Jeanne C. Davis grew up in southern California then traveled the world as a Pan Am purser until she landed a job writing for the television series, Dr. Quinn, Medicine Woman. She wrote, produced and directed the independent feature, The Uniform Motion of Folly. She is currently at work on her second novel which explores her life with Pan Am, and another feature film, Lip Service, along with a documentary about her family's four generations in the carousel business. Visit Sheetrock Angel Homestead or Facebook. You can also visit Jeanne's website.
I happen to believe that we’re all part of The Spirit, the Godhead, whatever you want to call it. I’ve heard that called a mushy religiosity, but for me, it’s legitimate. Whatever your belief system, I think you can devise an explanation for the Fred character and feel satisfied. Atheists and agnostics can simply see him as a manifestation of psychosis. I lean toward the school of the open mind with a slight scientific bent. What if scientists discover that the dark matter which no one has been able to find, only to speculate about through oblique observations, is actually Spirit? I’d love to be around if they figure that one out.
My protagonist, Audrey James, is divorcing her actor husband, she’s had a fling with her drywall taper, and she may be in love with her best male friend… or he may be a murderer. She has a lot on her plate as she tries to begin a new life after her final separation from her husband. Luckily she has a best friend, Catherine, to help her out… though she also could be a murderer. That nice young man who taped her drywall without asking for anything in exchange, made her want to give him something. When she did, he was murdered, though, no one else believes that.
It doesn’t help that mental illness runs in the family, a long feared legacy. Having grown up with a mother who often conversed with people who weren’t actually there, Audrey had hoped that she had missed the boat to schizophrenia, but when she is presented with murder, kidnapping and a situation where any or all of her closest friends and colleagues could be involved, she has to question her capabilities. How can you know whom to trust when you can’t trust yourself?
Audrey’s voyage of self-discovery coincides with her wade through the lies and half-truths woven for self-protection or in self-interest by her friends and acquaintances. When she begins to see that guilt and innocence are not always sharply delineated, she must finally make a conscious decision to trust. That decision allows her to be at peace with the result of both the mystery and her question of her own mental competence. Still… she never quite knows what kind of entity Fred is.