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It’s a fact of life when you publish something that not everyone is going to like it. And some of them are going to say so in the form of reviews on Amazon or some other forum. Brace yourself for it.

As a writer, I just have to get used to that, the same as I had to get used to taking–and using–critiques of my work in order to improve as a writer.  And, especially when it comes to reviews, the one thing you must not do is argue about it. That only leads to a downward spiral. Doesn’t mean that’s easy, though.

I had to remind myself of this earlier this week when someone gave my novelette “Heart of Oak” a one-star review. Ouch.

Now, by definition, a reader cannot be wrong about their experience of a story. It’s their experience, after all. So this reviewer read some things into this story that I had actually tried consciously to suppress. To me, it’s a story about an outsider trying to cope with a world she doesn’t understand and a bit of a romantic fantasy (as in, yes, there’s romance in it, although not ’til the very end). This reader found an environmentalist message that had not been my intent. But that’s what they read, so I won’t argue with it.

The part of the review that stung a bit was where the reviewer referred to me as a “beginning author”. Well, yes, this is the first thing I’ve published. But it’s not close to the first thing I’ve written. I didn’t just jump in without first practicing and honing my craft, as the reviewer implies. I’ve been working at this for four years now. Believe me, the first short story I wrote (the first that actually was a story and not a vignette) won’t ever see the light of day again.

I don’t, in fact, write very many short stories. I’m more comfortable taking my characters on longer, novel-length adventures. But I wanted to put my toe in the e-publishing waters with something that wouldn’t be too complex to format. Short stories, even novelettes, don’t have things like hyper-linked tables of contents.

I selected “Heart of Oak” as my first attempt at e-publishing for a couple of reasons. Most everyone who had read it, liked it. And, yes, I do have critique partners who will tell me if I accidentally turn out complete drivel. It happened earlier this year with a misguided attempt at science fiction. I’m just not comfortable playing in that sandbox, yet and it showed.

“Heart of Oak” had been submitted to most of the paying publications that will accept that genre and length (almost 10,000 words is a tough sell). And, although it hadn’t sold to any of them, it had gotten some personal rejections and kind words. Including, from a well-respected and professional-paying market, that they liked my writing and characters, inviting me to send more stories.

Between what my critique partners said and that rejection, I felt confident that “Heart of Oak” was good enough to be the first thing I put out. If anyone found it a disappointment, I’m sorry.

Nothing will kill sales faster than a bad review. I always think about that before I post a review on a book that doesn’t work for me. Just because it’s not my cup of tea, doesn’t mean it won’t be the best thing someone else has ever read. So much depends on personal taste. (Which is a topic I’m going to take up next time.)

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In celebration of having e-published BLOOD WILL TELL last week, here’s a snippet of my next writing project. Here’s the first page of THE BARD’S GIFT:

Astrid leaned into the freezing wind, staggering down the beach hunting for driftwood to feed their meager fire. She kept one eye open for anything edible. The gale felt like needles of ice penetrating her threadbare woolen dress and even the thick white bear pelt she wore as a cloak. What she longed to do was lay down and curl up around her empty belly. In sleep, she might forget how hungry she was, but that wouldn’t keep them warm through the night or put any food on her father’s table.

She’d been hungry before. It wasn’t even unusual at this time of year, but this had been the hardest and longest winter in her memory. The dried cod was all gone and there was still too much ice out in the fjord for the ships to go out to fish for more. The schools no longer teemed just offshore, as they had in her grandfather’s day.

The force of the wind doubled as she rounded the headland, almost knocking Astrid backward. She had to go farther and farther afield to find anything these days. An overpowering stench assaulted her nostrils. She looked up, seeking the source. The massive grey shape in the shallows was not a rock; it was beached whale. Food for weeks. Maybe even enough to get them through until the ships could get out of the fjord again.

She dropped her few sticks of driftwood, picked up her skirts and ran back for the long house. It would take every hand to harvest this windfall. No one would mind because they’d all have full bellies tonight for the first time in over a month.

Do  please check out the link over on the right to BLOOD WILL TELL. That isn’t just a pretty image of the cover.

