead of a sort of self-described outsider? Or do you still see yourself that way? I'm asking because text adventures in particular have a history and set of best practices that predate what we think of as video games today.
 
Lifeline fan art
'Lifeline' Fan Art
 
Dave: Please believe me when I say that the last thing I intended here was to cause offense. When I say "typical" structures, I only meant the things that I, personally, thought of as aspects common to NES and arcade games, based on my own history with them. As I mentioned, I'd also played many text games back on my old Apple IIe, and I was primarily drawing from my (admittedly fairly hazy) memories of those while trying to construct Lifeline.
 
I would definitely still consider myself an outsider when it comes to game writing. I'm in Texas -- nowhere near Big Fish or Three Minute, out on the West Coast -- and I don't wind up getting to attend all the expos and conventions with them. I would be very interested if you could point me to resources for the best practices that you mention -- I perpetually feel like I sort of stumbled into success with Lifeline, and I keep waiting for someone to tap me on the shoulder and say, "We know you're just faking it. It's time for you to leave." That day is going to suck.
 
Lisa: Great answer ;). I'll send you some links later on so you can join the game-writing party! Next question: Older players or those younger who've discovered the series anew might compare Lifeline to the Choose Your Own Adventure books, which were first popular in the 80s (I was a huge fan). Were those an inspiration for you?
 
Dave: They absolutely were. I was a voracious reader as a child -- the sort who would read the back of cereal boxes, just because they had words on them. My parents and grandparents, much to their credit, always indulged this behavior, so I had shelves and shelves of books, including probably two dozen or so Choose Your Own Adventure titles. The one that stands out in my mind, to this day, is Inside UFO 54-40, credited to Edward Packard -- it was a terrifying science fiction story, bleak to the point of nihilism, in which all paths led to defeat, and the best ending could never actually be reached. And it blew my tiny mind. It was the bridge between kids' books and adult literature for me. Once that book had broken me, I could not have cared less about Beezus and Ramona; I was ready for the Overlook Hotel and moon monoliths and Nadsat.
 
Lifeline fan art2
More 'Lifeline' Fan Art
 
Lisa: I first came across your work back when I was with Big Fish, as manager of the narrative design team. How did the relationship between Big Fish and 3-Minute Games come about, in as much as you can share with readers?
 
Dave: I'm probably not the best person to answer this one. My understanding is that Three Minute were operating as a skunkworks under the auspices of Big Fish, coming up with all sorts of games like Feed Your Monster and Poll Party. Basically, they were testing different styles of games, different pay structures, seeing which combinations worked best. They had the idea for Lifeline -- from its style to its pay structure to its length, everything came from them. They had done the work in order to make the determination that this was the best admixture of elements... and they got it very, very right. How much I contributed to that, it's hard to say; they had laid the groundwork for me so well, all I had to do was step in and not completely fall on my face. I'm grateful every day that they set me up to succeed, and I'm happy that I was able to deliver something that achieved what they were hoping for.
 
Lisa: Let's talk about the structure for a Lifeline game. Branching choices can quickly lead to a very complex structure unless you create small branches that loop back to a main narrative, and/or employ the use of stats to track choices. How do you plot out the varying narratives in Lifeline
 
Dave: The "complex structure" that you mention is something I ran into very quickly when I was working on the first Lifeline. Even when you only provide binary choices -- which, so far, is all we've done -- those branches can quickly grow out of control as each one doubles, then doubles again, until from a single node you've created a mountain. I had to train myself to weave the elements back together, to keep things from ballooning out of control. When I took on the original assignment, I thought, "Oh, this will be just like writing a short story." But it's not; it's like writing thousands of very, very short stories, of a few sentences each. It took me a painfully long time to make that distinction, but once I did, I was able to realize where I'd gone wrong, and start to plot out "nodes" where the threads were drawn back together. That made my work so, so much easier.
 
I'm not a coder by nature. I use Twine as the basis for these games (and then a lot of proprietary processes happen afterward, most of which are beyond my comprehension), and in that program I do my best to branch and reconnect smoothly. It's a tremendously useful GUI for people like me, people who need their hand held throughout the process. No matter how carefully I've plotted things in advance, every Lifeline game has led me in unexpected directions; the story that wants to be told is, without exception, better and more interesting than the story I lay out at the beginning. I trust those feelings, trust that when Taylor or Arika or whomever pulls the narrative in an unintended direction, that I'm getting a real sense of what the story should be, instead of forcing it down avenues that aren't true to the characters. (This, by the way, is a fantastic way to drive the rest of the development team insane.)
 
