Two young Vushla questioned what everyone knew about death. What should they do with the answer?
When the time comes for Vushla to die, they go into the ocean and are dissolved away. Or so Terrill has always believed, and still believes after taking part in his father’s final journey. But when he meets a young Vushlu who lives by the sea, Terrill must confront information that calls this fundamental belief into question. Will the two of them discover the truth? And what should they do with what they find?
*How did you come up with the title for this book? It sounds rather poetic.
–The idea came from a familiar phrase in the English Burial Service: “ashes to ashes, dust to dust.”
*What exactly is a Vushla?
–The Vushla (plural — singular is Vushlu) are one of the sentient species on a planet humans haven’t found. They could be described as a cross between a centaur and a tortoise: their general body configuration is that of a centaur, and they are largely covered by many small plates of a hard substance they (and their neighbor species, the Weesah) refer to as armor. The armor is often moved as part of gestures and body language. I envision them as roughly human-sized.
*Tell us how the idea for this book came about.
–That was a first for me. The way Vushla typically meet death came to me as an image in a dream. My husband contributed a key plot twist.
*What is the connection between the Vushla, water, and death?
–As described in the Preface and in the book blurb, when a Vushlu knows it is dying (I use “it” for unidentified Vushla and Weesah, and he or she for individuals of known gender), it tries to get to the ocean, where it swims or wades into the surf to dissolve away. If it dies on the journey, the friends and relatives accompanying it on the funeral journey hire fisher folk (who have custom-made waterproof suits) to carry the body into the ocean.
Whether there are other connections . . . you’ll need to read the book to find out. 🙂
*Was your approach different in writing this book?
The origin — a dream, as I mentioned above — was different. Otherwise, I did what I usually do: wrote a (very) rough draft during National Novel Writing Month, aka NaNoWriMo or NaNo; put it aside for a month or so; did multiple revisions and editing passes over the next nine months; sent it to beta readers and made more revisions based on their comments; did the final proofread/edits; and published it (as a preorder) on Amazon and Google Play and via Draft2Digital. (The paperback will, I hope, be ready by the release date of October 17th, at least on Amazon. B&N will take a little longer due to a cumbersome proofing process.)
*What comes first the idea or theme?
That’s an interesting question, especially this time around. What thematic concerns inspired that dream? I can’t say for sure. I certainly had both mortality and parent-child relationships on my mind, as my father died a little more than six months before NaNo began. (I don’t remember exactly when I had the dream, but I would guesstimate it was a month or so before NaNo.)
*What was your experience like writing Water to Water?
I can generally keep up with or stay slightly ahead of the pace NaNo requires (an average of 1,667 words per day), and this time was no exception. My confidence in the story fluctuated about as much as usual — which is to say, frequently but not to the point of either ecstatic certainty or profound gloom. I frequently consulted my general science adviser, aka my husband Paul Hager, on various aspects of world-building.
I approached cover design a little differently this time. I’ve most often collaborated with a particular designer, but that collaboration works best when I have some fairly definite starting ideas. This time, the one idea I had felt insufficient. I decided to spring boldly into the red, financially speaking, and invest in a cover from a designer (or rather, a group of designers) I’d long admired, Damonza. I am delighted with the result, which has gotten consistently favorable comment during the book’s Silver Dagger Book Tour (continuing through October 26th).
Karen A. Wyle is the author of multiple science fiction novels, including The Twin-Bred Series: Books 1-3; near-future novels Division, Playback Effect, and Who: a novel of the near future; and YA near-future novel The Link. Her one novel (so far) outside the SF category is afterlife fantasy/family drama Wander Home. She has also published one nonfiction work, Closest to the Fire: A Writer’s Guide to Law and Lawyers, a resource for authors or for anyone interested in understanding more about American law.
Wyle was born a Connecticut Yankee, but eventually settled in Bloomington, Indiana, home of Indiana University. She now considers herself a Hoosier. Wyle’s childhood ambition was to be the youngest ever published novelist. While writing her first novel at age 10, she was mortified to learn that some British upstart had beaten her to the goal at age 9.
Wyle is an appellate attorney, photographer, political junkie, and mother of two wildly creative daughters. Her voice is the product of almost five decades of reading both literary and genre fiction. It is no doubt also influenced, although she hopes not fatally tainted, by her years of law practice. Her personal history has led her to focus on often-intertwined themes of family, communication, the impossibility of controlling events, and the persistence of unfinished business.