Genres and Sub-genres

For you aspiring writers: Here is an interesting post from agent Lucienne Diver about fantasy/sf and romance subgenres.

And, it's good info. Not just because she lists me alongside George RR Martin. Read more of this post!

Cover Input

I don't want to design my book covers. I love writing, but I just don't have the visual skills to design covers or the marketing skills to know what sells (lots of writers who do design their own covers don't know this part either, I fear!)

That being said, I DO want to have a say in my covers. I know what I don't like. And I certainly know what fits the book - even if it doesn't represent the exact image I had in my mind.

Take the Restoration cover, done by the marvelous Matt Stawicki. The characters look nothing like the images of Seyonne and Aleksander that live in my head, but when I pulled that cover out of the envelope, I went, "Wow!" It is gorgeous. It will draw a reader's eye and make readers wonder about the book - which is the entire reason for cover art, of course. The Stawicki Revelation cover was actually more beautiful than I had envisioned the ice palace in Kir'Vagonoth. I also love the Luis Royo covers for the Lighthouse books, but, sorry folks, he isn't quite Valen and the beauifully rendered masks are wrong - they should be vertical half masks. But I think the covers are gorgeous and feel very fortunate.

So the time has come (already?) and my editor, bless her, is asking for my ideas for what should be on the cover of the [as yet untitled] new book.

Probably not an action scene. They are not "stylish" for trade paperback originals. So, there's more thinking to do. I've got three investigators, a burning ship, ghosts, horribly-- Well I can't tell all, can I? I need to send them several ideas to explore - and pages for my editor to read, but they're not ready yet...yoiks.

And then there is the matter of cover copy - the ubiquitous back cover blurb that may be even more important than the cover, and is likely the second thing a prospective reader looks at. I don't get to write it, but thanks to some cooperative behavior (I think!) I get to make suggestions. Hooray. This part has to be done accurately, as far as I'm concerned. No revelation of secrets. No cliches. Vivid words. OK, I tend to get too wordy, but at least I get to contribute. I was really happy with the Lighthouse cover copy.

Something else to be working on in the next week or so.
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What's in a Title?

So my editor wants to talk about titles for the new series. Titles are sometimes easy - Transformation, Song of the Beast, Flesh and Spirit. They can bubble up early out of the story, sometimes before I know what they really mean - The Soul Weaver, Daughter of Ancients.

Some titles are just hard - Son of Avonar. That one took me a while because I had to step back and see that the core of the story, the prime motivator, the piece that changed EVERYthing, was the "son" in question, even though the protagonist and narrator was Seri. His fate was the driver and the Bridge was the arc that spanned the four books.

Out of my ten books, only two titles have changed since the book went under contract. They happen to be two of my favorite titles. They are...



Revelation - changed from the original because my UK publisher feared the original title evoked the "horror" genre rather than fantasy. He was right. I searched for the right -tion word for weeks.

Breath and Bone - changed because my first pass was too close to another book being released from Roc in 2008. I was so unhappy, until I happened to use the phrase breath and bone one day in the text and I knew it was perfect.

Both of the new titles were infinitely better than the originals.

So my editor didn't say exactly why marketing doesn't care for Unholy Alliance, but I suspect because there are about five hundred titles (search Amazon!) that incorporate the phrase - and most of them are history or psychology. Fortunately, I am not wedded to this particular title - I had to call the book something when I was proposing it. And because of my previous experience with the changes, I'm hoping that I can come up with something I like much better.

There are so many words out there that apply to this story - and lots of them are SO cliched in fantasy titles. Blood is significant - but I don't want people to think vampires or urban fantasy. Shades, shadows, ghosts, spectres...getting into horror territory...and triteness. If I get too far into the secret agent aspect, I'll have people thinking "thriller" and risk losing the fantasy association. Tough.

What do you think are words that are overused in fantasy titles?
I'll keep you posted. Read more of this post!

Concert Celebration

Just caught the Lincoln Memorial pre-inaugural concert on the HBO website. It was great fun. My favorite part?

I think it was Herbie Hancock, Sheryl Crow, and Will.I.Am singing Bob Marley's One Love. Some of the other combinations of singers were great, too. If you missed it (we were at a birthday party, and we don't get HBO anyway) you might be able to catch a rebroadcast on the HBO website. We routed it through our TV and stereo, so we got good sound. Enjoy! Celebrate! Read more of this post!

Getting Published

Just got an email from a reader/aspiring writer asking some fundamental questions about this writing business. As she said, there is so much information on the internet, she doesn't know where to start. So let's cover a few of Cindey's questions:

What's the best thing to do in order to get published?

