Wanna Be Creepy

This Week's Topic: What Genre Have I Secretly Wished I Could Write?

Dun-nuh Dun-nuh Dun-nuh dun-na-na-na-nah!!! 🦈
Thrillers

waits for earworm to pass

That suspense.
That masterful control of anticipation.
That fear without gore.

chef's kiss

A good thriller keeps me flipping pages until dawn. I have to know what comes next. I admire thriller writers and envy the good ones who instill terror with words and make me jump when the dog stretches.

I wanna write like that. Those skills...(wistful sigh). Yes, please. I aspire to that level, to creep into that genre, and to leave chills down readers' spines (even after they've put down the book). 

muahahaha

Jeffe's 3 Principles for Crafting a Beginning

This week at the SFF Seven, we're talking about beginnings and our principles for crafting them.

But first, I want to tell you all a little story.

A few years back, I was involved in a local writers group where, as a fundraiser for the group, I volunteered - along with several other experienced authors - to read and critique works from others in the group. On one submission, another author (much more successful and famous than I) and I agreed that the book started in the wrong place, and we offered thoughtful feedback on what beginning might work more effectively. There was pushback from that author and the group, a feeling that we had been much too critical, and several people were upset that we had suggested the book had started in the wrong place. One person said to us that the author in question had already been published, implying how dare we suggest they didn't know how to begin the book.

We were both taken aback by this protest because, and I retell this tale because I think this is so important:

FIGURING OUT WHERE AND HOW TO BEGIN NEVER GETS EASIER.

Both my fellow critiquer and I revisit the openings of every book we write many, many times. Getting that opening right is key. It's also not easy.

So, what are my principles for crafting a beginning? I think a beginning should do three things.

1. Establish genre
2. Pose a question
3. Create sympathy for the protagonist

Establish genre

This one might sound like a no-brainer, but I only learned to do this deliberately, after writing many books. The opening lines of the book or story should ground the reader in what kind of story this will be. This grounding is more important than many authors might think. Sometimes we, especially as newer writers, have this impulse to play coy, as if keeping the reader guessing in this way will intrigue them. Trust me: it doesn't. Think of your favorite books and their opening lines; I bet you they all tell you what kind of story you're about to read.

Example: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." Pride & Prejudice, Jane Austen.

Look at how much you learn about the story to come from this one sentence.

Pose a question

THIS is where you intrigue the reader! Some writing teachers refer to this aspect as the "hook," but I think a lot of us have trouble understanding what a hook is supposed to be. Instead I think of this as posing a question. It doesn't have to be THE central question(s) of the entire story, but it should connect in some way. Suggest that there's a secret. Pose a conundrum. Put something in there to make the reader wonder - and to keep reading to find out the answer.

Example: "The snow in the mountains was melting and Bunny had been dead for several weeks before we came to understand the gravity of our situation. He'd been dead for ten days before they found him, you know. We hadn't intended to hide the body where it couldn't be found. In fact, we hadn't hidden it at all but simply left it where it fell in the hopes that some luckless passer-by would stumble over it before anyone noticed he was missing." The Secret History, Donna Tartt.

I skipped a bit there for efficiency's sake - but the whole opening prologue is worth studying! - but see how she introduces the core mystery and poses a number of questions? 

Create sympathy for the protagonist

I'm not saying your characters have to be likable, or even that the protagonist has to appear in the first few pages, or that there even has to be a single, identifiable protagonist. What I am saying is, whatever characters do appear at the beginning, the reader needs a reason to want to be in their heads, to take this journey with them. If there's nothing interesting or appealing about the characters in the story's opening, why should the reader keep going?

Example: "It was a dumb thing to do but it wasn't that dumb. There hadn't been any trouble out at the lake in years. And it was so exquisitely far from the rest of my life." Sunshine, Robin McKinley

Feel that instant interest in the character, the clarity of the voice, and how there's a sense of feeling for the person, whoever it may be? 

