One with a Strong Message (& Exclusive Author Interview!)

 

The Curses We Keep

by Dakota J. Miller

(Image taken from Apple Books)

My rating on a 100-point scale: 87

How I discovered this book:

I was part of this author's circle of Twitter buds and others who helped this debut novel become what it is today... The author spent MONTHS on sifting through feedback, making numerous edits, and struggling with editors who wouldn't respond or provide top-gun services; in the end, I received a free copy of this book for the purpose of reviewing it in detail here. Please note: this was an advanced review copy and this  novel will release March 2nd -- less than 10 days from now! 

My synopsis: 

   In the 1600s, the York family -- Earnest, Iris, and their daughter Cassandra -- is escaping a New England town where they were to be banished or killed. Choosing to (roughly) leave through a throng of rejecting folk, they have a long journey to Charleston, Carolina. There, more tragedy strikes them: a specter follows them, children are disappearing, and the natives are highly wary of them, saying they bring trouble. Can they overcome all the deck stacked against them in this new place, with a clean slate? It seems the townspeople may be accepting of them... but tensions grow as more children disappear. Iris is a healer in a time when using nature and wisdom to help others is questioned as witchcraft. The dark shadow's appearance adds to the suspicion... Where did this specter come from, why is it following the York family, and who -- or what -- is taking the townspeople's children? Readers follow Earnest, Iris, and Cassandra as they try to live their humble lives with the dark challenges their new, but still dark, setting presents. 

My review: 

   This Gothic tale has fantastic imagery! The author's use of flashback and foreshadowings are brilliantly woven into the story's plot to hook a reader and keep them reading despite the heavy doom and gloom throughout. The characters' struggles are true to their time period and make for a very clear, strong message to readers in the end. 

     For an example on the brilliant imagery and flashbacks throughout, see this short excerpt from the beginning of Chapter 3: 

   Dawn came thin over the riverside village, light pushing through the storm's wreck. Branches hung split and heavy. Needles lay in wet drifts. Mud ribbed the ground and pooled at the roots. What embers lived under the wet gave up a sour breath of char.  

    Earnest stood at the camp's edge with his lantern turned low. The woods beyond held that charged stillness he knew from bad water before a sea rose. Toms' grin flashed and sank. He drew short breaths and said nothing. 

Here, notice how this imagery not only creates a dreary, foreboding setting (best for this novel and its intent!), but the flashbacks to past issues on the sea also create a depth to Earnest's character. We see that he feels something is very wrong -- a foreshadowing of the further coming doom for his family.

    This novel delivers a very powerful message -- and the feeling of dread in the end: Oh my! It is the kind of feeling that classics leave you with -- Gothic classics like Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde and Stoker's Dracula. I surely don't have to tell you, reader, that this is something not commonly found in today's literature. In this novel, you will feel the chill and anticipation that is best in Gothic Horror. How is this novel classic Gothic Horror in today's literature, you may ask: it does have supernatural elements, the past does invade the present/future, the setting is a crumbling society, there is great emotional/psychological turmoil, and the themes of the novel are definitely in line with this genre (but if I discuss themes, I may be giving you spoilers... and I don't want to spoil anything for you!). An excerpt from Chapter 9 to support this determination follows, when young Cassandra is awoken in the night:  

   The night smelled of sap and damp wood. Mud had glazed hard with frost. She kept one hand on the post and leaned enough to look. The figure did not move. It faced the house. No wind troubled the pines, yet the edge of its cloak fretted as if in a draft of its own making. When it tilted, the hood slipped to a ragged angle and showed a sliver of face. Cheek bone. A wet track of skin. A mouth opening once without sound.  

   "Who are you," she said, not loud. 

   The head turned a fraction, as if the question tugged a cord. The hand lifted and closed, not in threat but in a reach she felt low in the body. For a breath the posture held, a mute petition, and then the shape thinned where it met the dark. It slid along the fence and fell back into the trees.  

