by Lillian Csernica on April 24, 2018
Here’s the question: Why can some of the characters in my Kyoto Steampunk series see the gods and monsters of Japan, while other characters can’t see a thing?
Nurse Danforth When she sets out to make a deal with the Devil that will save Madelaine’s life (In the Midnight Hour, Twelve Hours Later), she opens her own mind to the supernatural powers present in Japan. Whether or not that was a one-time experience remains to be seen.
Dr. Harrington Being appointed personal physician to the Abbot of Kyomizudera is a great honor. The position includes a few duties Dr. Harrington is not aware of at the start. He has become one of the guardians of the Abbot, and as such is now on the radar of all things supernatural in Japan.
Madelaine Children are often more capable of perceiving the supernatural. Madelaine has the added advantage of intense curiosity.
Constance A practical, down-to-earth woman, Constance has all the psychic sensitivity of a brick. She does see the terrible yokai that comes after Dr. Harrington in The Wheel of Misfortune (Some Time Later). Some monsters are so formidable they make their presence known regardless of whether or not humans have psychic gifts.
Alexander Thompson The Undersecretary for Technology Exchange is a dedicated civil servant with very little imagination. This is a mercy, sparing him from sights that would surely bring on what the Victorians referred to as “brain fever.”
Fujita-san When Amatsu Mikaboshi confronts Dr. Harrington, Fujita-san can’t see him. I suspect Fujita-san may have more talents than I’ve discovered so far. His close working relationship with the monks of Kiyomizudera makes me wonder if Fujita-san knows more than he’s telling.
The Abbot and monks of Kiyomizudera One would expect ascetics pursuing a spiritual discipline to be familiar with the supernatural realm and the beings who inhabit it. This proves true in A Demon in the Noonday Sun (Twelve Hours Later) when Dr. Harrington’s call for help is answered.
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by Lillian Csernica on April 14, 2018
Madelaine Victoria Harrington is Dr. Harrington‘s nine year old daughter. She is his only child and his first priority in life. The fever that renders her critically ill is the crisis that sets in motion the first story, In the Midnight Hour (Twelve Hours Later).
Madelaine is a genius. She gets on well with everyone, making friends quickly among the Japanese staff at Dr. Harrington’s Kyoto residence. Madelaine is keen to understand the mechanics of everything, including the social etiquette so important to Victorian England. Her open mind and intense curiosity serve her well in learning about Japan.
She picks up languages quickly, which is essential when she begins studying the mythology and folklore of Japan. Her studies go a long way toward helping Dr. Harrington deal with the challenges he faces in each story.
Madelaine does a number of things that just happen while I’m writing. I had no idea she and the Abbot would develop such a close friendship. The Abbot loves children and Madelaine loves intelligent conversation, so they suit each other. There’s more to it, though. They both have a unique understanding of the supernatural. The respect goes both ways.
Then there’s the clockwork dragon in Blown Sky High (Thirty Days Later). I knew Madelaine was up to something, but I didn’t find out until her mother Constance discovered the secret project. I did have to work out the interior mechanics of the dragon. Fortunately, my husband is an engineer.
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