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Lisa: What's an example of a node? Also, did those driving the process have a sense of what came before so you weren't all reinventing the wheel? What you're describing here reminds me of the awesome discussion over at Choice of Games, where they do a great job of teaching newbies how to avoid this kind of ballooning while preserving the need for meaningful choices. 
 
Dave: I think of nodes as "have-to" moments in the game. If, say, by the end of a day, Arika has to learn a certain piece of info, encounter a certain prop, have an opportunity to eat, and fight a specific foe, then I have four nodes for that day. If she can't move on without acquiring an object or having a conversation, then I know that, no matter how wildly things balloon, all roads must lead back to a single point. The order in which they're encountered may or may not matter, but generally speaking, these are the crucial passages; the Player's decisions upon hitting these nodes will have a major effect on what follows in the game. 
 
Lisa: How many different endings could players get in a typical Lifeline game? How do you make sure those endings make sense for the previous choices made in the game?
 
Dave: Generally, there are a few deaths along the way. These are paths where the Player has made an egregious mistake, or else has willfully decided not to aid the protagonist. Those are, of course, the "bad" endings -- no one should be proud of killing their hero. Then there are the "good" endings, where the Player has done most things right, and has achieved an ending that is satisfactory, although not the best one could hope for. The hope is that the Player will feel good about these... but will still have a nagging sense that they should return to the game, and work for the best possible ending. And we'll tell you when you've achieved that; we want Players to know when they've gotten all the items, or defeated all the villains, or done the best they can. I write stories with Pyrrhic victories, sometimes -- blame Inside UFO 54-40 -- but there's always a "best" ending, and that's the canon ending that leads to the next game in the series.
 
Lisa: Does this ever backfire? It strikes me as different than most casual gameplay, where player character deaths are generally avoided. Do you lose some players by opting for Pyrrhic victories?
 
Dave: I had that fear at the outset, but to the relief of all of us, the Player reactions to character deaths seem to be a deepening of involvement, not an abandoning of the game. It seems to largely be the case that, if a Player loses Taylor by pushing the character too hard or by supplying incorrect information, there's generally a sense of culpability in the death that makes the Player want to try harder the next time. I've seen dozens, maybe hundreds, of people on social media expressing genuine grief and sadness over character deaths in the Lifeline games. 
 
Halfway-to-infinity
 
Lisa: (This last one's for my stepson, who loved the first game when it went viral at his high school a few years ago.) You set up Taylor as a gender-neutral character, an interesting choice. Can you talk about your reasons for that? My stepson notes that most of his classmates assumed Taylor was either female (most of the women did this) or split evenly between male or female (mostly guys).
 
Dave: The gender-neutrality of Taylor's character came from Three Minute Games, but I thought it was a fantastic idea. At that time, it was easier than I thought it would be to write such a character -- when gender signifiers are removed, you realize how similar a kick-ass male and female protagonist actually are. It's grown increasingly difficult, as Halfway To Infinity introduces a doppelgänger Taylor, to keep the pronouns correct -- but I'm happy to face down that challenge. Seeing so much fan art for the character has made me realize just how much room we've left for interpretation. I don't consider that there's a "right" answer at all. People who know me have told me that they see a lot of me in Taylor... but for every argument for "male," I see another one, just as convincing, for "female." I love that I don't have a definitive answer. I hope that I never do. I hope that I can continue to write a character that resonates with everyone who reads it.
 
You can download the game to your favorite device. See the Big Fish Lifeline page for more info.
 
 

Work of Light: A Dreamslippers Series Prequel

Work of Light cover_edited-1

Since publishing the first book in the Dreamslippers Series in 2014, I've heard from many readers who are curious about Amazing Grace's back story. So with the release of the entire trilogy as a boxed set this February, I included a novella titled Work of Light. It answers these questions and more: How did Grace get her name? What happened when her daughter Mercy was born? And did Grace really go undercover inside a cult?

Here are the first few scenes from the novella. If you're hungry for more, I've made the entire story available for free to Wattpad members. You can also take advantage of the current sale on the ebook boxed set, which gives you all three novels plus the novella for only $6.99.

