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I think you missed one of my posts above. It's unlikely to appear in the books, but I want an explanation for myself so that I have a set of rules to follow for consistency throughout the trilogy. My proposed rules also led to the discovery that one could have two demon-spawns each pass their demon chromosome to an offspring, probably making their child even more powerful than the parents. I don't see a use for that in the trilogy as envisioned, but it's within the rules should I care to explore it.

I may never use the demon-science in the books, but I'd like to have my own explanation beyond hand waving. Basic elements: a female human, a demon father, a tussle under the sheets, and a fetus that develops normally, but harbors something from the father that gives it demonic powers. Chromosomes and genes seem like the ideal solution. So much is unknown about our genes, it's a reasonable place to encode for superpowers.

In the Omen, Damien's blood cells matched those of a jackal, which was his mother. I assume the father was Satan.

Hmm. I need a demon in human form to impregnate a woman in my story. I set it up in the exorcism chapter by giving the chief exorcist a complete human body, including on the inside. That means he has bodily fluids, including blood and semen. The tricky part is whose DNA does a demon carry? There has to be a male chromosome since the offspring will be male. It's not enough for the demon to possess a male body and use his DNA for that purpose. I need the offspring to be part demon. That's how the child will inherit demonic powers.

Suggestions?

Thanks
Dirk

We finally agree on something. :-)

Thank ye, kindly.

Couldn't find the von Neuman, but the Symphony of a Thousand is decent. Not my preference for background music while writing, though. Il Divo is awesome, too. I prefer that while driving.

Ray & Kdot, please ignore the comment at the top of my latest scene (the gravedigger) that the detectives already believe they are hunting the Antichrist. There simply isn't enough setup for that assumption yet (all they have are sightings of someone powerful and a ring). I'll see if I can work more evidence into Act II that causes them to change their minds about whether it's a demon (their working assumption) or the Antichrist. TBD.

You probably already thought of this, but I usually put something at the top of the scene/chapter (centered) to indicate time jumps. Those also serve as the markers for scene breaks. My first chapter of Galaxy Tales was an extreme case. It fast-forwarded through key childhood experiences of the two kids in the story. I jumped four times in a single chapter, resulting in four scenes. Something like:

AD 4005

Four-year-old Joseph lay in his big-boy bed...

Five Years Later -- AD 4010

Seven-year-old Apollo sat in the game room...

Seven Years Later -- AD 4017

Sixteen-year-old Joseph descended the stairs...

Same Year -- AD 4017

Fourteen-year-old Apollo rode in a four-man swampcraft...

The references to N Years Later meant that the reader didn't have to go back to the beginning of each scene to figure out how much time had elapsed between scenes. Also, the scenes began by giving the age of the POV character of each scene. Finally, giving the exact year allowed me to orient the reader as to the millennium in which the story takes place, especially 4017.

Cool. I wrote the draft interrogation of the gravedigger in one day. I'll clean it up and post it sometime Tuesday. Still have to make up names for the new characters and try to verify a few Italian police procedures, assuming I can find any in English. There wasn't much the last time I looked.