Monday, September 24, 2012

"The Face of the Waters" and the return of "Nature Boy"

The writing block broke in a big way! In the past week I've found myself working on two projects, "The Face of the Waters" and "Nature Boy." The former was originally a fanwork from which I'm going to scratch the serial numbers and turn it into a space opera. Here's part of the prologue:

There is a planet that human scientists identified as Doliea 581d. It’s a lonely, dark place, powered by a class-M red dwarf star that gives off approximately 65% the light of Earth’s sun. Once, not too long ago on the scale of things measured in trillions of light years, 581d had been nothing but a lump of ice spinning through space.
Then some kind of cosmic collision, likely a far-circling comet, knocked the planet out of its distant orbit, cracking the ice and jolting it closer towards the Doliea star. Temperatures on the surface of 581d soared above freezing and the cracks became vast fissures, while energy generated by the collision jumpstarted the planet’s core. Battered by increased solar energy from above and internal heating from below, the miles of ice encasing 581d went through an extremely rapid melt and the frozen rock became a vast water world. 
It was in this churning, tumultuous growth spurt that the first recognizable forms of life emerged.  Fossil records have been difficult to recover from the deep oceans that still cover Doliea 581d, but modern flora and fauna are comparable to Kepler 7C or Hesphast, with a high proportion of invertebrates. A more complete examination of the various species on Doliea 581d can be found in later chapters.  
Here we focus on Caterva immaterialis, the beings that have popularly if inaccurately come to be known as ‘the Dolieans.’

The Dolieans are not the first sentient species encountered by human explorers but they are one of the most unique. They have no permanent physical form and seem to consist of pure energy, a collection of particles moving in loose concert. When Earth drones first landed on 581d, they categorized these lifeforms as clouds of bioluminescent algae, a surprising and encouraging find on such a darkened world. 
Then human explorers followed their robot counterparts and discovered what no machine could: a sentient, shared, telepathic consciousness, as vast as it was unbound, and completely unlike anything we had ever encountered. 
The earliest researchers compared them to eusocial insects like ants or honey bees, with individual organisms communicating through a hierarchal hive mind; yet that analogy fails to explain how Caterva immaterialis fulfill the immaterial part of their name. For scientists raised in a post-Higgs-Boson world, the concept of ‘life without matter’ was as revolutionary as that first brush with extra-terrestrial life on Encedalus. 
The discovery sparked a flurry of explorations to Doliea 581d. From atop vast and distant space stations, humans launched probes and aimed their high-power telescopes towards the planet’s surface. Once conventional means of communication proved futile, special psi-units were brought all the way from Earth Mark III to visit the planet’s surface and establish dialogue between the two species.  
The psi-units returned with only one major revelation about this unique species: 
They are dying.


The second was my novel for National Novel Writing Month two years ago:
My novel is tentatively called "Nature Boy," a magical realism urban fairytale about a young werewolf cat burglar who falls in love with the married couple whose house he broke into (though he kind of falls in love with the house first). The wife is consensually possessed by a demon and the husband takes pictures in his sleep that become famous works of art. Without knowing about the burglary, they fall in love back. But will they find out the truth?
I wrote a whole 50,000 words of it already for NaNoWriMo, but really in terms of plot it's only about half-finished. So, definitely a full-length novel.

Obviously they're two incredibly different stories, in genre and tone. One is about space and death and identity: in order to survive the extinction of her species, the alien protagonist of the novel gives up her true form and takes a human body. The other is about magic and life and self-acceptance: to win the love of his dream couple, the werewolf protagonist has to come to terms with his deeply troubled past and his lycanthropy.

Monday, August 27, 2012

Drought

Not much posting lately because there hasn't been much to post about. I've hit a dry spell in the writing: these always happen, but they're endlessly frustrating when they do. Both "There Be Dragons" and my strictly-for-fun writing (i.e. fanfiction) have slowed to an unsteady drip-drop-drip. Getting the words out is like squeezing a dirty washrag: there's moisture, yes, but you don't want to drink it.

It's somewhat understandable in that I've got a lot going on, personally. I just started a new job, and I have a brand-new kitty cat who's been absorbing my time with his cuteness and propensity for knocking shit over. Still, it's frustrating.

It's times like this that I find myself repeating the words of the "Desiderata":
Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe, no less than the trees and the stars; you have a right to be here.
It's a lovely sentiment and one that, as a perfectionist, I struggle with.Still, I must set aside the writing until the well re-fills.

Friday, June 1, 2012

Screw you, Mozart.

You know, I'm a reasonably focused person. My brother, poor guy, got most of the ADHD in the family: I tend to be able to focus on one thing at a time. (The exception being when a TV is turned on in the room. My brain just clicks right off.)

Yet when I'm writing I can usually only make it through a sentence before I click over to the Internet or iTunes or email, or wander over to the fridge or the teapot. I have no idea what my brain does in those minutes or why it needs to distract me. Sometimes I am honestly still thinking about the story and what to do next or how to phrase a bit of dialogue, in which case I'll wander around thinking about it until I work out the problem. Then I'll hurry back to the computer and go back to writing.

More often, though, I stop thinking about the story entirely for big chunks of time. Social media critics will claim this is the result of a digital age, but I remember being like this back when I was scratching out my stories when pen and notebook paper.