Write great stories. This is not facetious. Many people can think of a great story. But to write one, you have to learn the craft of writing: how to write dialogue, how to write great openings, how to vary your sentence structure, how to avoid common pitfalls like "telling" instead of revealing character and plot through action and dialogue. There's a long list. Reading good stories, reading articles or blogs about writing, going to workshops, getting together with other aspiring writers and learning together, and writing, writing, writing - those are all good ways to learn the craft (reading and writing being the most important!)

I read somewhere that getting an agent could help better than not having one.

This is an age-old argument. A first time author can sell novel length work without an agent, but it is hard, and in today's tightening publishing market, it's probably going to get harder. Yes, "selling" your work to an agent is just as hard as selling your work to a publisher, but you will probably want an agent to negotiate a contract offer for you anyway. And if you can't interest an agent in your work, you'll have difficulty interesting a publisher. Opinions do vary on this. I actually got an editor interested first and then submitted through an agent. I was glad I had her to help me through it. You don't need an agent for short stories, just a source of markets (see ralan.com for an example) and a lot of stamps, envelopes, and cover letters. (Learn how to write a professional cover letter.)

I also read that I could send in a proposal first & not have the book written just yet. Then if there was interest in the book, the publisher would then want the book written.


This can work for non-fiction. You can structure a book proposal by writing a chapter-by-chapter outline and a query letter, explaining your qualifications for writing the book. You would also need to write the first few chapters to include in your proposal. There are many good descriptions of non-fiction book proposals out there. Look at books like Writers' Market or How to Get Happily Published, or the websites of reputable writers and agents. (See Pub Rants link in the margin.)

For fiction and a first time writer, a book proposal is not going to fly. Editors want to see not only that you can write, but that you can finish a whole book. Ideas, sad to say, really are a dime a dozen. Once you've been published you may be able to sell books on proposal, but not (OK, never say never) as a first time writer.

Where do you start?

Write the book. Revise it. Revise it again, until it is the best it can be.

Once you think your book is ready (and this means you've had serious writers and readers - not just your friends - read it and give you feedback) start looking at Preditors and Editors, and Writer Beware to learn about the pitfalls waiting for naive writers. (I've got links in the margin here.) Read the articles in Writers' Market and do research at places like Agent Query (link in the margin, too.) Find some online communities for writers - Absolute Write, Making Light, and the sff.net forums. And I highly recommend agent Kristin Nelson's well-written blog Pub Rants. Read her archives about what agents look at, what makes them stop reading, how to write queries, and so forth.

Hope this helps, Cindey, and all of you! Read more of this post!

Happy New Year!

Can't quite believe it's been a year since I started up this blog - until I look at my calendar and realize I've got about six weeks until this book is due to my editor. Nope, it's not done yet. But we had a lovely holiday, with the entire immediate family here at the house - and my mom, too, and visits from a niece and her kids. Safe travels for all. All good. But December evaporated and here I am trying to marshal my brains and pages for the final assault...

Task 1 - remember what the heck I'm doing here. It feels like time for a complete read of What's Happened So Far. Why? Partly because I want to make sure I'm steeped in the story before I move into the final chapters. Partly because I've got some timing changes to make. And partly because I've some clarifications to weave in and I might as well do it now as later.

Timing: On the last day I got substantial work done before Christmas, I decided I had made my timeframe too short. My heroes were running out of time - which is always a good thing for tension - but in this case the work they have to do just can't be squeezed in before their "drop dead date." [Just a euphemism. Uh-huh.] I don't have a "magical cheat" in place to speed up their traveling. If they are going to visit Michel de Vernase's home, and still return to Merona before the grand finale of this story, I've got to build in travel time. So annoying.

Changes to weave in: a little more precise magic (now that I understand it), some peculiarities of Portier's past (not all of which are alliterative!), and some cultural details like the Cult of the Reborn and the differences between spectres (the energies left behind by a dead person), ghosts (souls that cannot cross the Veil), and engasi (those actually returned from the dead).

This kind of reread and revise takes much long than I'd like. I've done only about three chapters a day, which means I'm about 2/3 of the way so far after five days. (My active writing is currently at Chapter 26.) But I am finding, as always in revision, that the later chapters are smoother and need less attention, so maybe I have a hope of finishing up the reread quickly. Meanwhile I'd really like to get Chapter 26 finished for the critique group tomorrow. Yoiks - I don't like to think how few group meetings are left before MY deadline.