 Work of Light

Sun Rising presided over a flock of one hundred and twenty-eight followers, with about one-third more women than men, a ratio he preferred. He believed women worked harder than men, and besides, Sun Rising really loved women.

Particularly Grace. “The strength in you flows to your loins,” he’d said once, in all seriousness, though thinking back on the comment brought an involuntary smile to Grace’s lips. She looked down at her lean, muscular loins now, swaddled in bedsheets she’d washed herself and then hung to dry on the ashram’s extensive clotheslines. They dried quickly in the blasting Arizona heat. In the cracked mirror on the opposite wall, she caught a glimpse of her tousled hair, bleached blonde in the desert sun. Like most women in the ashram, Grace was still young enough to contribute physical labor to the cause. But that didn’t mean it hadn’t taken its toll on her. She’d spent the previous day digging a trench for the new septic tank. Her hands were cracked and calloused. Her knees and back hurt. It looked as if she’d clawed dirt.

But the hard work had its benefits, too. Grace had awakened that morning from a deep sleep, blissfully free of dreams—her own or anyone else’s she might pick up with her psychic gift. 

Blessed be exhaustion, she thought. All praise the dreamless night.

In the bunk beneath hers, Mercy slept soundly. A little bubble had formed on her lips, and the girl’s straw-straight hair splayed over the pillow. Grace felt a mixture of pride and something else—anxiety—well up in her. What a good helper Mercy had been yesterday, hauling away rocks as the crew worked. Grace made her stop once and chase lizards with the other kids in the cactus garden. She didn’t want the twelve-year-old to work too hard. To miss what was left of her girlhood. 

The way Grace had missed hers.

She catapulted herself out of the bunk and gently woke Mercy. Once dressed in scratchy tunics, and both heads of hair wet-combed, they padded barefoot together, hand in hand, down the stone walkway to the kitchen to start breakfast.

>>>

Sun Rising was neither attractive nor unattractive. A bit bland, really. He shaved his head for effect, but also because if he let it grow, it would cover only a crescent of his dome. She could see his head’s five-o’clock shadow every evening, when he removed the turban.

That morning at breakfast, he and the other men arrived at their usual time, just as the women were laying out the meal on all the tables. 

“Blessed be the bounty of our Great Spirit,” he intoned. Hands clasped hands all around the table. “All praise the work of Light.”

How devious that he consistently attributed the women’s work to that of the Spirit, Grace thought. As if some ghostly being had slaved in the kitchen for the past hour, spooning preserves into little bowls and stirring the rice cereal so it wouldn’t lump. Though she’d come to the ashram full of hope that it would live up to its promise of total egalitarianism, the ways in which it reflected the flaws of the outside world had started to rankle her.

“Amazing Grace,” he suddenly called out. It was the name she’d chosen to use in the ashram, as it was the custom to shed one’s birth name and adopt a new one. She’d never liked her birth name, anyway. Priscilla didn’t seem to fit her at all. 

“Yes, Sun Rising?”

“I’ve seen how well you organized the kitchen.” He paused a moment, as if to allow her to bask in his praise. “Before you arrived, it was very inefficient, and the women working there did not enjoy it.”

This was true enough, from what Grace had heard, and looking around the room now, she caught a few nods. The women had warmed to her since she treated them with respect and allowed them to share in the decision-making. Her strong but gentle leadership had been well received. The place ran as smoothly as the grandfather clock in her parents’ house.

“I would like to engage you in a special project. Please come to my private quarters during this afternoon’s leisure time.”

This was posed not as a question but as a directive. She nodded assent.

But as she helped the other women clean up after breakfast, Grace worried that Sun Rising’s interest in her went beyond her organizational talents. It was pretty much guaranteed, since she was a woman. So how would she finagle her way out of this one?

She cast a glance at Mercy, playing now with the other preteens in a corner of the kitchen. The girl had a dish towel wrapped around her head, mimicking the style worn by Sun Rising and the upper tier of the ashram’s male leadership. Mercy placed her hand on top of another girl’s head, and the girl bowed beneath her as Mercy intoned, “All praise the work of Light.”

Grace allowed herself a sigh of relief. At least Sun Rising’s interest in the female sex did not include anyone under the age of eighteen. In fact, he seemed to prefer the more seasoned members of the ashram, which is likely why, coming up on her thirtieth birthday, she’d piqued his interest. Mercy would be safe here, safer than in the outside world. That’s partly why Grace had come...

Read on through Wattpad, or get the ebook boxed set.