Here, we can see this dark specter interacting with childhood wonder and curiosity -- she isn't necessarily afraid of this unknown entity; instead, she has opened the door and asks what or who it is. Cassandra longs to know and understand this creature and later reports on its appearance with only the facts; she is key in revealing whether this specter is guilty of harm (and murder) or if it is there trying to warn them of something. This passage directly ties in to the strongest message this novel sends readers -- it does involve emotional and psychological turmoil and other elements of Gothic Horror, and this passage is an example of how this theme is built and delivered masterfully. 

     Now, however, there are just a few things that keep this novel from being five-star, right now, in my opinion as a reader and writer: some minor plot errors (like, how does this character know this when she hasn't learned it/we didn't see her learning it; this character says this thing happened, but when did it happen, because we didn't see it happen and it doesn't appear the Yorks have been there long enough for it to happen... etc.) and, especially more towards the end of the book, conventions errors (missing question marks for questions throughout, comma splices and sentence fragments much too prevalent in some places... etc.). Keep in mind, though, the considerable amount of time, effort, and recursive editing this author has put into this work (I personally am verifying this, as I have been part of the feedback given to the author, but I have yet to be an editor of it) -- these are minor errors and should not deter you from making your own determination of whether these things detract from the story for you. This is a brilliant story! 

I recommend to... 

Fans of horror novels, especially lovers of classic horror and Gothic Horror.

Suggested restrictions: 

I do not suggest this novel for anyone less than 15 years of age due to intense images, horror, and situations that may not be suitable for younger readers, and supernatural violence, homicide, and suicide.

 

With no further ado, my interview with the author, Dr. Dakota Miller: 

Tell us a little about yourself. What do you like to do when you’re not writing? Are there any people who are extra special to you as a writer or as a person that you would like to tell us a little bit about as well?

   I am a U.S. Army veteran with a PhD in Health Sciences and an emerging horror author. Most of my time is spent away from the page: thinking through stories while working, reading classics, lifting weights, or boxing. When the plot finally crystallizes, I lock myself away and write in intense bursts, sometimes ten thousand words in a day. It is a habit I developed from cramming academic papers on weekends, and I do not recommend it to others.

(Image taken from Amazon Author page)

   My wife is the only person truly special to me in this journey. She is my biggest supporter, taught me grammar (which I never properly learned in school), and believed in The Curses We Keep from the first idea. Every draft she read with enthusiasm, even when I doubted the story. Her conviction carried me until beta readers confirmed it was strong. I would not be here without her.

That sounds way too much like how I get when writing! My writing obsession becomes very unhealthy at times, and I definitely don't recommend it to others (I get that way when I play a really good video game, too -- it's the love for the story!). I love that your wife is such a strong supporter for you -- I'm glad she supports you in this, because now we have such a wonderful Gothic tale that the world would otherwise be without!

What inspired you to start writing fiction? What would you say to someone who asked you why you started writing horror? How has writing affected your life?

   I always wanted to write a book but lacked a persistent idea until my dissertation years. After a decade in rigid APA format, my mind craved creativity, so I procrastinated by drafting fiction. Horror appealed to me because I was raised to see it as inherently evil, potentially dangerous. As a Christian apologist, I examined the genre and found it otherwise: a powerful vehicle for cautionary tales about morality, destiny, and the human heart. I write horror to scare meaningfully while prompting reflection. Writing has been a vital outlet. After leaving the Army, I struggled to find my place. Though that search continues, crafting this story brings comfort and pride unlike any other accomplishment.

The Curses We Keep definitely prompts reflection after that ending! I'm glad you feel pride in your work -- you should, as I think the story is brilliant.

How did you get the idea for your book? Do you see any of yourself in any of your characters?

 
   I see pieces of myself in every character, the virtuous and the flawed alike. The idea formed a few years ago when my wife and I visited Salem, Massachusetts. As a fan of classical literature, I searched for a witch tale on the scale of Dracula or Frankenstein but found none that satisfied. Watching The Witch afterward sparked the concept. Around the same time, we were viewing Game of Thrones, and I grew frustrated with characters shielded by plot armor. I wanted to explore genuine psychology: intelligent people shaped by biases, each holding fragments of truth, reacting authentically without contrived demands from the narrative. The story grew from that experiment in character-driven dread.

