Ariel Slick – Folklore, Music and Sultry Southern nights

Ariel Slick is a novelist from Fort Worth, Texas. She co-wrote the Good Harbor Witches mystery series with USA Today Bestselling author, Jeri White. Her short story “Bella,” was published by Free Spirit in the volume, Train Journey - Stories Associated With Railway Travels. In addition, Her articles have appeared in Southern Gothic Magazine, Texas Highways, The Texas Observer, Texas Co-op Power, and many others. When she is not taking my beloved cat, Kate, on a walk, she is running through the forest.  As our Author of the Day, she tells us all about her book, The Devil Take the Blues.1. The Devil Take the Blues weaves Southern Gothic with folklore, music, and moral tension. What first sparked this story — the setting, the devil’s wager, or Beatrice herself?Oh definitely the idea of a devil's wager. I've always loved stories of Faustian bargains or "The Monkey's paw," where you might wish for something, and get it, but have absolutely unintended consequences. I loved in stories with the Devil how humans always managed to trick or outwit him. I wanted to explore what might make a person make that deal; what could possibly be worth giving up your soul?2. The 1920s Louisiana backdrop feels alive with heat, history, and haunting. Why this particular time and place?It started as an obsession with the Jazz Age. An early draft was in the 1800s with Frank as a vampire-pimp and Beatrice was a prostitute. But then I started learning more about the 1920s and the origin of blues music and really wanted to explore the crucible of that era that made blues music possible.3. The novel feels like a crossroads between history and myth — much like a blues song itself. Was music a key influence during your writing process?I definitely listened to certain playlists (Southern Gothic on Spotify, for one), but it was not a direct influence. Still, I wanted to pay homage to some of the great early blues artists.4. You’ve written in other genres before, including mysteries and short stories. What drew you to Southern Gothic for this project?I love Southern Gothic because it is so atmospheric and so unique to the U.S. It's like jazz or blues music itself; it's a mashup of genres, and it's not really one "thing" or another. The genre has so many influences, and I wanted to work within a genre that allowed freedom to explore.5. The story touches on racial tension and forbidden love between Beatrice and a Black blues musician. How did you balance the emotional truth of that relationship within the constraints of the 1920s South?Well, I knew that Beatrice couldn't be too "out of time." She couldn't be this super 21st century feminist champion of civil rights; she had to be a product of her time and location and logically, had to have her own racial prejudices and racism. Even so, I wanted to explore how it was possible for interracial relationships to happen because even in the present day, there are challenges to navigate. I wanted to give hope to people in interracial/intercultural relationships that, if it's possible for love to survive in the 20s, it's possible to survive, and thrive, now.6. Family secrets drive much of the suspense. Do you see this as a story about redemption or damnation — or both?I'm an optimist, so it's about redemption. Frank finds what he needs, and ultimately, Beatrice can let go and live her life the way she was meant to.7. Reviewers mention the “gumbo” of folklore, music, and atmosphere. How do you build a setting so sensory and immersive?Honestly, practice. Examining the details of life, zooming in on what those sensory details are and connecting them to a certain emotion. It's the emotion that is key; otherwise, you're just giving a laundry list of "I heard/I saw, etc."8. The pacing has been described as “leisurely but rich.” Was that a deliberate choice to mirror the languid, sultry feel of the Deep South?It wasn't a conscious choice, but I'm glad it came out that way. Form follows function, and I want readers to feel transported to that time and place.9. The Devil’s deals in your story seem like metaphors for societal corruption as much as personal temptation. Would you say this novel has a political edge?I would say it does, but I didn't set out to write it that way. In some ways, I wanted to hold up a mirror to contemporary society by showing how much--or little--things have changed.10. Southern Gothic has deep roots — from Flannery O’Connor to Toni Morrison. Which writers or stories most influenced your take on the genre?By far the most was Anne Rice, followed closely by Harper Lee and William Faulkner.11. The novel reminded some readers of films like Sinners or The Devil’s Advocate. Do you see your work as cinematic?I'm hoping that my novel will be more "immersive," than cinematic. I include a playlist of blues songs that I quote at the beginning of the book, so readers can actually listen to the artists and get a deep feel for the story.12. Finally — without spoiling too much — do you believe Beatrice truly lost the bet… or did she win in her own way?Beatrice lost what she wanted...but got what she needed.13. What are you working on right now?I am working on a thriller about a disgraced veteran who must follow a series of mysterious clues to find the biggest buried cache of gold in history. Along the way, she discovers the meaning of self-worth.