red, they’re out of their territory and not looking for trouble. It’s a sign of truce. Don’t ask them to violate it; you’ll likely get pixed and spend the rest of the day with a bad case of hives.
Despite their small size and fun-loving, peaceful appearance, pixies will not hesitate to kill fairies in defense of people they care for or to defend their territory. And they’re good at it. Their natural skills of subterfuge, quickness, and their mindset of putting their own beliefs above the law could lend itself to a life of crime, but a pixy is at his or her best in the garden. They could rule the world through fear if they wished, but all a pixy desires is a small plot of land and the right to defend it. I’ve never heard of a pixy harming a person other than making their life miserable in retaliation for a slight or insult. In their minds, we’re simply below notice, not worth the risk of attracting a human or Inderland court and changing the status quo.
Fairies also keep to themselves, but they’re far more likely to hire out for questionable jobs for large pay. Their small size and inward-directed morals make them very effective assassins, so don’t mistake small with harmless. They have butterfly-like wings and a slower metabolism, but their ability to float high unseen for long periods seems to be a good tradeoff for the faster but more calorically expensive flying that pixies are capable of.
Fairies tend to shun cities as well, but adolescents of both sexes will brave the streets to set up packs in parks or green spaces, looking for adventure and a chance to prove themselves and earn the right to start a family. Might makes right is their mentality, compared to the individual morals guiding pixies’ decisions.
Being insectivores, fairies often vie for the same space as pixies, bringing the two species into conflict. They could exist peacefully on the same territory but for a fairy’s tendency to ruin an area in search of food. The balance of power is fairly equal, with fairies being larger—coming in at about six inches—but slower. Fairies share pixies allergic reaction to silver, and they migrate to Mexico with monarch butterflies for the winter instead of hibernating. Not much is known about their home life as usually all but young males shun contact with anyone larger than they.
Despite their small size, pixies and fairies are potentially dangerous and can cause untold grief when insulted or slighted. Treat them with respect, and these deservedly proud, intelligent members of Inderland will respond with professionalism and grace.
Music as My Inspiration
Okay, a little explanation might be in order. My muse exists in music. Logic maps the story, but music gives it its soul and sends my characters in directions that surprise even me.
What I’m left with is an eclectic handful of songs that—in my thoughts—relate to certain scenes or more typically, relationships between characters. Some authors cast their books with popular actors or actresses. (Which I do have some ideas about, by the way.) But I’d rather cast the music as it connects more directly to my creative process. Below are a few of the songs I think suit the Hollows.
The songs I’ve found that I feel relate to Rachel cover a wonderfully wide span. Most recently, I found “Save Yourself” from Stabbing Westward. “Passive” off A Perfect Circle’s eMOTION is a good one, too, though I’m torn yet as to whom else it relates to. A reader named Dash suggested “Magic Carpet Ride” by Steppenwolf, and though he didn’t mention Rachel, I think it fits her pretty well. I’d be willing to make it her theme song for a while. (grin) As her story progresses, Nine Inch Nail’s “Down in It” has a special meaning, as does “Kinda I Want To” and “Sin.” “Suicide Note” by Johnette Napolitano on the Underworld sound-track has begun to cast shadows on Ivy and Rachel’s ever-evolving, complex relationship. And “Thinking of You,” by A Perfect Circle, has whispers of Rachel in it. But as to whom she is surrendering, she hasn’t told me yet. There are so many choices that woman has to make, so many paths she could walk. As she finds herself pulled deeper into the Hollow’s underworld, “Fields of Innocence” by Evanescence seems to fit more and more.
Ivy’s character is one of the most complex I’ve ever tried to sketch with my pen, and she’s claimed a correspondingly large portion of music. I understand her motivations, but she remains a mystery to even me at times, a confusing mix of human vulnerabilities and vampiric drives. Most recently, Mooncat introduced me to a wonderful band, Stabbing Westward, and their track “What Do I have To Do?” is scrumptious at nailing Ivy’s inner dilemma.