More on this tomorrow!
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Treasure Hunts

I think I last wrote about research back when I was just beginning to work on Unholy Alliance. But I wouldn't want you to think that was the last time I went hunting the wonderful details that can make a fictional world real. Here are a few places I've visited in the past couple of weeks (not counting Chicago where I was visiting family over Thanksgiving!) I'll leave you to guess what mayhem I've conjured from them...



http://en.wikipedia.org/wiki/Coppice (A lot is written about the flaws of Wikipedia - not entirely correct info, amateurish, incomplete, unreliable - but it is a great jumping off point and often leads to other links.)

http://www.hobbithouseinc.com/personal/woodpics/#letterI

http://www.cidpusa.org/blood_letting.htm

http://www.medicalantiques.com/medical/Scarifications_and_Bleeder_Medical_Antiques.htm

http://www.naturesongs.com/birds.html

http://babelfish.yahoo.com/

http://www.archives.nd.edu/cgi-bin/lookdown.pl

http://paulcarlisle.net/mooncalendar/

Complete Mediterranean Wildlife Photoguide (Sterry)
English Through the Ages (Brohaugh)

And, as always, my treasured Roget - not an imitation thesaurus or word finder or synonym finder, but the real Roget's Thesaurus, where you can look up words by their semantics and find that word that's on the tip of your tongue but just won't come.

Enjoy!

And here are two more I just had to add

http://www.bellaonline.com/articles/art7783.asp

and

http://smallfarms.typepad.com/small_farms/2006/04/freerange_pigs_.html Who can resist an article called Free Range Pigs?

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Attacking a Scene

This scene, the start of a new chapter, is driving me crazy. Two of my investigators are supposed to be leaving Castelle Escalon on an urgent mission. They believe they are closing in on the guilty party. But Something Will Happen before they can leave. The scary Forces of Order arrive and threaten Partner Two. This is a dangerous risk of exposure, and will introduce a Change of Direction in one of the partners that we will see play out through the end of the book.

You can likely see the trouble here - subtlety. I need the scene dramatic enough to be compelling, and yet its truest consequence must be essentially unrecognizable. Ouch. Why do I DO this to myself? Needless to say, this scene has bugged me for days now. I can't seem to get it right.


So, to begin. They are supposed to be leaving the palace, so Partner One is waiting in the stableyard. Partner Two does not show. The crochety stableman (a very minor character who will appear on occasion throughout the books) is griping at Partner One that he needs to get gone because he is upsetting the horses. Part of the stableman's irritation is that there are "guests'" horses that have been there since before dawn. (Hint, these belong to the above-mentioned Forces of Order who are causing the delayed arrival of Partner Two.) I like this crochety guy. I like the fact that the Forces of Order got here very early. Partner One suspected they were coming, but assumed it would be after he was long gone.

First time through: Partner One is annoyed at the delay and marches inside to roust Partner Two. He finds the Forces of Order already ensconced with Partner Two.

Problem: Logic and inference. The Forces of Order would never question people inside the royal residence (certainly not long enough to cause the dramatic change of direction I plan). They would retrieve offenders or witnesses and take them to their own bailiwick. This is part of the essential balance of power in Sabria. [Same reason police really want to take suspects down to the station and not question them at Mafia headquarters.]

Also I'm totally not sure of how Partner Two is going to react to this, which is a question I'm going to have to resolve sometime, but I don't have enough evidence as yet. How can I understand his motivations and make the reaction real, when I don't see him before or during the action?

Second attempt: Partner One takes repeated trips to the stableyard gate to "see if he's coming" and gets an eyeful of the Forces of Order removing three witnesses from the palace. The witnesses are cloaked and hooded to hide their identity. I really like this custom (invented on the fly!) and so I want to keep it. But the logical consequence is that Partner One can't be sure whether or not Partner Two is one of these three hooded witnesses. He rushes into the palace, finds someone to ask, and gets the story of the "removal."

Problem: all the real action is off screen. The scene comes off as passive. One of the most important people involved is never seen. And, as Partner One is not going to be able to do anything about this "questioning" I've set up a truly boring scene where everything of consequence has already happened or is hidden. Whatever reaction Partner Two has to the event is hearsay.

Much gnashing of teeth here on my part.

