"Her name is Daniella. She was handed to me by your cameraman when the helicopter landed. Incredibly, some soldiers almost shot both of us, until I could prove we hadn't been bitten."
"Is the baby okay?" the reporter asked.
"I'm happy to report she's completely healthy. Even in tragedies such as this, miracles happen."
Something about the man's voice was familiar. She walked closer, to get a look at his face. He was young, longish brown hair, had a strong jaw and deep eyes. Shanna immediately found him attractive, and the feeling shamed her, especially so soon after Clay's death.
But something about him drew her.
The TV reporter seemed to feel the same way. It appeared that at any moment, she'd leap into his arms.
"Thank you, Doctor Cook."
As soon as the camera turned away, Dr. Cook approached.
"Hello, Shanna."
Shanna sniffled. "Do we know each other?"
"We met once before. I was Mortimer's doctor."
He reached out his hand. Shanna took it, finding his grip surprisingly cold.
"You seem familiar, but I'm afraid I really don't recall you."
He smiled, revealing absolutely perfect teeth. "That's okay. I'm arranging a ride into town. Would you like to come along?"
Shanna seriously considered it, but something about the handsome man struck her as creepy.
"No, thanks."
Darkness flashed across Dr. Cook's eyes, so quickly Shanna couldn't be sure she hadn't imagined it. The doctor bowed politely.
"Some other time, perhaps."
Then he pressed his cold lips to her hand, turned on his heel, and walked off into the night with the infant.
Shanna wondered where she should go next. She thought of Clay's father. He didn't sound like someone she'd want to hang around with, but a survivalist type might be just what she needed right now. He deserved to know that his son was dead, and how he died. And he'd be the type to believe why he died.
Where had he said Daddy lived?
Up near Silverton?
That was where she would go.
The Man in the Pristine Scrubs
"YOU are hungry, aren't you," he cooed to the infant in his arms. "Well, we'll fix that."
His canine teeth extended. They were so much better than the previous, unwieldy set he'd shed in the laundry room less than half an hour ago. This new form was superior. His thoughts were clear, focused. And he looked human. Better than human. Better than his best days on Wall Street. He'd blend in much better than those monsters.
Better still, he was young and healthy again.
He bit the tip of his index finger and watched the blood well into a bead, then touched it to the baby's mouth. She made a face at first, then began to suck.
"Looks like we've got our work cut out for us, little one. We seem to have experienced a setback on the way to a brave new world, but it's only temporary. We'll get there eventually, and you'll play a big part. Oh, yes, little one. I have big plans for you."
Epilogue
HE hurt. Hurt bad.
Burns, for sure. All over.
Broken arm.
Broken leg.
Make that two broken legs.
But somehow he'd managed to survive that explosion, that fall.
He was too weak to cry out. But that was okay. He heard soldiers sifting through the rubble.
They'd find him soon.
Until then, he had good company to kill some time with.
The best company a man could have.
He set Alice on his chest, and wondered how long it would be before they found him.
But he could be patient.
He could wait a little longer.
Not a problem.
THE END
From Joe Konrath, about this bonus content
Welcome to the supplements section. One of the cool things about ebook technology is that page count no longer matters. In print, paper costs money. The longer the book, the more it is to produce it and ship it.
Since we're not bound by this (technically we're not bound at all) we can include a bunch of DVD-style extras that don't increase the cost of the ebook.
You've probably just finished reading the interview with all four authors about writing Draculas.
If you're a writer, or you're interested in how four different authors crafted a single novel, we've included a lengthy selection of our emails to each other during the writing process. In this, you can see how our final draft changed from our original vision, and how we put it all together.
We've included complete Kindle bibliographies, bios, and excerpts from our latest novels.
We've also included these three bonus short stories.
I've been fortunate to have collaborated with all of these authors on separate projects. Here's a brief explanation of each.
Years ago, a friend of mine told me I had to meet Jeff Strand because he wrote "funny but sick shit, just like you." I read some of his Andrew Mayhem books, loved them, and we began to correspond. I thought it would be a lot of fun to team up his Mayhem character with one of my characters from the Jack Daniels series, a private eye named Harry McGlade. We wrote a novella called SUCKERS, which came out in a limited edition hardcover and sold 250 copies. Later, I put SUCKERS up on Amazon Kindle, and it's made us a small fortune.
A while later, we were both invited into a tiny werewolf anthology, and decided to hash out a quick story. The result was CUB SCOUT GORE FEAST. The anthology never came out, but the story lives on as a supplement to this ebook.
Blake Crouch and I met under similar circumstances. A mutual friend told us we both wrote dark, scary serial-killer books, so we checked each other out and found our writing was very similar. On a lark, I asked Blake if he wanted to try a writing experiment. I write about a driver who kills hitchhikers. He writes about a hitchhiker who kills drivers. Then, without showing each other our sections, we try to kill each other.