Once, I had a friend of mine make the--admittedly pretentious--statement that good writers are either Mozarts or Beethovens. Either the notes (or words) spout out like mad, or they are laborious and edited a hundred times over before they're ever committed to the page, and a hundred times after that, too.

So now I hate Mozart.


In other news, Editor Jenn (who edited Timshel) now has her own website!

Thursday, May 31, 2012

Attack the block!

The only thing worse than having writer's block on a story is breaking through the block at an inopportune time.

Like, say, when you're biking to work and get a sudden burst of "Ah-ha, that's what I need to fix!" and the words start flowing out, but you've got a 10-hour shift ahead of you, followed by hang-out time with friends, and at no point are you going to be anywhere near your writing space.

So consider this a note to self: Amber POV, serial killers, Brandon's smile in dragon-vision, and rock 'n' roll devil horns.

I promise this all makes sense in the context of the story.

Wednesday, May 23, 2012

There Be Dragons

A new post, a new project started. I tend to waffle a bit between projects, not really sure what to throw my energy behind. Once I get into the flow of it, I churn ahead like The Little Steam Engine That Will Run You the Hell Over. It's that in-between space where I tend to hit a lull.

I think I've zeroed in now, though, on the sorta-graphic novel idea I had a while back called There Be Dragons. It's a magical realism story about an autistic teenage boy named Brandon who one day finds a small blue dragon with a broken wing in his yard. Except this is no ordinary dragon (if there is such a thing):


Brandon considered his options then stripped off his coat. The dragon twitched and clumsily tried to skitter away from his approach, but he pretty much just tossed his coat over it then scooped the whole thing up in his arms. He'd seen his dad do that once with a stray cat that had gotten stuck in the garage.

Apparently dragons got just as vicious as stray cats, because suddenly Brandon had an armful of wild, thrashing, hissing jacket.

He got it in the house and all the way upstairs before tossing it down on its bed and sticking his arms out to inspect the damage. Red scratches covered his forearms and a couple beaded up with blood, but at least he wasn't personally testing the venomous properties of dragons.
Going into the bathroom, Brandon plucked a fresh towel from the rack and rubbed it over his head and neck as he tried to think about what to do next.

Mom got off work at 5pm, which meant that the girls would probably get home before her. Brandon didn't really know whether showing them the dragon would be a good idea or not. They'd probably take pictures of it and put them up on one of their social media websites or something. Or they might freak out. It was hard to predict how someone would react to a dragon.

For once Brandon didn't feel ashamed for not knowing what his reaction should be, either. He was pretty sure that dragon on your front lawn went far outside the boundaries of 'normal.'

Through the open door, Brandon heard a strange noise, like an inside-out sneeze.

Frowning, he walked back out into his bedroom. He'd barely taken two steps into the room when he stopped short.

The dragon had disappeared. Now, there was a girl on his bed.

The girl stared at him. She was naked, her brown hair plastered to her head, and her skin was so pale that her freckles stood out in high relief. Brandon didn't know her name, but he was pretty sure that he recognized her from school.

She was also holding her right arm close to her side.

The girl stared at him and Brandon stared at the girl. After a while, she said hoarsely, "Towel?"

Slowly, slowly, Brandon handed over the towel. She took it with her left hand and held it in front of her.

"You're," she said, "you're in my math class, right? You sit in the back. I don't know your name."

"Brandon," Brandon answered, once he realized that was meant as a question. "Who're you?"

"Amber. Amber Chase." She shifted a little and winced. "So, Brandon from my math class, how do you feel about driving me to a hospital?"

So begins the strange friendship of Brandon Williams and Amber Chase, who can turn into a dragon, levitate, and possibly kill you with her brain.


(BTW, I am waiting to hear back from my editor about Timshel sales. Thank you so, so much to everyone who's already bought your copy, and remember that it's still available in digital format! Print version will come out later this summer.)

Monday, April 23, 2012

The morning after

Ahem, hello. I didn't run off and become a hermit. And now I have a book out in the world! Yay!

So far no one has reported having problems with their purchases, though a couple of people did ask me about purchasing without having to download a reader. It looks like AllRomance.com is your best bet there: they do require you to sign up with an account, but you can then have the book emailed to you as a PDF. Barnes&Noble has the Nook covered, Amazon's got the Kindle, and Kobo...I don't actually know what Kobo uses, but apparently it's some small reader that downloads in a jiffy.

And people are giving it good reviews thus far, too! Even people who aren't close relatives! Or owe me money! Huzzah!

I wish I had something more tangible to say at this juncture, but after several months of editing my brain has unraveled itself. I believe I shall let my left brain rest for a while and curl up with some math schoolwork.

Friday, April 20, 2012

Buy "Timshel" now

The day is upon us! The electronic version of my YA fantasy novel "Timshel" is now available for purchase, for the low price of $5.99!

You can buy it at the following locations:

Barnes & Noble (specifically for Nook)
Amazon (specifically for Kindle)
All-Romance eBooks
Kobo eBooks

I know some people had asked about print versions, but the print version won't actually be out for a little while. I will let you know when it is!

Wednesday, April 18, 2012

The day draws near...

