Jewish Mythology and Witch Trials: Terry Moore on Rachel Rising #10

Ten issues in, Rachel Rising by Terry Moore has begun to really arrive at the meat of its conflict, with wrongly-executed 16th Century witch Lilith taking center stage and giving both Rachel and, by extension, the readers and opportunity to get caught up on what’s going on in the town of Manson.And it ain’t good, folks! It seems as though things are going to get very loud in Manson over the next little while and, leaving aside the possibility that somebody like Tambi Baker might show up to make it even more chaotic, we seem to be officially entering the second act of a three-act play (something that makes since, given that Moore has said Rachel Rising will now last between 24 and 30 issues).Moore joined us yesterday to discuss Rachel Rising #10 and what it means for the rest of the series.So–you’ve dealt with the fact that the cover is supposed to feature a pentagram, not a star of David–but Lilith is a Jewish mythological figure, and she’s referenced explicitly in the first page. Do you think this is one of those situations where the universe intervened and gave you dyslexia?Yes. I’m sure a lot of story twists come from happy accidents. Mine certainly do. Like the time during Strangers in Paradise when I realized I had given a Japanese-American guy a Chinese surname. Trying to explaining that in the story gave me a great storyline. Making lemonade, as they say.It seems like it’s been a couple of issues since we checked in with Aunt Johnny, but it’s an important one for her–not only does she gets some character beats of her own, but she finally finds out about Jet. Is it tough to keep all those plates spinning sometimes and be sure to come back to somebody at the right time?Weaving plots is a symphonic act. You look at the violins, then the woodwinds, then you nod at the tympani and so on. Sometimes I wish I could get back to somebody quicker, because I know they’re working it, stuff happening with them. Timing, it’s all timing. Maybe symphonic is too romantic an allegory for how to write a horror story. Let’s say it’s more like Pink Floyd laser show—a burst of this, a burst of that, sweeeep then something explodes.That little comic relief moment of “This will take forever!” And then Zoe just rolling right out in front of Rachel and Jet feels very cinematic. I actually thought as I read it, “And in a Chevy Chase movie, this is when she’d walk up to them.” Did you just feel the need to lighten the mood a little? This was a pretty heavy issue.It just seems that when you’re writing a big heavy story, everything ponders along like a semi, so once in awhile you need something to suddenly something rush up to you. It’s a subconscious thing, but I think it tires the reader out if every plot ponders along to the same methodical beat. Once in awhile, you need a swift right hook. And life does that—we make long-range plans then BAM!! we’re in an emergency room fighting for life. Surprise.