The result, SERIAL, was released as a freebie on Amazon, and downloaded more than 250,000 times. Amazon now carries the longer, expanded SERIAL UNCUT, which is about five times the length. Here's the original.
I've been a fan of F. Paul Wilson since I was a kid, and we met a while ago at a writing convention. When we were both invited into a horror anthology, neither Paul nor I had time to write a story, so I asked him if he wanted to collaborate, which would be faster. He graciously agreed, and the result, A SOUND OF BLUNDER, was released in the antho BLOOD LITE. It's a parody of the famous Ray Bradbury story. Thanks to Pocket Books for allowing us to include it here. Jeff Strand was also in that collection, and it's well worth seeking out.
Collaborating is a fascinating creative endeavor. Two heads, or four heads in the case of DRACULAS, really allows the writing to come quick. Having instant feedback on scenes that are hot off the keyboard is a luxury writers don't normally have, and hopefully the fun is apparent on the e-ink page.
It's been my pleasure to work with these talented guys, and I hope we get a chance to do it again soon...
In which Paul, Jeff, Blake and Joe interview each other about the process and experience of writing DRACULAS...
BLAKE: Joe, the idea for this book started with you. Where did you get the concept for DRACULAS and how did you go about assembling collaborators?
JOE: While browsing bestselling Kindle titles I was surprised by how many were classic novels in the public domain. One that leapt out at me was Stoker's DRACULA, and how many incarnations have been done of that particular character. The recent trend is turning vampires into teen heartthrobs and romantic leads. I don't find that nearly as interesting as a horrible creature that needs human blood to survive.
I didn't want Bela Lugosi in a black cape, or anything sexy. I wanted something ugly and horrifying. So I postulated that the original DRACULA was based on a real historical event--a human mutation that was contagious and could cause outbreaks.
So I called up Blake, because we bounce a lot of ideas
off each other, and I knew this was potentially a fun one. I didn't have time to do this on my own--too many other deadlines--but I knew how this could work. I'd written three other Jack Kilborn books (AFRAID, TRAPPED, and ENDURANCE) which all operated using the same formula: There is an overpowering evil, and several different characters fight to survive during an eight hour period. No chapter breaks, just point-of-view changes.
This structure could be done, simply, with more than one writer. All we needed were three or four motivated individuals, each whom would follow a few characters, and we could have an ensemble piece.
If I recall, Blake was up for it, and we brainstormed other writers who might be interested. I'd worked with F. Paul Wilson before on a previous story (A SOUND OF BLUNDER in the collection BLOOD LITE) and pitched it to him, hoping he'd be available and interested. Then I contacted Jeff Strand, whom I'd worked with on SUCKERS and CUB SCOUT GORE FEAST, but he wouldn't commit to it because he was too busy with other projects.
Then I told him FPW was in, and Jeff signed up immediately.
BLAKE: Although we each have pretty unique and varying writing styles, we did our best to seamlessly interweave all the individual sections so the sum of the parts would feel like a cohesive book. Readers may have hunches about who wrote which characters, but should we go ahead and take our pants down and tell everyone who wrote what?
I'll start. I wrote the pregnant couple, Adam and Stacie Murray, some of Moorecook, Shanna, and all of Oasis. Because Joe and I kind of jumpstarted this thing, I also wrote some of the other characters leading up to all hell breaking loose in the emergency room, and also the opening chapter.
JOE: Yeah, Blake and I came up with the setting, the premise, and the dracula rules and mythos. Then we wrote the first few thousand words, setting it all up, after asking Paul and Jeff what kind of characters they were interested in writing.
After that, I took Jenny as a main character, and then popped into various baddies, including Lanz and Moorecook and Benny.
JEFF: I wrote the point-of-view scenes with Randall the lumberjack (which notably does NOT include the scene where he gets a boner) and the point-of-view scenes with Benny the Clown.
PAUL: I gravitated immediately to the "gun-nut cop." I have a bunch of participants in the repairmanjack.com forum who are into guns--really into guns--and I've learned a lot from them. They're not nuts -- they're enthusiasts and aficionados. Some are gunsmiths. If you've ever held a fine firearm, you might understand and appreciate where these folks are coming from. I came up with the name Clayton Theel and he began to write himself.
BLAKE: Let's talk about how we actually wrote this book.
JOE: It was actually pretty easy. We used a program called DROPBOX which allowed everyone to read each others' sections instantly. The structure was a snap to fit together.
This thing was so simple to write, it's almost laughable. I don't think we had a single disagreement on anything. Everyone was a total professional, turning in great scenes that needed minimal editing.
It was also a lot of fun. There aren't too many balls-to-the-wall monster books being done anymore, so this was a welcome change of pace.
JEFF: Well...there were some disagreements! But never anything heated, and none that weren't resolved quickly, and none that ever involved anybody saying "Dude, you're writing crap! Crap!!!"
JOE: I disagree that there were disagreements. Also, you're writing crap.
JEFF: I forgive you. See how quickly that was resolved?