I totally got that kind of feel when reading it -- that classic-dread kind of feeling!

What would you say to other writers if asked how to create a story as dreadfully horrible (I mean this in a positive way, of course) as The Curses We Keep? What tips could give them from your experiences? 

   I explored fears that genuinely unsettle me, like fatalism. Written horror lacks cinematic jump scares or soundtracks, so atmosphere must linger, creating a pit in the stomach long after the last page. I focused on suffocating immersion: the forest closing in, the weight of inevitability. This meant a longer draft initially, which I trimmed for nuance, letting readers fill in horrors with imagination rather than explicit reveals. The monster often terrifies more when unseen. Above all, stay faithful to your vision. I nearly veered into chasing every scare trope, which diluted the story into fantasy. I set rules to ground the world and leaned into personal themes. Be true to what disturbs you.

That's great advice and well-put! I agree: the build-up with the unseen villain, ghost, or monster is much more terrifying than the one you see... wait, unless there is a chainsaw involved. Chainsaws are scary no matter what! ... But, yes, staying true to your own vision is most rewarding in the end. 

What is the best part of writing for you? What is the hardest part about it? What have you learned from writing and publishing your first novel that you'd like to share with us?

   The best part is when a plot twist surprises even me as I write it, mirroring the reader's shock and revealing something unexpectedly compelling. The hardest is editing: I love drafting but dread returning to polish. From publishing The Curses We Keep, I learned that not all feedback is equal. Early on, I sought any reader and grew overwhelmed by conflicting opinions. Targeting my intended audience brought consistent, useful insights. I may not always agree, but the clarity helps immensely.

I totally get all that! Some just do not understand vision... and some are just nit-picky and can't overlook small, opinionated flaws. However, much feedback can be helpful -- like, for my first novel, the majority of feedback I got said it was confusing... looking back, it is still a bit of a chaotic mess (but I'm working that into the series, and I've done multiple things to help with the confusion after that feedback). With your novel, with a different "taste" than other literature of today, you do have to pick and choose the feedback you use and take the rest for what it is -- opinion that may or may not matter in the long run. 

What kind of books do you read? What is your favorite books and/or favorite author, and what do you love about them/their work? 
 
   I gravitate toward classics. Frankenstein is my favorite book, a masterful retelling of Paradise Lost and the Prometheus myth that laid foundations for modern horror. My favorite author is C.S. Lewis for his natural flow of logic and storytelling. Till We Have Faces, his retelling of Cupid and Psyche, echoes what I admire in myth-infused narratives. Lewis weaves objective truths with rare intelligence. Both he and Mary Shelley, devout Christians, wrote horror that inspires me, despite many Christians viewing the genre with suspicion. I believe horror offers essential cautionary tales worth exploring.

Frankenstein is a masterpiece for what it is, I can't argue. These are both great influences that clearly show through in The Curses We Keep. 

I'm glad you could join us for an interview today! I sincerely hope we see more Gothic Horror tales from you in the future, and I have LOVED working with you on Moon Goddess! (Oh, yes, readers, I forgot to mention that Dr. Miller and I also collaborated a bit on my new novel coming out -- so, his literary genius is being published TWICE this year!)

Find this brilliant mind of horror online: 

Connect with Dakota on Twitter and on GoodReads!

A New American Genre

The American Sagas Genre 

What Is Genre and Why Do We Need It?

     As an author, I have a very great understanding of what genre is -- but does everyone? If you google what a genre is, you will get the Oxford definition: 

"a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter." 

This is a very well-put definition, but for literature, I define it a little further: 

"it's the literary category of which a piece of literature most closely meets the requirements set by the community of already-existing literature that is commonly known to define the genre."