 

Really, all of these examples serve in all three principles. There's lots that goes into a good beginning, but these three are key. Beginnings are a challenge and take time and effort to get right. And totally worth it. 

Card carrying fan-girl

Photo by Thought Catalog on Unsplash

Question of the week: Do I read in the genre I write?

This question is an easy one for me, because I’m very proud to have been an avid reader of my niche, fantasy romance, long before I was a writer. To be honest, I'm a little skeptical of writers who say they don't read in the genre they write. This cynical attitude probably comes from being a part of romance spaces where the voracious readership means that sometimes people who know nothing about romance think writing it is an easy way to make a buck. With no appreciation for a genre and what makes readers love it, an author is just going to flounder.

At the same time, I'm totally sympathetic to authors who started writing from a place of love--as a fan of their genre, whatever that genre might be--and now struggle to find the time to read as much as they used to. I certainly go through reading dry spells when I'm more interested in my own stories that anything written by some one else. There is also something to be said for taking a break from reading works similar to yours when you are in the midst of drafting in order to hold onto a purity of your own voice.

But my own reading dry spells never last long—reading is just too important to me, and has always been my favorite way to relax. I also enjoy engaging with readers over our shared love of books. It’s fun to get recommendations from readers, or to be able to point them at books I love when they are looking for a specific trope or theme. If I’m not reading widely in my genre, then I feel like I’m missing out!

   

Jaycee Jarvis is an award winning fantasy romance author, who combines heartfelt romance with immersive magical worlds. When not lost in worlds of her own creation, she lives in the Pacific Northwest with her spouse, three children and a menagerie of pets.

Find her at http://www.jayceejarvis.com/

Goodreads: https://www.goodreads.com/author/show/18092674.Jaycee_Jarvis

BookBub: https://www.bookbub.com/profile/jaycee-jarvis

Facebook: https://www.facebook.com/AuthorJayceeJarvis

Mastadon: @Jaycee@romancelandia.club

Analyzing Genre Expectations

I just returned from WisCon, which was a delightful, warm, sort-of summer-camp version of a con. I had a great time. I also got to visit the farmer's market and get a wonderful jump start on spring. 

Our topic at the SFF Seven this week is: How to analyze genre expectations for your genre.

You know, I have one answer to this question, which is pretty much the same as what KAK said yesterday: READ.

I feel like people are often looking for the shortcuts in this business. And certainly there are the shovel-salesmen eager to sell the gold-miners the newest-fangled device that will make their job SO MUCH EASIER. So, sure - there are tools and surveys out there that purport to analyze trends and bullet-point the expectations of the hot genres. 

But nothing substitutes for reading. And reading what's current, as well as the canon the new stuff builds upon. Genre and the expectations readers bring to their reading are fluid and ever changing. I once advised an aspiring author - a woman who'd been very well published 20 years before, had a life-lull, and was looking to get back into it - who hadn't read anything published in her genre in the last couple of decades. She couldn't understand the feedback she was getting from agents and editors because her reading lens was calibrated to what amounted to ancient history genre-wise.

Also, reading refills the creative well. All writers begin as readers first. (At least, I hope so. A writer who doesn't love reading seems to me like a fish who swims but doesn't like water.) If you don't have time to read, make the time. Replace watching shows or scrolling on your phone with READING. You don't have to finish everything you read (I certainly don't), but you should read at least some of what's popular and what your readers are reading.

Did I mention read? Yeah: do that. 

 

Great (Genre) Expectations

 This Week's Topic: How to Analyze Genre Expectations of Your Genre

Pithy answer? Read in your genre. Then read in the adjacent genres. Then read the genre/authors that frequently get lumped into your genre by salesmen and gatekeepers only to wind up flamed by readers. What are the similarities? Differences? What themes, tropes, and archetypes have endured? Which ones have changed? 