Third attempt: Partner One takes repeated trips to the stableyard gate to "see if he's coming" and gets a glimpse of two sentries (from the Forces of Order). Uh-oh. Anxiety - he didn't see this coming so soon - propels him into the palace. (Already I have better emotional context.) He gets into place just as the first of the witnesses has been "hooded" and the second is being rousted...and Partner Two will be next. More anxiety. Partner Two has been delayed by a cordon of Forces of Order, and is fuming. Partner One sneaks/talks his way through the cordon [already more action] and joins Partner Two - so we will see them together "before" the event...and something subtle in Two's behavior after the event will hint at the change I'm trying to enable... Oh yeah, this is much, much better...

I'm off! Third time's the charm and all that.

So why include the stableyard at all, you might say. That seemed to cause all the difficulties. Why not have Partner One see the arrival of the Forces of Order from inside?

Because he just wouldn't be there. His residence is in another part of the palace entirely. To have him in place "just right" to see these happenings from the beginning would be contrived. The two partners would never agree to meet inside the palace as they are supposed to be antagonists, one forced into subordination to the other. Their meeting for the journey would occur at the last possible moment. Character and situational logic - as I have created it - must prevail. Yes, I as the author can force circumstances to make anything happen, but especially when the stakes are high and difficult - getting this event to happen with all its subtleties - I don't want to plant a neon arrow sign outside the door, saying "Look At This! Look at This!"

Maybe I've got it now. I'll keep you posted.

Update: Option three worked out even better than I imagines. Once I got moving on it, instilling more of a sense of danger, the elements came together. I had valuable, revelatory time between the two partners that will contrast marvelously with their later encounters. I was able to examine and instill motivation of Partner 2's reaction to being "hooded," as well as drop in details about the customs surrounding the Forces of Order. And I left something important in Partner 1's hands that ties the action both to previous plot points and future ones. If only it hadn't taken me a WEEK to get this right. This is why I'm slow, folks...

Cheerio!
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Fast Times at Surrey BC

In 2006 I was first invited to the Surrey International Writers’ Conference (SiWC) in Surrey, British Columbia (just outside Vancouver). I enjoyed it immensely, so I was delighted to be invited back this year.

SiWC is similar to many other writers’ conferences in providing a weekend packed with information for aspiring writers of commercial fiction in multiple genres. Workshops address varying aspects of the writing craft and the publishing business. The conference also provides direct contact with representatives of the publishing industry, including opportunities to pitch completed work to editors and agents and get on-the-spot critiques. SiWC is large – something like 800 attendees – very professionally run, and attracts a terrific faculty that, I’ve got to say, intimidates me! This year it included Diana Gabaldon, Anne Perry, Phillip Margolin, Robert Sawyer, Meg Tilly, Jack Whyte, and many others.

So what did I do in my four days?


First off, a master class. Master classes are intensive three-hour workshops given on the day before the conference proper. Attendees must pre-register. Mine was called Unforgettable Characters, and combined information from a couple of shorter workshops on characterization and voice that I’ve done at other conferences. I thought three hours would give me tons of time for exercises, but darned if I didn’t find that the “text” ended up filling the time available! OK, we did get in a couple, but most of those I’d planned got sent home as homework. It was not half so exhausting as I expected – though I’ve got a much better idea now of what actually FITS in three hours.

On Friday morning the conference proper began with opening ceremonies and introductions. During the day’s program, I sat on a panel discussion on The Science of Inspiration. Six of us gave our personal “how we got started” stories, and talked about how we approached creativity. We could have delved a bit deeper with fewer panelists (something I’ve learned at sf conventions) but attendees did have time to ask some interesting questions.

Next I had the first of my two blue-pencil workshop sessions. Blue-pencils are a standard at Surrey. Visiting authors sit for 90-minute sessions, offering 15-minute consultations to attendees. The attendee can choose to talk about publishing or ask specific questions about writing or marketing, but most choose to use the time for the author to review the first few pages of their manuscripts. I think it's a terrific idea.

Before I did my first session in 2006, I was really nervous. What if I couldn’t think of anything to say? What if the writing was truly awful? Much to my relief, neither was a problem. After about ten years of critiquing, I’ve learned to read on multiple levels, from grammar to plotting to voice, which means I can always find something to say – even if it is, “Wow, I really have nothing but nits to give you about this great piece! Is it finished?” [I actually said that to one attendee this year.] And on the other side, the pieces were good, better, and excellent. No true duds.

Day Two started with another opening session at which I gave a short “keynote” speech. I talked about my experience with my first writers’ conference, where I felt like I found my home in the community of writers, and the one a short year later when I read the opening of Transformation for the editor who would buy my first seven books. It was pretty simple compared to some of the other morning and evening talks! But people did seem to appreciate it. And I got in a plug for fantasy as not only a legitimate genre, but the oldest literary genre. Always have to be the apostle of fantasy!