Now, I’ve given myself an assignment to do something marketing related every week (besides querying FIRE AND EARTH, that is). This week it’s author’s pages–Smashwords, Amazon, Goodreads.

 

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Almost a month ago, I posted this set of priorities:

  1. Finish the revision to “The Music Box” and decide what to do with it.
  2. Get ready to query FIRE AND EARTH.
  3. Start THE BARD’S GIFT.
  4. Revisions to MAGIC’S FOOL.
  5. Prepare BLOOD WILL TELL for e-publishing.

I’m doing pretty well on these goals.

  1. I’ve finished the revisions to “The Music Box” and have it out to one reader. I’ll probably seek more readers at the beginning of the month, and then decide what, if anything, I need to change before e-publishing it. There simply isn’t any other market for a romantic fantasy novella. I’m also waiting to hear about a novelette, “Becoming Lioness”. It’s currently out on submission and I expected to hear back almost a month ago. Maybe that’s good news. If not, I’ll be e-publishing that one, too.
  2. I’ve now sent out nine queries on FIRE AND EARTH and gotten one request for a partial.
  3. I’ve started THE BARD’S GIFT, but only barely.
  4. I’ve just about completed the revisions to MAGIC’S FOOL. I’ll be looking for new readers soon.
  5. I haven’t yet done anything about preparing BLOOD WILL TELL for e-publication.

So, here are my current priorities:

  1. Keep querying FIRE AND EARTH.
  2. Complete the revisions to MAGIC’S FOOL and find a couple of new readers to see if I’ve solved the problem of the slow beginning. The revision should be complete by the weekend.
  3. Mark up the revision notes for the last segment of BLOOD IS THICKER. That’ll only take a couple of days at most. I’m not ready to actually start on the revisions, yet, though.
  4. Then I’m going to concentrate on getting BLOOD WILL TELL e-published. That’ll also involve getting way more serious about some marketing.
  5. And once all of that is out of the way, I can go full bore on the first draft of THE BARD’S GIFT.
  6. I’ll probably tinker with the first draft of MAGIC’S APPRENTICE during any slow spots on THE BARD’S GIFT.

That’ll do for at least the next month, don’t you think?

 

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The other side of querying, of course, is waiting for the replies. When you open your mailbox and see a response to one of your queries, there’s a moment of anxiety, because, statistically, most of those replies are going to be some variation on “Thanks, but no.”

Then, every once in a while, you open the response to find a partial or a full request and your heart starts beating a little bit faster. There’s a chance.

I had both experiences last Friday. I have to say it’s just a little nerve wracking to be getting query responses on Friday the 13th. The first query reply I recieved was of the “no” variety. The second, though, was a partial request–my first partial request for FIRE AND EARTH (formerly known as SEVEN STARS).

I sent off the partial and did a little happy dance for most of the rest of the day. It always feels really good that one of these busy professionals wants to see more of my work.

Now, for a few weeks, I get to day dream about getting a second request for the rest of it and maybe, just maybe, that offer of representation. The next step on this path I’ve set myself on.

I will get there one of these days. And I really believe FIRE AND EARTH just might be the one.

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Query Time Again

I’m always more nervous when I start querying a new story. Not as nervous as the very first time I started querying, but much more nervous, or is it anxious, than when I’ve been querying the same story for a while.

I started querying FIRE AND EARTH (formerly known as SEVEN STARS) a week ago. I’ve sent out six queries so far. I already have a couple of form rejections racked up, too.

Here’s the query:

Now that she’s lost it and gone berserk, seventeen-year-old Casora is doubly cursed and there’s no going back.

Born with the mark of the berserker, she’s been sent away to learn war craft. Those skills are no use when her home is invaded while she’s far away. She turns mercenary, leading a band of teenage warriors looking for the chance to avenge themselves on the marauders.

What she really wants is to find a cure for the curse so she can go home. When she prays for an answer, she’s told to rescue the youngest prince to find what she needs.

Tiaran, third prince of a neighboring kingdom, is considered more a scholar than a warrior, but he’s determined to fight for his home. When the raiders attack, he’s trapped on the wrong side of the city walls. Casora and her band are sent to rescue him. With the capital city now besieged, there’s no option but to keep him with them and teach him to be a warrior.