Think you've got a handle on it? Great. Go read a dozen or so review sites for your genre (or watch Booktube reviews, or both). Make it a mix of review styles. Find those that have one reviewer and those that have multiple contributors. The reviews of value can pinpoint what works and what doesn't for the reviewer. Lots of times it's a plot issue, poor pacing, or flat characters that leave a reviewer feeling less than love for a book. But if an author hasn't delivered on the genre expectation, the reviewer will notice and decry it. It'll be a reoccurring objection in assorted reviews about the book.  

Feeling like you've got a clue now? Wonderful. At this point, you should be able to sort reader expectations from reader entitlement. Test yourself. Do a web search, and make sure Reddit results are in there too (opinionated avid readers abound there). Can you spot personal preferences over genre expectations? Group-think and trends versus genre expectations? 

Have you noticed it yet?
Genre expectations aren't that numerous.
Regardless of genre.

You're confident at this point, aren't you? Excellent. Now, be bold and ask the question on your socials. Once you get through quality-control expectations, you could find some succinctly-worded gems. 

Of course, asking for opinions could cause you to rue the day you ever followed my advice. 😇

Twu Wuv: Beloved Fantasy Subgenres

This Week's Topic: Finding My Niche.
What subgenres speak to me as an author?

Aww, what a great topic for Valentine's Day. 💖A topic about wuv, twu wuv. Subgenre wuv. 💖 The depth of subgenres of Fantasy can only be contained in a Bag of Holding. The endless niches are portals to worlds coming into existence. I could wax on (and off!) but, to answer the question my top 3 would be:

Contemporary Fantasy -- It's happening in the here-and-now, just not in a world with a world order you're accustomed to seeing.

Urban Fantasy -- Gimme your cities run by Others. Put forth your orc mayors, your dryad landscapers, your shifter soldiers, and your golem construction workers. Why yes, I will take a unicorn Uber. Ah, no Fae barista, you cannot have my real name.

High Fantasy -- These worlds ain't a European history AU. They're weirder. They're mishmashes and hodgepodges with settings and social structures that make sipping deliriants seem de rigueur. Buckle up for a journey to the 4th sun's moon where time is told by what cities are visible. 

What's your favorite subgenre of fantasy? Are fantastical creatures involved? 🐉 

Book Clubs - Love 'Em or Leave 'Em?

 Introducing my new supervisor: Killian! He loves being present for the podcast, this blog, and morning wordcount, though he has a tendency to fall asleep on the job. Still, I have high expectations and the Cuteness Quotient™ is off the charts. 

This week at the SFF Seven we're talking book clubs. We're asking each other what bookish groups we belong to and what do they provide?

Like KAK, my answer is: none.

Oh, I have belonged to book clubs in the past. I was in one for a while back when we lived in Wyoming - though it was, in part, a thinly veiled subterfuge to get people to read MY newly published book. Which they did! And discussed, which was fun. Mission accomplished. 

Otherwise... I don't love being in a book club. It's fun to chat with people and I love to talk about books. Book clubs are, however, rather noteworthy for not actually discussing the books (or reading them) and devolving into gossip instead. I'm also a steady reader, finishing a book every two-three days, so I don't need incentive to read. I find I don't like "required reading" either. One cool thing about book clubs is they get you to read books you otherwise wouldn't; they also get you to read books you otherwise wouldn't because you don't want to. While I know there are genre book clubs out there, most tend toward the erudite and fashionable books, and not the kind of thing I love to read. 

Besides which, I can always find people to discuss the books I *do* love to read. Or there's always the cats. Killian's reading comprehension needs work still, but he's an excellent listener. 

The Return of the Bug-Eyed Monster

Are any of you old enough to remember when aliens *weren't* cute-ish and semi-benevolent? 

SF in particular has been through a couple of stages, all of which reflect the fears of the era each of them represents. 