I also did a workshop on fictional world building and another blue-pencil session on that day.

On the last morning, I pulled out one of the first workshops I ever did, about how to write a novel without outlining. Interestingly, I think this one was the best received of all of them. I think it gives hope to those who, like me, find it impossible to conceive the progress of an entire story before actually writing it. Every author has to find his or her comfortable position on the spectrum from complete, detailed outlining to "typing Chapter 1, then saying, 'what next?' ”

In between all these activities were opportunities to network with other faculty members, and visiting agents and editors, and spend time with the attendees at meals. The SiWC staff are lovely, welcoming, and take really good care of both faculty and attendees. It was stimulating and fun. I’ll go back any time!
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Democracy Lives

Back from two weeks in Canada [more about marvelous Surrey Writers and World Fantasy later] to election night. I'll get back to "business" in the next posts. For today...

...please excuse exuberance.

Hooray! Hallelujah!

Will never forget seeing Jesse Jackson in the Chicago crowd weeping. As one who remembers seeing Selma and Birmingham, firehoses and church bombings on the news...this is truly awesome. Intelligence and temperance and full intent to bridge the divides: I've got to believe the country and world will be better.

And now to shake off election addiction! I've got a murder to solve... Read more of this post!

Reader Mail

I love reader mail. Mostly the people who write me are happy with the books and want to tell me what struck them especially, or they want to find out if I’m going to write more in a particular world. [Yes, all right, all right, maybe someday I’ll get around to a Song of the Beast sequel .] To hear from a happy reader helps me through discouragement and reminds me that I’ve “done this before and it turned out ok.”

But some readers go beyond and expose something of their emotional involvement with the stories, and that is most gratifying as well.


Jarod wrote:

What struck me most of all in the book [Breath and Bone] was the way you wrote Valen's addiction. I'll admit that, at first, I didn't like it at all. I found that I disliked the character, the weakness, and my own difficulty in relating to his plight, being free of such addictions myself. I was frustrated that he couldn't just get on with life and be a "normal" protagonist and, well.. make choices that I myself might have made. It took me a while to realize that my reaction was a "good" one, in that it meant that you (as an author) created a believable and very flawed character whose weaknesses were a central part of his being--and wrote those weaknesses so powerfully that I wanted to skip the scenes for the sheer discomfort they caused me (but
I didn't skip them!). I surely can learn a lesson from this, that a flawed protagonist is much more interesting, and that writers must not be afraid to show those flaws and embrace them, lest the story dull.

How beautifully this articulates the storyteller’s art! Thanks, Jarod.
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Torture Whys and Wherefores

Valt writes me:

I saw you did a "Torture Panel" at WorldCon. What I would have given to have been present for that. I looked up Elaine Isaak since I am not familiar with her work and though I squirmed a little with the idea of a castrated main character, I cannot imagine anyone rivaling you for Most Torturous Authoress. There have been times where I've had to set your books down (for long periods) just because they hurt too much, yet I am always inexplicably drawn back into them. Masochism might be an explanation, but it's always so expertly handled. When do you decide that anything more would just desensitize your readers and no longer be as powerful?

Good question. I DO think torture and mayhem can overwhelm a story. And I never want to use it gratuitously.

First, why do I do it at all? Because my characters invariably are involved in terrible and world changing events. One of the things an author of heroic adventure has to do is present her characters with challenges, with opportunities to alter course, with the need to do things that are repugnant or life-changing in order to accomplish the deeds that solve the story’s problem. People don’t change themselves in fundamental ways as a result of small things. The stronger the character, the tougher the challenge must be.

How do I try to ensure I don't go too far?

1. I make sure the violence is necessary for the story’s believability.
2. I try to keep the worst parts “off screen” or at least at a distance. Readers may see only the results.
3. I try never to sexualize it.
4. I try to keep the events in proportion to the result I’m trying to accomplish.

REVELATION spoiler behind the Read More tag...



Some people have asked me why Seyonne’s terrible captivity lasted so long in Revelation. This is probably the longest and most difficult of all my “torture” scenarios. But here was a man whose entire life, entire being, entire training had been devoted to removing the rai-kirah from the souls of human beings or to getting himself back in the position where he could do so. And on the scant evidence of a few mosaics, his own instinct for truth, and his determination to set his child free, I wanted him to take one of those rai-kirah into his own soul. The meant I had to strip him down to his essence--his compassion and yearning for justice--in order to get him to do it. Otherwise I could not believe he would do it.

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