Only two days left until "Timshel" is released...AAAUUUUGH!!! Ahem, sorry, author terror. For a moment my brain interpreted that comment as, "Only two days until people read my writing and Judge Me." Right now I'm leaning toward disappearing into the wilderness on Saturday morning, never to be seen or heard from again.

So instead let's talk about the cover! Yay, cover! All credit to Annie Melton at Etopia. Lookit the scar on Charon's cheek! Lookit the big white temple! Lookit how calm and resolute Eiland seems! YAY, TREES.

Friday, April 13, 2012

Timshel snippet: Chapter One

It is now officially seven days until my YA fantasy novel "Timshel" comes out!

In honor of the approaching date, here's the first chapter of the book. I pray that you find it an attraction as opposed to a deterrent.

Chapter One

Eiland had lived in Summerton all his life. His father was a healer and his mother had borne five children; they were well respected in the village, if not wealthy, and though their bellies did not hang over their belts they never went empty either.

Being the youngest of three brothers, Eiland was not his father’s successor; Granpapa had always said Eiland possessed a rare gift for healing, but tradition bestowed the family trade on Marcus, his oldest brother, and Eiland had yet to find anything else that interested him. Neither was he a particularly eligible match for any of the young women of the village; he was handsome enough, with a small but wiry frame and a shock of dark hair, yet the dowries of his two older sisters had sapped the family’s wealth enough that the mothers of the village politely looked elsewhere to send their own daughters.

Thus he had reached the unusual age of ten-and-seven summers without either taking up a trade or a wife. It was the cause of some embarrassment in his parents’ minds. Two years ago Eiland’s father had even tried to send him to the village temple, but the priests had sent him back with the complaint that neither his feet nor his mouth would stay still long enough to learn the Writings.

His mother had been happy to have him returned. Of all her children Eiland had shown the most skill at gathering herbs, roots, and flowers in the woods that surrounded Summerton. It had never been entirely appropriate for a woman, even a healer’s wife, to assist in her husband’s work, and she was only too happy to pass on the task to Eiland.

For Eiland, that simply meant more time spent in the woods, wandering its paths with a stick swinging back and forth in his hands. Eiland loved the woods, had always delighted in following animal trails and making a few of his own. He spoke the tongues of every bird and knew the branches of every tree.

Such adventuring made him an oddity in Summerton, whose residents shunned the woods and clung to the light of the temple fires. Yet his family’s reputation and his own open smile made him a harmless oddity, and despite his advancing age he was still the baby of his siblings. So his parents indulged his wild, trampling ways and did not press him too hard about finding a proper trade.

Afterward, the priests would say that was his downfall.

One day, in the green, princely days of summer, Eiland was cutting through the apple orchard on his way home when movement caught his eye. Two rows over, the top branches of a small tree shook violently back and forth, yet Eiland felt no breeze.

Walking in that direction, he ducked around one of the burn piles that peppered the orchard to find a strange boy who he did not know.

The boy gripped the lowest boughs of the tree, shaking them hard. Apples, mostly the half-withered, worm-riddled survivors of the harvest, rained down around him. A small pile already sat beside a battered travel pack on the ground.

“Hello,” Eiland said.

The boy let go of the branches and whirled around. He was younger than Eiland, with a lean face and longer-than-fashionable hair. His skin looked surprisingly dark, darker even than Eiland’s shoulders at the end of summertime.

“Are you stealing apples?” Eiland asked.

The boy scowled. “No. So what if I am?”

Eiland considered it then shrugged. “We’ve already picked most of the harvest. You’re welcome to anything that’s left, I suppose, it’s all just worm food anyway. Yuck.” He made a face and kicked one of the fallen apples, sending it rolling into the tall grass.

The boy still looked suspicious, which piqued Eiland’s curiosity. Everyone in Summerton liked him—well, anyone who wasn’t trying to teach him holy verses—and he was accustomed to being met with smiles, not nervous fidgeting and glares.

He sat in the grass and took out the small meal his mother had given him this morning. The boy eyed him suspiciously at first but he did eventually accept some of Eiland’s bread and peaches and milk, and sat nearby listening to Eiland prattle about the many crops and orchards around Summerton. There was a great deal to tell. Something always needed to be gathered up and sold in town or put in carts to be exchanged for goods at one of the king’s trading posts. As the youngest son of a healer Eiland had been exempt from much of the harvesting duties, for which he felt thankful. He found such work deadly dull.

Which could really be said about the rest of Summerton as well.

“Then why don’t you leave?” the boy interrupted to ask.

“Oh, don’t be silly. Where would I go?”

The boy only shrugged and took another bite of bread. His fingers were deft and strong if rather dirty, and he tore off bits of food like a squirrel rather than shoving it all in his mouth at once. When he bit into the peach he gave a surprised groan of pleasure, his eyes closing.

“Do they not have peaches where you come from?” Eiland asked, though he couldn’t imagine such a thing.

The boy’s eyes snapped back open. “I’m not from anywhere.”

A beggar boy, then. He did look underfed and for all his fastidiousness, he finished his portion of the food in record time. Eiland felt a pang of sympathy; Papa always said that his heart was too soft. Too often his meals found their way into the bellies of the village’s stray dogs.

“Want my bread?” he offered, waggling the remains of his bread crust in the air.

“No.” The boy looked away, his mouth pressed in a line.