• Bug-eyed monsters
• Terror of Technology/Science
• Social Issues
• Nuclear Annihilation 
• What it means to be human

There are nuances and shadings to all of them, of course, but if the purpose of science fiction is to mirror the hopes and especially the fears of humanity, I suspect we can extrapolate the future of the genre from it.

Given the issues facing humanity as a whole - the rise of nationalism and the associated cruelty and violence, climate issues and the precipice humanity is fast approaching - we have a lot to process as a collective consciousness.

So yes. I expect more dystopian (think Fallout 4). I expect more utopian - and by utopian, I mean the stories people tell from the depths of their faith in humanity (Star Trek at its most idealistic.) I expect angry, murderous armies of aliens swarming humanity where ever we can be found. I expect stories of small bands facing overwhelming odds. Sure. I figure we'll all be slaying our Nazis in whatever cathartic form makes us froth in glee.

I'd like to think I'm seeing a glimmer of resurgence in interest in actual science. I'd like to think. If that's real, I'd expect to start seeing more stories about how science saves the not just the day  and our intrepid band of cyborg warriors, but the entire world (which is *kinda* what SF is supposed to be - science saving or destroying the day, but I digress and it's possible that's far too narrow a definition of an entire genre.)

Personally, I long for the stories of oppressed populations (human, nonhuman, cyborgs, robots, aliens, what have you) using the power of science and intellect to throw off chains - whether those chains are physical, emotional, mental, or environmental. Rising by the power of thought rather than sheer physical might (though there's fun in that, too) feels super empowering to me. Even though I be no great wit. :) I'm certainly no great physical power, either, so maybe there's that.

Where will the genre go? Where ever our fears and our hopes and our dreams as a species go, that's where.

Reports of Genre Death Are Greatly Exaggerated

Dead Genre: A genre agents and editors claim cannot be sold due to prevailing market trends and/or market glut. See also: Whatever Marcella writes.

Kidding/not kidding on that last one. It seems to be my super power - writing stuff that makes editors and agents wince when I say, "It's a [insert genre here.]" But, thing is, if you survey indie authors writing in that same genre, many of them will tell you flat out that their books are selling very well, thank you. It happened most dramatically with queries I sent out for Damned If He Does. I'd figured I'd get blow back about the heroine being asexual. Nah. It was 100% about the book being a paranormal. From the swift and terse, "Whoa, we don't do THAT." rejections I received, you'd think I'd flung dog poo over the transom. [Runs to check reviews] Nope. According to the reviews the book isn't *that* bad. I'd just fallen victim, again, to dead genre-itis.

Just because publishers declare a genre is dead, it does not mean the truly rabid fans of said genre have given up on it. It means the readers who were reading the genre because it was the 'in thing' of the moment have moved on, yes. But the readers who adore paranormal or who covet vampire porn for their vacation beach read are ALWAYS going to go looking for those things. I loves me nothing quite so much as a skillfully written SFR - which - if you take a quick gander around the paperbacks being released by NYC houses are in short supply. As in: There are zip. NYC drove one of my very favorite authors right out of publishing until recently when she came back shields up and all phasers firing. You guessed it. She went indie. And that's the lesson.

No audience ever totally evaporates. The pond just gets a little smaller until the next lightning strike of 'new and in fashion' hits and readers rush in from the last fad. Core readers of every genre have long since learned not to trust their reading pleasure to the vagaries of the traditional publishing houses. They go hunting for what they want among indie authors.

So if you have your heart set on publishing through a traditional house, you are subject to the dead genre clause - if what you write is something they believe they can't sell because GENRE, you are SOL for a few years until the pendulum swings back in your favor. But if you've written a book you love in a genre everyone tells you is dead? You certainly have the option of self-publishing that book and of feeding the core readers of that genre. Keep that up and those core readers will follow you just about anywhere.

To Label Is Human

So file this photo into a single genre.

