Welcome back to the second week of Love Around the World with Evernight Authors. Morgan King explains how life experiences can influence a story's setting. Take us away, Morgan!
I’ve been lucky enough to travel and live around the world. When I was younger my family lived in Jamaica for a few years, which was a fantastically exciting experience for me. We had eleven mango trees in our garden – ironically I didn’t like them then but do now- the weather was hot and humid, so different from England where I was born and now live, and there was a major hurricane while we were there so we lived without electricity for three months. My sister and I literally showered in the rain; it was perfectly warm enough.
Our driveway before and after the hurricane...
From Jamaica we took the opportunity to travel in North and South America and to Africa where my brother and sister had been born. I’m sure that in some way all these experiences have shaped me, helping widen my horizons and be open to other people and cultures.
I am now back in England and quite settled in Norfolk, part of the pig’s bottom as I see it on the map – go on take a look and you’ll see what I mean.
What I love best about where I live is the landscape. I’m definitely not a City girl, although I have lived in them, for me wherever I live I like to be close to nature. Living overseas nearer the equator I missed seeing the distinctive seasons we have here. I now live in a town in the heart of heathland and forest and can experience the seasons full colour. Beautiful!
There is so much beauty to see in people and places around the world, how can we not find and feel love there too?
Love to you all.
My latest short story Love’s Rescue is set in Suffolk (the lower part of the pig’s bottom) and is part of the Alpha’s Claim anthology.
Love’s Rescue Blurb: One night while attending a party hosted by Jon Liselle, newly appointed second in command of the Human Alliance Party, Jakob hears a song that no one else can. With stealth and cunning Jakob makes his way into the hidden depths of Jon's home, only to discover a creature being kept captive. She is a mermaid and he is her song mate. Together they must both utilise their shifter powers to escape, but will Nerissa stay with him or will she want to go home once she is free? Jakob wants to claim Nerissa forever but fears rescuing her from one cage only to trap her with his love. Nerissa must choose between complete freedom and going home, or love and the destiny of having a mate.
Love’s Rescue is the first in a series: Paranormal Rights.
Set in Suffolk Paranormal Rights presents an urban fantasy/alternate reality version of the East of England (think sea, forest, factories, unique fantasy architecture, and historic buildings).
Here there is a fight brewing between the tyrannical, racist and undemocratic human society and the paranormal underclass. The political arena is the ring and the showdown will be the forthcoming election.
An excerpt that sets the scene:
The palace stretched out to sea, an impressive structure of glass and steel transforming what used to be Southwold pleasure pier. What had once been for the pleasure of the people was now a monument to Liselle’s wealth and a testament to his class. It seemed every generation could have their own nouveau riche, those with more money than sense to respect the privileged opportunity it presented.
At the front was a casino-like entrance complete with multiple swinging doors leading through to a dark interior momentarily illuminated in different places by flashing lights. Jakob wouldn’t be surprised to see mirrored balls hanging from the ceiling.
The party would all be happening to the front of the building, rather than on the pier itself. For behind the front part of the palace, which was built on solid ground, was Liselle’s private residence supported by a multitude of iron pillars. A wooden walkway marked by iron railings wrapped right the way around. In daylight, with people walking up and down, it might appear much like any other pier, but at night, completely deserted, while the front of the building was all lit up, it appeared ominous.
Most interesting, though, was that down below, in the center of the iron pillars, nestled among the supporting structure, half visible above the sea and then disappearing underneath its surface were what looked like tinted glass walls that it was impossible to see through and not just because of the darkness of the night or the interior. John Liselle’s home contained rooms stretching down into the sea. Places where he could look out without anyone being able to see in.