“Oh well, I’ll just throw it away, then.”

“What? Don’t do that!”

“But I’m so full,” Eiland said, letting the bit of bread dangle from his fingertips. “And it’ll just go stale and moldy if I save it for later. Better let the birds have it.”

The boy narrowed his eyes at Eiland. “You’re just trying to get me to take it.”

“Well, yes.” Eiland cocked his head to one side and offered up his best smile, the one that Mama said could charm an egg out from under a hawk. “Is it working?”

The boy eyed him for another moment before extending his hand. Eiland tossed the crust to him and watched one corner of the boy’s mouth tick up into the tiniest smile.

“It’s good bread,” the beggar boy said softly after taking a bite. “Thank you.”

“We’ve all the best food,” Eiland responded around a mouthful of peach. “The best bread, the best peaches...and there’ll be strawberries in springtime. That’s why I can’t leave, you see, I’d hate to not be here for the strawberries.”

“So long as you don’t have to pick them,” the boy amended in an undertone. He shot Eiland a sidelong look

Eiland pretended to be affronted. “I do my part! I fetch Mama everything she needs to make the draughts and salves for Papa. He’s the town healer, but Mama makes a lot of his medicines, even if she doesn’t like me to say so. Mama says that I’ve a keener eye for roots than anyone she’s ever met.”

The boy appeared unimpressed. “Are there many healing roots in an apple orchard?”

Eiland stuck his tongue out. “I’m taking a rest.”

“Because looking for roots is such hard work?” the boy shot back.

“It’s skilled work,” Eiland insisted, and the boy rolled his eyes. “And you shouldn’t poke fun, you were in the orchard stealing apples.”

The beggar boy’s little smile dropped away. He rocked forward as if about to climb to his feet, like a wild animal ready to bolt. Perhaps Eiland really had spent too much time in the woods, because he immediately wanted to make him stay.

“Have you hurt yourself?” he asked quickly, pointing to the boy’s hands. His knuckles were wrapped in thin, dirty bandages.

The beggar boy froze in place, halfway onto his knees. “No.”

“Yes, you have. I have something that can help with that.” Eiland slung his herb bag around into his lap and dug through it, coming up with a handful of numeria stems. “Here it is! Now come on, give me your hands.”

The boy didn’t move, so Eiland got up on his own knees and shuffled closer. Reaching out, he took the boy by the wrist, clucking his tongue at the grubby bandages. “See, now, it’s a good thing I’m here. You’re just bound to get the pus if you don’t change these.”

“What’s the pus?”

“I’m not really sure. But whatever it is, it smells terrible. Here now, hold still.”

Unwrapping the bandages, Eiland went still. Underneath, the boy’s knuckles had gaping splits, just like the ones the farmers got in wintertime...and the ends of the last two fingers on his left hand were missing. The skin at the tips of the shortened fingers was smooth and pink with healed scars.

The boy crouched on his tense legs, ready to spring away at one wrong word. So Eiland bit his lip and said nothing.

Squeezing the numeria stems, Eiland let a few drops of their juice drip into the cuts. He expected the boy to hiss and pull away but he stayed completely still.

“If you come to my father’s house tonight, he’ll re-bandage that for you,” Eiland said. “He’s the best healer in the world.”

“In the whole world?” the boy asked softly. When Eiland looked up those blue eyes met his, and the expression in them only heightened Eiland’s impression of a creature peering out of the brush, anxious and ready to bolt, yet filled with longing. His eyes were bright blue, brighter than a newborn’s. Eiland didn’t think he’d ever seen eyes so blue.

“Well,” Eiland amended just as quietly. “The best one in this part of the world.”

He smiled again. The boy pressed his lips together but relaxed slightly, watching as Eiland tended to his cuts. Over their heads, the leaves of the apple tree fluttered in an actual breeze.

Finishing, Eiland cast aside the crumpled numeria and climbed to his feet, dusting off his backside. The boy stood too and blurted out, “You won’t tell anyone I was out here?”

Eiland hadn’t planned to, but he was the youngest of five children; he never passed up an opportunity to tease. “What will you give me if I don’t?”

The boy’s cheeks flushed hot. “I haven’t got anything.”

“Oh, that’s all right. Do you see that apple?” Eiland pointed to one above their heads that looked perfectly round and red and not at all like the worm-picked, overripe ones that had fallen off the tree.

“If you climb up and get me that apple, I’ll promise not to tell anyone,” he said then hesitated before impulsively adding, “and I’ll give you a kiss.”

The boy looked at him sharply. Eiland didn’t know how to decipher his expression. It didn’t have the suspicion that signaled Eiland to quickly turn the whole thing into a joke, nor the nervous excitement that would hang heavy between them until it drew them together like rocks sinking into a pond.

Eiland knew that some boys would let him lead them behind the mill, or would lead him instead. Both were lovely and strange and strictly forbidden by the names of every god—but they didn’t lie down with one another, they only ever kissed.

In the autumn or maybe the winter of this year, Eiland would finally be matched with a wife just like all the others boys in town, so he didn’t really see the harm in a little kissing.

This boy didn’t act like the others, though, no suspicious frowns or shy smiles. He just stared at Eiland. “Would—would you really?” he stammered. “You’d kiss me?”