But Tiaran has something to teach them, too. It’s just possible that Tiaran and Casora may be the answer to each others’ prayers.

FIRE AND EARTH is a 76,000-word young adult fantasy. Readers who liked Kristin Cashore’s GRACELING will enjoy FIRE AND EARTH. I have included the first three chapters per the instructions on your website.

Thank you for your time.

Fingers crossed for the four queries that are still out and for the queries I plan to send out in the coming weeks.

If this one doesn’t work–get me at least a partial request–after a few more tries, I’ll have to go back to the drawing board and try to revise or rewrite the query. That’s the way this process goes.

In other news, Mary Robinette Kowal published this terrific guest post on writing sequels. I just wish some of those points were more adaptable to my sequels to either BLOOD WILL TELL or MAGIC’S FOOL. I’m definitely going to have to put some thought into how I could incorporate at least some ot those tips.

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I can’t over emphasize the value of critiques–both getting and giving them. They’re not only how we make a story better, they’re also how we grow as writers.

I’m starting to work through the critiques of MAGIC’S FOOL so the topic of how to make the best use of these critiques is very apropos.

Some critiques are like ringing a bell. They start an avalanche of ideas that makes the writer jump up and down shouting “Of course. Of course, why didn’t I see that.” Those critiques are precious. Sometimes you have to work a little harder for that same insight, but it’s just as valuable when you do see it.

Often a critique or a group of critiques will point out a problem that the writer isn’t aware of. After all, as the writer, you know all sorts of things about the story that didn’t make it onto the page and no matter how long you let it rest you can’t ever completely come to the story the way a reader would. If three or more people say the same thing, you probably ought to pay attention because there likely is a problem there. But, and here’s where things get interesting, it isn’t always the problem that the critiquer points out. It might be something deeper. Occasionally, it’s something much simpler that leaves me saying to myself something like, “Yes, but if I hadn’t been an idiot and cut this paragraph, that would have made much better sense and you wouldn’t have been confused.”

In this case, I’ve got an interesting mix of critiques. One reader says that I need an external antagonist. Another keeps asking me to show not tell and says the first half was slow, but the second half was great. Still another says that the story has potential, but lacks excitement. As a writer what am I to make of this? 

The first thing is to wonder if they’re all reacting to the same thing and just saying it in different ways. I think they are. I think what they’re trying to say is that they’re not feeling the protagonist’s problem, at least during some parts of the story. I haven’t done a good enough job of ratcheting up the conflict.

 And now I have at least some ideas of how to make my protagonist’s conflict much stronger. I’ll need more, but that’s what revision is all about. So, thanks to my great beta readers. It’s going to be a much stronger story when I’m through with this revision.

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A theme is the central concept of a story. I don’t generally write a story with a theme in mind. However, it often happens that when I finish a story, I realize that there is a theme in there. When that happens, I can use that knowledge to inform choices that I make in the revisions to strengthen that theme, if I want to. Often, I don’t even ask myself what the theme is. I’m focused on telling a good story. Though, when I do, I can usually identify it pretty quickly. Sometimes, it surprises me.

For example, MAGIC’S FOOL, and in fact the entire series that starts with MAGIC’S FOOL, is about acceptance in various forms. (I really am going to have to think of a title for the series as a whole soon. Something to do with the two kinds of magic, I think.) In this case, though, it’s a little different for me because MAGIC’S FOOL and it’s sequels are rewrites of earlier stories with the unfortunate titles THE SHAMAN’S CURSE and THE IGNORED PROPHECY (TSC and TIP for short). Now that I’ve decided it should be a middle-grade story, the events of TSC with a little of TIP thrown in will be broken down into three separate stories. The fourth book in the series will cover the central plot that was planned for the end of the original trilogy, but never written. It’ll actually flow much better this way.

What’s different this time is that I recognized the theme in those earlier versions, so I could construct the story around it in the first draft of the rewrites.