That may seem a little wordy and confusing for some, so let me use this example to clarify and define sub-genre (a sub-genre is a body of literary works that share characteristics with the overarching genre and with other works that have additional characteristics in common): the Romance genre of literature requires the following: the main focus must be on one or more romantic relationships and there must be a happy ending for at least the main romantic relationship of focus; examples of sub-genres in the Romance genre include the following: 

• Romantasy (a blend of Romance and Fantasy genres), 
• Historical Romance (novels having both Romance and Historical Fiction genre characteristics), 
• Erotica (Romance Fiction that focuses on the detailed, sexual encounters between characters, and without these sexual experiences, the whole story is non-existent or completely falls apart; this sub-genre, like others, requires and expects specific jargon), and 
• (Modern) Dark Romance (Romantic Fiction that focuses highly on the darker parts of relationships, like obsession, the horrors involved with deep love, fear of others especially in relationships, and generally, just the most horrible, twisted, down-trodding, adult parts of relationships -- at least, from my understanding of it, the issues in the relationships are more serious, adult, and horrible than in the traditional Romance genre). 

     Before the 1970s, genre wasn't such a big deal -- even knowing the line between fiction and non-fiction (the original genres, in addition to a third: poetry) was fuzzy. In fact, most of our literature from the past is defined by the accepted characteristics of literature from the time period in which it was written. For example, we remember early-19th-century American literature mostly by the overly descriptive pages of nature, the wilderness-man hero who is rejected by civilization but who proves to be the most valuable resource for surviving, and the typical, pure, civilized lady who needs a strong, resourceful man as a partner -- and we call it Romantic (in a different sense from what we know Romance as today); but, this body of literature, in this 19th-century-American-Romance genre, was the published literature of the time because it was what readers wanted and expected. Following, we all have heard of Moby-Dick, Herman Melville's great American Classic masterpiece, which is the best example of how not meeting reading-community expectations can turn readers against an author for life -- because Melville wrote in the 19th-century-American-Romance genre up until Moby-Dick, readers expected the same from him, but what they got in Moby-Dick was 19th-century-American-Dark-Romance instead, and it ruined his writing career (even though he wrote ALL of his true masterpieces after this!). If genre would have been emphasized in Melville's time, perhaps his life wouldn't have taken the turn that it did because of Moby-Dick and its VERY negative reception during his lifetime! 

     We went so long without too much focus on the differing characteristics of literature (and defined genres) because it was inherent that if it was being published, it had merit as what readers wanted and expected. Since publishing has become so widespread, inclusive, and common (since after 1950), we now need separations of genre because we need to know where the merit lies. Merit has become individually subjective: some like to read only Historical Romance, some like to read only Fantasy novels, yet others will ready Stephen King's works no matter what he writes. Too, even if a book isn't well written and hasn't been edited properly, it may still have its niche in its given genre or sub-genre if it meets those expected characteristics for the genre well. If a book doesn't fit into any one genre, however, does it have merit at all, even if well written? To the reading and writing communities, perhaps not -- and we all think this way, whether you realize it or not. We know what we like, and we like our comfort zones; this extends to our tastes in literature: if we've found we really like the Harry Potter series, we may get stuck reading children's literature (and perhaps Young Adult literature) for the rest of our lives! I've known MANY readers like this! -- I encourage you to never get stuck in just one genre as a reader, because there is SOOOO much out there that is fantastic, and it's all in different genres!

Cross-Genre Literature

     In recent decades, we have seen a rise in further divisions of genre. Why? Because we adapt and change, and the changing times and atmospheres we live in determine more what we want than we realize. Melville is still a great example here, too: all his work after 1850 was rejected because of Moby-Dick's reception, and for the remainder of his life his writing was ignored no matter how good it was; however, after World War I, Americans felt differently about his later works (after this war and the atmosphere that resulted from this war) and the "Melville Revival" found ground in how his most famous literature spoke to Americans; it's the "Melville Revival" we have to thank for believing that Moby-Dick is the Great American Classic today. 