Eiland considered it. The boy’s hair needed washing and so did his clothes, but his eyes were really quite blue and his face, if brown and thin, had a strange handsomeness to it. And besides, he was a beggar boy. Who would he tell?

“Yes. I’ll kiss you if you fetch me that apple.”

The boy stared at him for another moment then transferred his gaze to the apple. It wasn’t that high in the tree, yet the boy looked as though it sat at the top of a mountain. When he finally grasped the lower limbs of the tree and hauled himself upward, Eiland was disappointed to see him moving clumsily, his limbs stiff.

He clambered up the tree and back down with all the grace of an old man. Eiland thought it a rather poor performance. Still, a promise was a promise and the boy presented the apple to him with an expression of such nervous hope that Eiland let his satchel fall to the ground, took the fruit, and dropped it on top.

The boy watched with wide eyes as Eiland stepped forward, smiling coyly through his eyelashes before tipping his head back—and oh, that was a lovely feeling. Eiland wanted for size but he was still taller than most of the girls in town, and it had always given him a strange thrill to lift his chin, arch his neck, and stretch his shoulders upward for a kiss.

At first it was just a dry brush of skin, almost invisible in the darkness underneath the apple tree, surrounded by the drone of insects. Such a small thing, just their lips pressed together dry and close-mouthed, yet the boy held as still as if he’d just seen a bear.

Then Eiland started to move away and the boy’s hands shot out, stuttered, and tentatively settled on Eiland’s shoulders.

“Is that it?” he asked plaintively, his eyes fluttering open and Eiland laughed, surprised and happy, before stepping back in and catching the boy’s face between his hands.

“Well, if you insist,” he whispered.

The boy caught his breath and held it. Eiland drew out the moment of contact, leaning in slowly, slowly, so slowly that it was almost a shock when their lips touched again.

The beggar boy did not kiss very well. He pressed too hard at first, he didn’t tilt his head quite right, and he didn’t open his mouth until long after Eiland had. Normally this would have been an additional disappointment, but somehow Eiland could tell this was his first kiss and thus felt inclined to be generous.

He put his hand over the boy’s jaw and guided him until their mouths met at a better angle. After that the beggar boy seemed to pick up quicker, letting his lips part and even scraping his teeth over Eiland’s chin in a way that made Eiland’s scalp shiver.

The boy ran his hands over Eiland’s shoulders as they kissed, rising to touch the back of his neck then running down his spine. Eiland shuddered like a cat shaking off the dew. The fabric of the boy’s threadbare shirt caught on the calluses of Eiland’s fingertips. He could feel how the skin underneath was a little damp with sweat.

Eiland cupped the sharp jut of the boy’s shoulder blades and vaguely wondered, as their mouths turned and met again and again, what it would be like if he were not wearing a shirt. He’d never done that before, never dared, but something about how the beggar boy pressed against him told Eiland that he wouldn’t say no if Eiland asked.

For the first time ever, this didn’t feel like just a little kissing.

Eiland tucked in closer, greedy for contact. The boy was only a little taller than him but his arms reached all the way around Eiland, enfolding him completely. Eiland had missed being touched. Ever since his sister Imra had left for her betrothal he’d had to survive on his mother’s too-brief hugs and his father’s distance.

Now, pressed together from shoulders to knees, he felt drunk with physical contact and still he wanted more.

He pushed up onto his tiptoes, not knowing what he meant to do except that he needed to get closer. Their bodies rocked together. The boy tore his lips away and gasped. They stood with their arms locked around each other, breathing into each other’s mouths.

From the other side of the orchard, Eiland’s mother called his name.

It felt as though someone had thrown a bucket of cold water over Eiland’s head. He blinked and stepped back, struggling out of the muzzy-headed haze that he’d sunk into. “Crickets,” he gasped, scooping up his herb satchel and the apple. “I have to go.”

“Wait.” The boy grabbed Eiland’s sleeve, “wait, please—what’s your name?”

Eiland hesitated, a trifle alarmed at the gleam in the boy’s eye, but then his mother called again, “Eiland!” and he could only roll his eyes and shrug awkwardly.

“I’m Charon,” the boy said.

“Eiiilaaand,” his mother called from much closer this time. Eiland rocked up onto his tiptoes again to press a quick kiss against Charon’s mouth before twisting away and hurrying out into the bright sun. His mouth felt heavy, obvious, and he took a large bite of the apple to hide how his lips were slick and swollen.

His mother stood where the paths of the orchard forked. When she saw him hurrying towards her she put her hands on her hips. “There you are. I’ve been waiting for that gyman root, young man.”

“I’ve got it here, Mama.” Eiland pulled a long, gnarled brown root out of his satchel.

Her frown remained in place. “I know you can’t have spent half the day looking. You’ve a sharper eye than that.”

Eiland pressed his lips together. He’d always been a bad liar. “I wanted an apple,” he said finally, holding up the fruit in his hand.

“Eiland, the miller’s son has been ill for two days! They came to your father for help, it is unkind of you to keep them waiting while you go climbing about—oh, good day, I did not see—”

She broke off, staring past Eiland with wide eyes. Turning, he winced when he saw that Charon had followed him out of the apple grove and stood in the middle of the trail.