“Faint” by Linkin Park, “Silhouettes” by Smile Empty Soul, and “Everybody’s Fool” were all suggested by readers, and now that I’ve had a chance to get a good listen, I wholeheartedly agree. Recently a reader named Jane introduced me to Kip Winger’s music, and though almost the entire disc, Songs from the Ocean Floor, has shadows of the Hollows in it, “Faster” has Ivy all over it. NiN’s “Terrible lie,” “Sanctified,” and “Something I Can Never Have” are good matches to the plot lines, too. “Gravity,” by A Perfect Circle, is a good fit, too, but it’s a bit too collected. It’s not quite confused enough. And though it won’t make much sense until you read the second book, Evanescence’s “Away from Me” gave me chills at how close it fit Ivy’s predicament. Dash suggested “Mary Jane’s Last Dance” by Tom Petty and the Heartbreakers as bringing to mind Ivy, a relation I agree with.
Ivy’s eventual fall from grace I first heard in Duran Duran’s, “Save a Prayer.” (Okay, now you’re laughing at me or sitting there with a puzzled look wondering who Duran Duran is. I told you it was an eclectic stack of music.) And I saw who pushed her into falling after hearing Evanescence’s “Going Under.”
Track ten on the Ocean’s Eleven soundtrack, “Planting the Seed,” fits Jenks flitting about as a gardener. Thanks to Tim from Tennessee, I found “Peter Gunn” done by Henry Mancini. It fits fantastically. (Think The Blues Brothers.) Jenks’s son Jax gets into trouble thanks to “Red-Tape” from Agent Provocateur, which is also on the Underworld sound-track though we won’t see that for ages. And please don’t write to tell me the song isn’t really about little thieves. Inspiration is where you find it.
“Thinking of You,” by A Perfect Circle, seems to fit Kisten. Whether this means he will end up with Rachel or whether she is going to remain one of Kisten’s unresolved conquests, I honestly don’t know yet. Also from A Perfect Circle is “Weak and Powerless.” Right now the song is simply simmering in the back of my head, but I’m sure it’s going to fit somewhere with Kisten. (Sigh… I’m starting to like the guy despite my better judgment.) But the best fit for him I’ve found so far is “Never Say Never” from Queens of the Stone Age off the Punisher soundtrack The depth of that piece is hidden by the ego-testical attitude of the refrain—just like Kisten’s depth is shrouded under a carefully constructed front to disarm and beguile. NiN’s “The Only Time” fits a plot line that Kisten is wiggling his way into.
Thanks to a reader who simply identified himself as ‘a fan from the Southeast,’ I have found a piece of music off the Queen of the Damned soundtrack that I think fits Trent Kalamack fairly well, especially the lyrics that Stephanie McKay sings. Try track 13, “Excess” by Tricky. If Trent believes in anything, it’s people. “Guilty” by Gravity Kills is good, too. I think Dash brought that one to my attention. “The American Way” by The Crystal Method fits well. Thanks, Beyari, for suggesting I listen to that one!
A fellow music aficionado suggested “Sympathy for the Devil” by The Rolling Stones, and after playing it to death, I realized it cast wonderful shadows on Piscary, one of Cincinnati’s Master vampires. “Pet” and “Lullaby” by A Perfect Circle strike close to home with Piscary as well. Piscary’s restaurant after Kisten assumes management— we won’t see this for some time, but it happens—brings to mind Rob Zombie’s “Living Dead Girl.” Think line-dancing vampires. Yes, line-dancing vampires. I only hope Rob will forgive me.
It took a while, but I’m finally nailing down a few pieces of music that I can relate to Nick. From Kip Winger comes “Sure was a Wildflower” and “Crash the Wall.” “That’s What I Get” from NiN works really well, too.
As the plotlines progress, I’m finding myself collecting a few pieces of music of seduction, and in the spirit of avoiding spoilers, I’m not saying yet to whom they relate. Dipping wa-a-a-ay back, I found Sting’s “I Burn for You,” which has a hidden thread of evil in it and a crystalline purity that makes it a delicious threat. Kip Winger has one