PAUL: If only all novels were this easy to write. I was fascinated to watch a dynamic of one-upsmanship develop. He's going that far? Hmmm...I could push it a little further. That's how some of the over-the-top scenes developed. For instance, Blake nudged me with the kangaroo mother on the OB floor (you'll know who I mean when you get there) and a situation where Adam was about to be chomped on by Oasis, the little-girl dracula. He'd left it up to me to save him. I couldn't resist ratcheting it up a notch.
BLAKE: Did you guys approach the writing of DRACULAS any differently from the writing of your solo work? For me, because of how fast and spontaneous we wrote, I found that very liberating and would say I didn't approach the writing with such an anal, meticulous eye. I wrote faster, and I don't normally write so fast, so that was interesting to push myself in a way I don't normally.
JOE: I finished my scenes first. My secret was picking the character with the least amount to do, then sending constant emails telling you guys to expand your story arcs.
But seriously, this was one of the quickest, easiest projects I've ever worked on. It came together fast, and was never complicated, difficult, or a chore. I enjoyed writing it, and reading what you guys did as you turned stuff in. It was also ridiculously simple to put all the sections together.
JEFF: I didn't approach the actual writing style any differently than I would in a solo novel, because we all had our own point-of-view characters, so I didn't have to worry about making it sound like something that Joe Konrath/Blake Crouch/F. Paul Wilson would have written. I only had to keep a consistent narrative voice for my characters.
Obviously, there are differences in the process in a collaborative work simply because it's considered unprofessional to scream "No! We're gonna do it my way! My way! My way! Mine! Mine! Mine!" And there were things that I wouldn't have done if I'd had 100% control that ended up working out really well.
JOE: The funny thing is, though, it is extremely difficult for the reader to figure out who wrote what section. The book is pretty seamless. The characters each are unique, but all of our writing wound up being very similar in execution. I don't spot any particular moments where our fans could say, "Oh, FPW must have written that" or "That's 100% Blake Crouch." Each of our parts really contributed to a solid whole.
PAUL: I never let people read my first-drafts, but I felt at home with you guys so I just dumped my pages into Dropbox as they were done. (I went back and tweaked them later.) The idea was to maintain momentum and let everyone else see where you were taking things. We had no outline, just worked from a vague timeline. Mostly we wrote in sequence, but I jumped ahead a couple of times because a scene would pop fully formed into my head. We seemed to develop a sort of hive mind along the way where we kind of knew what everyone else was doing. The only time we needed an outline (and it wasn't much) was the roof scene when all the characters were interacting.
BLAKE: Why release DRACULAS straight to Kindle?
JOE: A few reasons. First is one of publishers and rights. Having four authors collaborate on a book would be a nightmare to sell, because we all have print publishers who might want exclusives. Keeping it indie meant we weren't bound by any preexisting contracts.
Second was speed. Self-publishing on Kindle allowed us to get this up in time for Halloween, whereas regular print would take a year to eighteen months.
Finally, we're all selling well on Kindle, and it made sense to appeal directly to our fan bases.
BLAKE: Next up for me is finalizing a new book I've just finished. My first two novels, DESERT PLACES and LOCKED DOORS also just went up on Kindle for a reasonable $2.99, so I'm jazzed about that. "Serial," which I wrote with Joe, is in the upcoming Shivers VI anthology, and I have a novella called "The Pain of Others" coming soon to Alfred Hitchcock's Mystery Magazine.
JOE: I've got two sci-fi ecopunk novels in the TIMECASTER series coming out in 2011 with Ace Berkley, and a few other super secret projects in the works. I'm writing the eighth Jack Daniels novel, called STIRRED, with Blake, which will also be the third in his Andrew Z. Thomas books (DESERT PLACES, LOCKED DOORS.) It's a wrap-up to both of our series.
BLAKE: So we're breaking that news here? Cool. I'm super-psyched to do STIRRED with Joe. The opportunity to work on a full-length novel with him and bring back a set of characters I've really been missing from my first two novels is a project I can't wait to dive into.
JEFF: Next up for me is WOLF HUNT, which does for werewolves what DRACULAS did for vampires, except that I
finished WOLF HUNT several months before DRACULAS, so actually it's DRACULAS that does for vampires what WOLF HUNT did for werewolves. WOLF HUNT is funnier, though. My novella KUTTER, which is the heartwarming story (seriously!) about a sadistic serial killer whose life changes when he rescues a Boston Terrier (no, really, I'm serious about the heartwarming part), is going to be part of a two-novella collection called THE MAD & THE MACABRE, which also includes REMAINS by Michael McBride. And I'm working on other stuff.
PAUL: FATAL ERROR, the penultimate Repairman Jack novel, hit the street mid-October. Just finished a draft of THE DARK AT THE END, the (sort of) last Repairman Jack novel. I say "sort of" because the whole series ends with NIGHTWORLD which will come in 2012. Jack is a player in that novel, but the cast is an ensemble from across the Secret History.
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