He didn’t look at Eiland, though. His gaze was fixed on Eiland’s mother. All warmth had fled from his blue eyes.

Fingers closed tight around Eiland’s upper arm and his mother jerked him away so sharply that he stumbled. The apple slipped from his hand.

“Mama,” Eiland protested, struggling to keep his feet as she pulled him down the path toward the village.

“Hush,” she said without turning. Her face looked deathly pale.

When they reached the fence between the orchard and the wheat fields, she darted a quick glance back over her shoulder. “Every name of the gods. Did he try to talk to you?”

“What—he just—asked me my name.”

“You didn’t tell him. Eiland!”

“He heard you calling me!”

They drew up short and she grasped his shoulders with both hands, her expression wild. “Did he touch you? Did he hurt you? All the gods, did he Curse you?”

All the blood in Eiland’s body went still at once. The Cursed ones. He’d heard about them all his life. Every child had heard the story of the first sons and how the elder had killed the younger for jealousy. As punishment the gods had laid a mark upon his brow.

A mark that became the Curse, the great sickness that had darkened the land since the beginning of time itself.

Yet unlike any of the illnesses his father treated in the village, this Curse did not pass by touch or chill or poison.

It was given.

The Cursed ones had the power to wish their misery upon others. All it took was three words: I Curse you.

Eiland had never met a Cursed one before. They were wanderers, traveling the land, stealing what they could and threatening for what they could not. It had been years since one had come to Summerton, though the children kept the memory alive in their own games, pointing fingers at one another and shouting, “I Curse you!” then falling to the ground, their legs kicking in imitation of the terrible Agonies.

It had never occurred to Eiland that a Cursed one could be young, or handsome. In his mind they were always old crones, twisted with age and disease, glaring out at the world with hateful eyes.

There had been nothing hateful or cruel about Charon—yet suddenly Eiland remembered the bits of cloth wrapped around his fingers and how slowly he had clambered up the tree, as if his clothes hid some terrible wound.

A wound that maybe Eiland had pressed against. Crickets, he’d kissed a Cursed one! He felt sick.

“No,” he said finally. “He didn’t Curse me.”

Relieved, his mother put a firm arm around his shoulder and rushed homeward, chiding him all the while. Despite everything, Eiland couldn’t stop himself from looking over his shoulder, back through the low boughs stripped of fruit.

If Charon was still watching them from among the apple trees, Eiland could not see him anymore.


IN SEVEN DAYS.../creepy Ring voice

Wednesday, March 28, 2012

Cover art: the great adventure in miscommunication

So what's new with the book? It's coming out soon, right?

Well...we kind of hit a speedbump, and the release date might be pushed back just a tad.


Huh? Why? I thought everything was going great?

It is! We just ran into some problems when it came to the cover art. The initial draft of the cover--which I unfortunately can't share with you--got some thing right. It had this awesome grain to it, as if it had been printed on a tapestry. The cover artist, bless zir pointy head, had found a medieval village that was a perfect stand-in for Rivervale, one of the locations in the book.

Unfortunately there were also two male models on the cover who, well, one of them had a lantern jaw and five o'clock shadow, and the other was Shirtless. The capitalization is intentional: this guy had a six-pack, oiled skin, and some truly magnificent delts.


Sounds awesome. What's the problem?

Well,
1. My characters are both in their late teens.
2. One is described as very thin and covered in scars.
3. The other is a grubby village boy who's described as small and wiry.

Which, to be fair to the poor cover artist, I had submitted the story as an adult gay romance novel. That's my own fault, and the executive editor very kindly sat me down and explained about branding and about how a) we couldn't put models who looked like Eiland or Charon on my book cover without visually branding it as young adult and b) if there was going to be explicit sex (which, my original manuscript had one fairly explicit scene), we needed to make that VERY CLEAR on the cover.


Hence, oily nipples.

Bingo.


So what're you doing about it?

I've gone through and taken out pretty much all of the sexual content. It didn't really take long, there wasn't much there in the first place. Really, I should have submitted it as YA, but I just wasn't thinking right. I'm not great at branding and marketing and being mindful of my audience. Thank god I've got editors for that sort of thing.


So when is the new release date?

Not quite sure yet.


Seriously??

These things take time! I'd rather have a good cover and a clear marketing message than release a book in the wrong genre and get all borked up.

However...if it does get pushed back...one of the other dates mentioned was 4/20.


...that would be hilarious.

I KNOW. I could totally talk my bro-dude pothead friends into buying a gay YA novel on 4/20.

Sunday, March 11, 2012

Timshel release date

Editor Jen has informed me that the release date for "Timshel" will be in early April! Huzzah! Watch here for links when it goes live!

Wednesday, March 7, 2012

*twiddling my thumbs*

No updates recently as there hasn't been movement on the novel front. Editor Jenn is doing a final runthrough before sending it to copyedits, and is waiting for her boss to nail down a release date.

The time between projects is always strange for me: I work well to deadlines, and the end of a story functions as a kind of finish line, continually spurring me forward. I have a fortunate combination of imagination and discipline, which means that it's easy for me to sit down and write every day.

The problem is, once I start on a project I tend to forgo everything else. When I was little, my mom actually forbade me from readings books until I had finished my chores. She knew that if I picked one up, I would disappear for the rest of the day until I'd finished, and then I'd be hopelessly muzzy-headed.