Is it a sunset shot? A wildlife shot? A nature picture? Clouds? Or is it all of those things? If you were looking for a shot of a seagull in profile at sunset, how would you begin searching for it? Likely, you'd start with the keyword 'sunset' but you'd end up with millions of results. Some over mountains or cityscapes or forests or fields. Some with people. Some with animals. But you really, really want that bird for the cover of your special interest mag "Sea Bird Quarterly". So you have to add 'bird' to your sunset search to narrow the results. You get eagles, herons, song birds and vultures. This makes you switch 'bird' to 'sea bird' or 'seagull' and presto. You've found your cover.

This is the power of labels. Genres are nothing more than labels. They're labels meant to make it easy for readers to find what they want to read. Whether or not those labels are accurate or not is another rant. But like anything, genre labels can be used for good or for evil. (Good - you find your next favorite read on your lunch hour and still have enough lunch time left over to actually start your book. Bad - you get stuck inside the box you've been reading in and never entertain anything else.)

What's amusing to me is the notion that I get to pick which genre a story will be. Maybe there are people in this world who can do that. I certainly don't get to. The stories dictate what they will be. I go along for the ride or I give up writing altogether. Because they are adamant. So. This story wants to be in the past, a fictional past at that, with gadgets and improbable hideouts, magic and spies? Why the hell not? Sounds like fun. I have no idea what genre to call it. Historical Fantasy? Steam Fantasy? But yeah, write a story that's one thing? Probably not in my nature. It's at the juncture of genres that I find the things that interest me. There's likely some telling psychological issue there. I'll claim it's just fun.

Are you old enough to remember the commercials: "You got chocolate in my peanut butter! You got peanut butter on my chocolate!" Yeah. Genre blending all the way, because two flavors go great together.

Pros and Cons of Genre Boundaries

I spotted an interesting comment in a review of THE PAGES OF THE MIND. The book came out last Tuesday and it's been doing amazingly well. The best of any of my books so far, in fact. Something I credit to my amazing readers who've really turned out to support this release week.

You all are amazing with posting reviews and talking up this book and series - thank you!

It's even more super cool that the companion novella in FOR CROWN AND KINGDOM, with darling friend Grace Draven, has cracked the Top 1000 on Amazon in the paid Kindle store. Love seeing those fabulous rankings! So does my mortgage company, so there's that, too. :-)

At any rate, a review of THE PAGES OF THE MIND posted just today said:

My goodness its been so long since I read a legit Fantasy Romance. The genre is so small, and its hard to find gems like this one. When I say Fantasy Romance I mean non Paranormal. Since the Twilight craze there are just too many Vampire/Werewolf type romances happening. This book is in a completely different world than our own with its own politics, religions, and lands.Top it all off add in some magic and romance and you've got me hooked.

I saw that just this morning as I was mulling this week's topic: How does working within or outside the genre spectrum benefit or limit? As faithful readers know - my books rarely fall within genre lines. In fact, when I wrote ROGUE'S PAWN, the first of my Covenant of Thorns trilogy, I had no idea it was Fantasy Romance. So, it's kind of amusing to me to have a reviewer call my book "legit Fantasy Romance."

This comes on the heels of a friend who asked me if I had any new Contemporary Fantasy Romance releases later this year for an interview. Which... I don't. My Fantasy Romances are all either "historical," as in they occur in less technological ages than ours, or they're alternate world. Really they're all alternate world, but I'll accept historical. Only that original Covenant of Thorns trilogy counts as Contemporary Fantasy Romance, because part (very small parts) of the storylines in books one and three take place in our contemporary world.

So, those are perfect illustrations right there of how working within a genre can both benefit and limit at the same time. Having my books fit exactly within the Fantasy Romance genre is fantastic and very helpful for conveying what these books are. However, genre boundaries can be so limiting - as much as I'd love to participate in my friend's article, that small addition of "contemporary" leaves my current books out of the running.

But, in the end, does it really matter? For me it's all about the story. I suspect that's true of most of you, too.