In MAGIC’S FOOL, the theme actually comes close to also being the central conflict as the protagonist has to learn to accept the things that make him different from who he expected to be. That works, I think, as a good middle-grade internal conflict. My beta readers who have it now will let me know if they feel bludgeoned by it, I hope. But I don’t think it came off as that strong. The two critiques I have back so far haven’t mentioned it, at least.

Still, that conflation of the theme and the central conflict is not something I necessarily want to continue throughout the series. In this case, I’ll have to be aware, not of what theme is developing in my story, but of keeping the theme and the central conflict at arm’s length.

That’s a little different than my usual course, where I don’t even recognize the theme until I finish the first draft. In the long run, of course, that’s all to the good: a learning opportunity.

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When I look ahead, I’m feeling a little scattered, so it’s time to lay out a plan again.

E-Publishing:

  1. “Heart of Oak” is out. I’ve made four sales so far–two on Amazon and two on Smashwords. Not exactly setting the world on fire, but then I haven’t done very much to try to promote it, either. Actually, “Heart of Oak” is likely to be part of the promotion when I eventually get BLOOD WILL TELL out.
  2. “Becoming Lioness” is another novelette, currently out on submission. I should be hearing in the next week or so. If it comes back, it’ll be my next e-publishing venture.
  3. “The Music Box” is a novella I had shelved because it’s really much more romance than fantasy. The speculative element is very slight and, in fact, you could remove it altogether and the story wouldn’t be noticeably changed. But I’ve always liked it anyway, so I keep coming back to it. So, I’m halfway through a revision right now. I’ll probably try to get a critique or two. Then I’ll either submit it to the same market that has “Becoming Lioness” now or just e-pub it.
  4. All this leads up to e-publishing BLOOD WILL TELL probably at the end of April or the beginning of May. It’s ready to go except for the specific e-publishing formatting, but that’ll be more complicated than for the shorter works. One or more of the shorter works published in advance of this will probably then be used as giveaways to help pomote the novel.
  5. I’ll need to make the revisions to BLOOD IS THICKER, the sequel to BLOOD WILL TELL, so I can e-publish this sometime later this year.
  6. Then I’ll have to write the third book in the series BLOOD STAINS, so that I can e-publish it no later than this time next year.

Traditional Publishing:

I haven’t given up on this.

  1. I’m still querying MAGE STORM, at least until I get FIRE AND EARTH (formerly SEVEN STARS) ready to query.
  2. I need to finish up the last little details to get FIRE AND EARTH ready to start querying, probably next month. I think the query’s good–for this pass anyway. Experience tells me I’ll probably do a revision or two during the querying process. I do need to polish up the synopsis. I’ve got some feedback coming in on the first chapter. I’ll need to give that a shine and also make one more pass through the whole thing before starting to query.
  3. MAGIC’S FOOL is out for critiques now. I’ll need to make revisions to that, too, when all the critiques come back.
  4. I’ve started work on MAGIC’S APPRENTICE, sequel to MAGIC’S FOOL, but I’ll probably be setting this aside, soon. It really doesn’t make much sense to devote a lot of time to the sequel before I even start querying the first book.
  5. I’m just about ready to start work on the first draft of THE BARD’S GIFT, my young adult alternate history (with dragons).

All right. No wonder I’m feeling a little scattered, is it? Now all I have to do is prioritize. For the moment:

  1. Finish the revision to “The Music Box” and decide what to do with it.
  2. Get ready to query FIRE AND EARTH.
  3. Start THE BARD’S GIFT.
  4. Revisions to MAGIC’S FOOL.
  5. Prepare BLOOD WILL TELL for e-publishing.

That ought to keep me busy for the next couple of months.

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This subject comes up for several reasons. The main one, of course, is that it’s something I’m struggling with myself. In another month or so, I’ll start the second draft of BLOOD IS THICKER, which is the sequel to BLOOD WILL TELL. While I complete the research and preparations for THE BARD’S GIFT, I’ve also been sporadically working on MAGIC’S APPRENTICE, which is the sequel to MAGIC’S FOOL. In both cases, there will be at least one more book in the series.

As I see it, both from reading and writing series, there are three problems inherent in sequels, in particular in the middle books.