I'm still that way, except now it's about my own writing. There's a lot going on in my life right now--school, work, academic and scholarship applications, family crises--and if I start writing something new I'm not sure that I'll remember to cover all my bases.

I suppose that's what it means to be a grown-up: you learn to do your own chores. How tiresome.

Wednesday, February 15, 2012

When is enough, enough?

I've finished the second round of edits (first round of editor-guided changes) and returned the draft to Editor Jenn, who is reading it over presently. Dance, monkeys, dance!

As a writer one of my major problems is keeping things simple. I always think big: my stories have high word counts and I never met a simple family conflict that I didn't want to turn into an apocalypse. As such, one of the challenges of editing this story was keeping myself from wanting to add to every scene and expand every chapter.

Parts of it did need a little more breathing room: Editor Jenn suggested another scene towards the end to refocus on the love story unfolding, while I felt that the midpoint needed more tension and drama. I found myself thinking up a whole huge section to add to the later chapters, though, which Jenn rightly put the X on, as it would have been a tangent just when the rising action reaches its peak. No good.

Anyway, second draft! No word yet on a release date, but I'll keep you posted.

Wednesday, February 1, 2012

Official edits, round 1

DAMN, Editor Jenn is fast. I thought I had a night off, but she got it back to me right away!

*cracks knuckles*

I've met so many people who are hyper-sensitive about editing suggestions, but I treasure them so long as they are truly constructive criticism. Writing is so often such lonely work; collaborating with an editor is a bit like someone knocking on the door of a crazy old cat lady and asking to see her feline photo album.

At least for me. And I don't even own any cats. (*sniff *sniff)

Tuesday, January 31, 2012

Le editing cha-cha

And now we move from a solo editing performance to a two-partner dance. A grammatical cha-cha, if you will. A proofreading waltz. A veritable tango of verb tenses--okay, I'll stop there.

What I mean to say is, I've finished the first round of editing on "Timshel" and have sent it to Editor Jenn, who will now work her own kind of tapshoe magic on it before we move on to the next step. From the sound of things they're thinking about releasing the book in a few months. That'll be perfect from my POV: most of the narrative takes place in the summertime, and from an artistic standpoint it'd be great to have people reading it just as the season unfolds around them.

I think an important part of editing being able to remember what you like about a story. If you read back through it and don't find yourself going "oh man, I'd forgotten how awesome that part was!" then chances are the readers won't feel that way the first time, either.

Thankfully, there were definitely some moments in "Timshel" that excited me to revisit. The bandits excited me so much that they wound up getting a whole 'nother chapter; I also remembered how much I love the person that Eiland becomes at the end of the story.

It's those kinds of things that make slogging through the business of verb tenses all worthwhile.

Friday, January 27, 2012

If music be the food of love, play on

Oh shut up, yes, that was Shakespeare. You've got a reformed high school drama geek on your hands, what do you expect?

I've found that I simply can't do much in my life without a soundtrack. For study sessions I usually choose the online streaming classical station of WCPE; for my bike ride to work I go with fast-paced pop rock.

When it comes to writing stories, though, each soundtrack is highly specialized and carefully chosen. I have different playlists on my computer named by individual stories that I am writing or want to write. Each one changes regularly as I discover new songs that make me think of that particular story or old songs get poached into a different story.

This has the advantage of putting me in the "mood" of a story every time I listen to a particular song; it has the disadvantage of making me avoid songs that I know will put me into a particular story if I know that I need to write something else at the time. For instance, I haven't gone anywhere near Coldplay's "Gold In Them Hills" lately because that's the soundtrack for the magical realism werewolf polyamory novel, as opposed to Timshel.

Timshel's soundtrack, in the meantime, is chock full of Enya and Loreena McKennitt. Medieval fantasy calls for some early Enya, I find. It's strange, the things that can inspire us.

Monday, January 16, 2012

Patience is a virtue

I have reached the midpoint of my editing on Timshel, which can only mean one thing: time for the bandits to show up! Every story should have bandits.

I think one of my biggest challenges as an author is to learn a little patience. There are character authors who spend languid pages on introspection and personal history; there are setting authors who worldbuild like crazy and describe every detail; and then there are plot authors, who know every labyrinthine twist and b-plot.

Every group has its strengths and weaknesses. As a plot-oriented author, I think the biggest weakness of my group is impatience. Everything exists to serve the plot; as such, we tend to rush through the characters and details in order to get to the next plot point. I certainly see myself doing that.

Among published novels, I think the last Hunger Games book, "Mockingjay," was particularly guilty of this: it had two hands full of really interesting plot points and ideas, but (imo) had no idea where to plant them. I kept wanting to tell author Suzanne Collins to slow the frell down and actually explore the ideas she'd raised rather than hurrying on to the next one.

As a consequence much of my editing time has been spent expanding beats and characters that I had only sketched out in the first draft. The ideas are there, I just need to take the time to develop them.

Saturday, January 7, 2012

A tale of two tenses

I'm deep in the thick of editing atm: chapters 1-4 are polished, and I'm halfway through 5. It's going a bit slower than I expected because I've decided to change the verb tenses from present to past.