     We've slowly been moving toward wanting books that are increasingly different. We got tired of focusing on any type of hero, for example -- we are interested in the psychology of the villain. Why is the villain so terrible? That's intriguing to us now, where decades ago, the villain was just the "bad" guy and we wanted to see the "good" hero save the day no matter what happened to the "bad' guy; the "bad" guy deserved whatever he got for killing all those innocent people. Now, after the Vietnam War and the widespread growth and availability of mental-health care, we want to help the villain so that he can rejoin society, share his stories with us, and become someone we want to have dinner with again (not that many of us actually sit down with the TV off for dinner anymore...). And, where do his stories fall when it comes to genre, because we want only the audience who will enjoy his stories to read them? Well, they may fall in non-fiction -- like memoir -- or they may fall in fiction -- because he changes some things in his real stories -- or, maybe he creates a new genre that combines fiction and non-fiction, short story and novel, war story and memoir, as Tim O'Brien did. Why stick to one genre when real life doesn't? Why change the story to meet a single genre's characteristics? Isn't that unfaithful to the story that should be told? 

     Cross-genre literature (it's own genre now which simply requires that a work meet the characteristics of more than one genre, as Romantasy does) has been rising just as long as the numbers of genres has been exponentially growing. Why has Cross-Genre literature grown into its own genre? ...because genuine, unique works of today don't fit into traditional genres. ... because readers often grow tired of reading the same stuff over and over. ...because, eventually, we want something new and fresh without leaving our comfort zones too much. But, there is a very unique problem with this "genre": it doesn't tell us where the merit lies. What genres are being combined in any Cross-Genre work? Perhaps that is defined on any published Cross-Genre book's back cover or dust jacket, but perhaps it is not. The characteristic(s) of this genre buck the goad of what genre requires. 

     But, again, why has this very vague "genre" grown? ... because there are too many genres to choose from. Take a look at this not-all-inclusive Wikipedia list of literary genres and sub-genres. One source in a Google search says there are 144 genres and sub-genres... but I doubt that one is an all-inclusive list, either. So, is it time we start telling readers what to expect from our books in a different way (other than by claiming it is belonging to a specific genre)? This is definitely something to think about changing, in my educated opinion. But, for now, I suppose I will define my own genre... that does seem to be the expectation if my work doesn't fit into any of these many, many genres and sub-genres that exist today, as plentiful as they are. 

The American Sagas Genre

     My Merely Mortal Series is very complex and covers multiple millennia. The first book of the series is very unique: it blends Psychological Thriller with mystery, supernatural, metaphysical, romance, coming-of-age, survival... it is written like a puzzle, with a pieces guide and a color guide in addition to its table of contents... and it is even more unique in that it embodies my writing journey as an author from childhood to early adulthood. The second book of the series follows the main characteristics of the modern Romance genre but blends with it occult, supernatural, survival, horror, psychological, erotica (without the jargon used in the Erotica genre), historical, coming-of-age, metaphysical, fantasy, modern dark romance, and philosophy; it is very unique in that I created the Tebawa people, culture, and language, that I felt the need to include a "Quick-flip Dictionary" for translating the Tebawa words sparsed into the text immediately before Part III, and in how I'm tying it back to the first-published novel of the series (there are missing pieces from the puzzle of the first-published book found at the end of each novel in the series). The third novel is mostly Supernatural Horror, but again, it blends that with romance, erotica (without the jargon of the Erotica genre), modern dark romance, fantasy, metaphysical, thriller, mystery, political, historical, coming-of-age, philosophy, religion, mythology, et cetera; it is highly unique in its immersive-ness through the sparsing of Tebawa language with English (there are multiple Tebawa language guides in this one), in its collaboration with a reader/writer who submitted about 1/5 of the final manuscript as a short story (in response to the Demiar or Tedemiar? quiz; this short-story was edited considerably before working it into the manuscript), and again, in how it ties back to the first novel of the series (through the missing pieces included at the end). The first short story of this series is a short story -- short stories are their own genre and I don't care here to place it into a sub-genre other than (fictional) Sagas. 

     So, really, where does my Merely Mortal Series series fall in terms of genre? We could call it Cross-Genre, but that does NOT accurately represent it at all; it is much more unique than typical Cross-Genre works, and it blends a whole lot more than two genres (each of the three books so far all follow a different genre's characteristics most closely!). This series has a very specific audience who will like it: 

• you must like complex, in-depth narratives told from multiple points of view and perspectives; 
• you must be able to handle extreme intensity that may traumatize you, taboo and occult characters and events, and have some true grit; 
• you must be willing to be pulled into the story by your lapels through the sparsed language (which becomes more and more prevalent in the text as it moves forward); and 
• you must be intelligent enough to handle the unfamiliar Tebawa vocabulary and the higher English vocabulary throughout. 