The first is one I hope I don’t have in any of my stories because it annoys me as a reader: when the middle book in a series is just a bridge between the beginning and the end. These books often lack an identifiable story arc of their own. They’re just there to get you from the beginning to the end. It’s a problem most often encountered in trilogies.

The second is one of just maintaining reader interest, even if the book does have its own story (although this becomes much, much harder for middle books that don’t actually tell a full story). I have a theory about this that I’ve blogged about before. Particularly in fantasy, in the first book the reader has the wonder of discovering this new world, its magic and its rules, and the characters. The last book has the whiz-bang fireworks of the climax of the series. The middle book is, well, stuck in the middle.

This is where I think there’s a certain genius in series like HARRY POTTER. J. K. Rowling doesn’t show us all of Harry’s world in that first book. We’re still discovering new things well into the series. Yes, THE SORCERER’S STONE gives you the wizarding world, Diagon Alley, Gringot’s Bank, Hogwarts, and quidditch. But THE CHAMBER OF SECRETS gives you the flying car, the whomping willow, huge spiders, and the basilisk. THE PRISONER OF AZKABAN (on the television right now as I write this) gives you hippogriffs, dementors, and the Marauder’s Map. I don’t think I even have to go into THE GOBLET OF FIRE. The point is, the wonder of discovering this world is stretched out throughout the whole series.

There’s a lesson in that, I think. Now, if I can just figure out how to apply it to my own stories.

The third problem is one that relates especially to independent stories within a series. To a certain extent in this kind of series, it shouldn’t matter if the reader takes the books in order. And there’s the problem. When I start to write the second (or, in this case, third) book in the series, I want to set it up so that the reader can plunge in even if they’ve never read the first book. But, and here’s the problem, I’ve got all these places and characters that I’ve already established. Some of the things that have already happened in the first book are going to influence the relationships between these characters and how they approach the problems presented in the second (or third) book.

So, the problem is to present enough of that background–and only as it becomes relevant to the story–without slowing the main story down to a crawl or overwhelming it with extraneous details. It’s a very fine line. And frankly, one that I’ve never managed to walk on a first draft.

It’s a very real challenge. To me, this is a place where it’s vital to have beta readers. In particular, two groups of beta readers: some who’ve read the first book and can complain if you slow the story down with too many details about what happened before, and some who haven’t read the first book and can tell you when they get confused because something that was explained in the first book was just assumed in the second.

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First an update: “Heart of Oak” is now available on Amazon as well as Smashwords. It’s still working its way through Smashwords’ review process for inclusion in the Premium Catalog which would make it available in other markets.

I’m considering two more short works that I might decide to e-publish in the next month. Another novelette and a novella I shelved for being more romance than fantasy. But hey, romance sells.

Then, at the end of April, I will most likely e-publish my first (publishable) full novel, BLOOD WILL TELL, a paranormal romance/urban fantasy. To be followed by its two sequels: BLOOD IS THICKER and BLOOD STAINS. I have a draft of BLOOD IS THICKER, but it’s nowhere near ready for publication yet, so that full slate would likely take a year or so.

Meanwhile, I’m continuing to seek traditional publication for my middle grade fantasy, MAGE STORM, and I’ll probably start querying my young adult fantasy FIRE AND EARTH (formerly known as SEVEN STARS) next month.

Now, on to future works:

I’m continuing the research for my young adult alternate history story THE BARD’S GIFT. The research is not only giving me the appropriate background for the story, but helping me to crystalize what the major conflicts–internal and external–will be.

The research is necessary of course to fill the place of world building. In an ordinary fantasy, I get to determine the various elements of the culture–what they wear, what they eat, what kind of shelter they live in, what the rules and mores of their society are, etc. In an alternate history, most of that should be as close as possible to the real historical culture. Of course, given the addition of dragons, some things are going to have to change at least a little.

For those of you who may be wondering, THE BARD’S GIFT is set against the failure of the Viking colony in Greenland. As far as history knows, the settlers all died, probably of starvation, during the cold spell known as “The Little Ice Age”. But there were at least three other things they could have done, if they’d chosen to, including sail to that part of the map marked “Here Be Dragons”.  And that’s where THE BARD’S GIFT will start.

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