I've always been partial to present-tense. As a child I read a ficitonalized autobiography by Hatshepsut, the only female Egyptian pharaoh. I don't remember what the book was called; I tried hunting for it just now, but there are a number of different Hatshepsut books around. (If anyone knows the exact one I'm speaking of, please do link me.) What made this one interesting, though, was that it was written entirely in first-person, present-tense, making it seem as though we were somehow inside the mind of Hatshepsut as she told the story of how she rose to power.

The next paragraph contains spoilers for the Hatshepsut book. Though, really, if you know the real-life story, you can probably guess how it goes.

The device made it especially jarring and dramatic when, at the end of the book, Hatshepsut died of poison. She had been in a power struggle with her nephew, for whom she was supposedly regent; the sense of danger was very much present. Yet her death was still entirely unexpected and startling to me. The last thing you expect when reading a first-person story is for the narrator to croak at the end--which, I imagine, is exactly why the author chose to write it that way.

Obviously I imprinted strongly on that device, because I originally wrote Timshel in present-tense (though not first-person, as I've always found it somewhat limiting). There are some harrowing bits in Timshel and I feel like present-tense gives the story some unpredictability: this isn't something that the characters have already survived, it's happening right now.

However, in preparing the second-draft I realized that I had written a fairytale of sorts, and fairytales are stories of the past. After mental consideration and consulting with my editor Jenn, I decided to switch the tense.

That has made editing a much more difficult and time-consuming process, but let it never be said I am not a glutton for punishment.

Tuesday, January 3, 2012

The editing dance

Eventually I went with the tagline "To heal is to love." Which is really the character arc of both Eiland and Charon in the story: Eiland learns to love by healing and Charon learns to heal by loving. A trite sappy, but fuck it.

So now we begin the great editing dance. I've always liked editing, sometimes even more than writing. There's something so much more relaxed about editing: everything's already on the page, I just have to whip it into shape. Writing, on the other hand, often finds me pacing the floor. The process of creation is never easy or fast for me.

My dance partner and editor, the lovely Jenn Fitzpatrick of Etopia, has kindly allowed me first pass on the editing instead of just diving in and tearing the story apart herself. I've given her and myself the deadline of Jan. 14th to have my Actualfax First Draft in.

This will be somewhat of a challenge, primarily because for some blasted reason I originally wrote the story in present-tense. As a fractured fairytale it works much better in past-tense; I even wrote the introductory sentence that way, "Once upon a time there was a boy who lived in a village East of the mountains and North of the sea. The village was called Summerton and the boy's name was Eiland..."

I'll be changing that as I go through, and tweaking grammar. I don't anticipate any major plot point changes, but I may alter or expand certain things. Especially the bandits. Because a story can never have too many bandits.

Monday, January 2, 2012

The great CAM

Selling a book comes with its fair share of paperwork, just like any other job. There's the author contract, the W-9, and the almighty Cover and Marketing form (CAM). I don't know if other publishing companies have a similar form or not, but Etopia uses the CAM to communicate with cover artists, develop blurbs, gather information about an author's online presence, and basically lay the groundwork for the book's marketing campaign.


So what kinds of questions do they ask on this form?

What other books I might compare the story to, what I think the target audience is, suggested tag words that would help in online searches, and character descriptions, as well as an author bio. There's a whole lot of other stuff, too: the CAM is 5 pages long.


5 pages? That seems like a lot of busywork. Why can't they just read the story and do it themselves?

Maybe they have people who do that specially at larger publishing houses, but Etopia isn't that big...and also, I'm more than happy to do it. After numerous incidents of inaccurate book blurbs, whitewashed covers, and other buggery, it's encouraging to see a publishing company ask for author input in more than just the story. It's my baby they're putting out there; no one cares more about making a good publicity campaign than I do.


So what are you hoping for in terms of marketing?

Well, mainly I'm hoping that they don't get a couple of ripped male models for the cover. Not that I have anything against ripped male models, but...Eiland and Charon are definitely not gym bunnies. Nor is the story all that much about sex: it's probably a bit heavier on the fantasy side than anything else in terms of genre.


Then why are you selling it as a gay romance novel instead of a fantasy novel?

Because it has a central gay romance in it, and if I tried to pitch it as fantasy, the fantasy publishers would tell me that I'd be better served to go to a gay romance publisher. While queer subjects are becoming more mainstream, they're still very much a niche market.


Okay, okay. So what are you working on right now?

At the moment I'm stuck trying to come up with a potential tagline for the story. It needs to be about 85 characters (though 50 is better) and act as that first hook to get readers interested. Well, second hook: the cover is hook one, tagline is hook two, back cover text is hook three, and critical blurbs are hook four.

The problem is, I'm not great at short, punchy thoughts. That's why I write novels: I tend to think big, and most of my stories balloon up to epic size. A good tagline is all about being cool in small proportions, as exemplified by Braveheart's tagline: "Every man dies, not every man really lives." 36 characters and you already know a lot about the tone of the movie. You can guess that the main character is going to be a gung-ho kind of person, and that he's probably going to die in the end--but dammit, first he's going to live. Combined with the poster image of William Wallace with sword and blue face and crazy hair, and you know you're in for one badass warrior epic.


Are you really taking your cues from Mel Gibson?

Oh, shut up.