     I mentioned above that I place the first short story of this series into the Sagas genre/sub-genre. Let me define this genre here; Sagas... 

• incorporate supernatural elements [1]; 
• are very long narratives [1]; 
• span multiple generations of characters [1]; 
• have very expansive scopes, sometimes covering whole civilizations or cultures [1];
• use various literary devices, necessarily including varying names for characters [1], including archetype [2]; 
• blend historical fact and mythology [1, 2], "creating a rich tapestry of reality and fantasy" [1]; 
• often incorporate extensive monologues to reveal character motivations and complex themes [1]; 
• central themes include exploration of fate versus free will; moral dilemmas that test "loyalty, courage, and integrity"; the interplay of mere humans with gods and supernatural beings; cultural identity and origins; revenge, blood feuds, and cycles of violence; and hospitality, social bonds, and friendships [1, 2]; also, exploring "love, adventure, and conflict" [2];
• employ non-linear storylines, using flashbacks, prophecies, parallel stories, and interwoven plots [1]; 
• episodic storytelling -- "loosely connected adventures or incidents contributing to overall story arc" [1]; 
• sometimes include frame narratives where a character tells the story of the past from present-day, "adding layers of perspective and interpretation" [1]; 
• focuses on different characters and their interconnected stories [1]; 
• "make extensive use of foreshadowing and dramatic irony" [1]; and
• combine numerous genres within one large work [2]

Modern examples of what can be considered Sagas include J.K. Rowling's Harry Potter series and J.R.R. Tolkein's Lord of the Rings and Hobbit works; the most famous American work that I can think of that is a Saga is George R. R. Martin's Game of Thrones series, which I have previously been using to classify my series as predominately "Adult Fantasy," but it is yet another genre that I feel doesn't precisely reflects its contents. So, here, I define the American Sagas genre; it:

• incorporates supernatural, metaphysical, and/or occult elements; 
• uses very long narratives, spanning 3 or more separate works;
• spans multiple generations of characters and peoples; 
• has very long, complex storylines and a humongous overarching plot;
• uses various literary devices, necessarily including varying names for characters, archetype, foreshadowing, and dramatic irony; 
• blends history, fantasy, psychology, horror, romance, and more -- like real life does; 
• uses monologue to reveal character motivations and complex themes; 
• uses non-linear stories, with flashbacks, parallel stories, and interwoven plots; 
• uses multiple points of view and perspectives to develop detailed characters and plot lines that contribute to a large, overarching plot; 
• has parts that can stand on their own but that at least loosely relate to and contribute to the overarching plot of the whole saga; 
• has very complex characters, very complex plot lines, and very detailed descriptions of events and characters; and
• has at least one thing throughout the saga that makes the saga VERY UNIQUE and inherently American.

     For others, I realize that these genre strictures may not be easy to meet. Honestly, is it what I intended with my stories in the Merely Mortal series -- in a way, yes; in other ways, no. I have always seen the overarching plot and the interrelations of characters and events, but it was only in recent years that it began spanning multiple millennia. My series started as a puzzle with interwoven storylines, loosely connected pieces, and missing pieces; now, the beginning of the chaos has begun in the Tebawa forest in the eastern U.S. thousands of years ago. If you're interested in my Merely Mortal series, expect to be pulled into a saga that meets the above characteristics for the American Sagas genre. 

[1] Fiveable Content Team. "Epic and Saga Unit 1 Review: 1.1 Characteristics and Definitions of Epics and Sagas." Fiveable, Fiveable, Inc., 2026, fiveable.me/epic-and-saga/unit-1/characteristics-definitions-epics-sagas/study-guide/T14Domr7T0j0KLrx. 

[2] Sheposh, Richard. "Saga." EBSCO Knowledge Advantage, EBSCO Information Services, Inc., 2024, https://www.ebsco.com/research-starters/literature-and-writing/saga.