Double Release Day: An Import of Intrigue & The Tides of Bara

There's a lot of celebrating happening here at SFF Seven this week. TWO of our crew have released new books! ~breaks out the champagne~ First up, our Thursday helmsman Marshall sends us back to the Maradaine Constabulary in...

AN IMPORT OF INTRIGUE

This second novel in the Maradaine Constabulary series blends high fantasy, murder mystery, and gritty urban magic...

The neighborhood of the Little East is a collision of cultures, languages, and traditions, hidden away in the city of Maradaine. A set of streets to be avoided or ignored. When a foreign dignitary is murdered, solving the crime falls to the most unpopular inspectors in the Maradaine Constabulary: exposed fraud Satrine Rainey, and Uncircled mage Minox Welling.

With a murder scene deliberately constructed to point blame toward the rival groups resident in this exotic section of Maradaine, Rainey is forced to confront her former life, while Welling’s ignorance of his own power threatens to consume him. And the conflicts erupting in the Little East will spark a citywide war unless the Constabulary solves the case quickly.

BUY IT NOW:  Amazon  |   B&N   |   BAM!   |   IndieBound

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Then our Sunday captain Jeffe drops the third book in her Fantasy Romance Sorcerous Moons series:

THE TIDES OF BARA

A Narrow Escape
With her secrets uncovered and her power-mad brother bent on her execution, Princess Oria has no sanctuary left. Her bid to make herself and her new barbarian husband rulers of walled Bára has failed. She and Lonen have no choice but to flee through the leagues of brutal desert between her home and his—certain death for a sorceress, and only a bit slower than the blade.

A Race Against Time
At the mercy of a husband barely more than a stranger, Oria must war with her fears and her desires. Wild desert magic buffets her; her husband’s touch allures and burns. Lonen is pushed to the brink, sure he’s doomed his proud bride and all too aware of the restless, ruthless pursuit that follows…

A Danger Beyond Death…
Can Oria trust a savage warrior, now that her strength has vanished? Can Lonen choose her against the future of his people? Alone together in the wastes, Lonen and Oria must forge a bond based on more than lust and power, or neither will survive the test…

BUY IT NOW:     Amazon   |   Google Play   |   Kobo   |   Smashwords   |   iBooks

Happy Halloween!

Here's a fairly simple fact about the wonderful world of writing. It's a juggling act. You work on Project Four. That's in the first draft stage. You edit Project Two: That's in the First Round Edit stage.  Not quite ready to send out, but you do what needs to be done so it can be submitted. You have to take care of Project Three: The editor and House X wants a new proposal and the first five chapters to peruse.Then there's the SUDDEN DEATH ROUND: Your publisher would like the line edits corrected on the final draft (you were late on that, no more excuses and it's time to earn some brownie points) of the manuscript that's coming out as a book much sooner than you thought it was. They'd like the entire 140,000 word MS with massive red lines and a few hundred editorial notes back in ten days. There can be no mistaking the note of Don't-Screw-This-Up-Again in your editor's email.

It can be overwhelming.

Add in a little daily family drama. Mom and her sister Lorraine are at it AGAIN. It's almost inevitable. they holidays are coming up and the debate about where the multiple family feast will take place who will cook what and whether or not to invite Uncle Wilber (He-Who-Drinks-Too-Much) is still a bone of contention. You aren't SUPPOSED to be the mediator, but they always come to you.

Bob still isn't speaking to Cousin Emily. No one really knows why, but that's going to come up soon.

That job you got to pay for this year's holidays? Yeah, that's rapidly becoming real work. Supposed to be ten or fifteen hours behind the counter and now they're asking if you could just cover for everyone who decided they couldn't actually spend the time. That's only an additional 30 hours a week (no overtime, please!) and you don't mind, do you?

Here's that thing you need to do: focus.

Set aside the time you need for your writing CAREER. A lot of times people don't want to remember that the thing you do where you're sitting at the computer every day in your fuzzy slippers with your oversized cup of coffee or tea, where you forgot to brush your hair and MAYBE even to change out of your pajamas is actually a career.

The books and short stories, those write and edit themselves, right? You were just playing around on Facebook again. It can wait until AFTER the crisis of the week, can't it?

Perception be damned it's still YOUR career and life.

Side note: Yes, I know kids make everything different, They are children and need attention and love and care. They also need down time. Or a good school to attend. And if you're the breadwinner in the family, they also need the roof over your head that your writing helps provide. Naps. Naps are good. And babysitters cane be very useful.

My point is, focus. No excuses (Understand that I consider an excuse MOST of the scenarios above. A day job is not an excuse. but if your writing is your career and the other is a job, focus first and foremost on your career. Children ARE an excuse, but if you have kids and barring unforseens and emergencies, they are a factor you can control. Focus. Find the schedule that works to make your day work for YOU, not the world around you. Set your priorities. yes, family IS important. but no rule says you always have to be the one stuck in the middle of the local family squabble.

Focus. It's hard to do sometimes, but it lets you keep all those plates spinning in the air with a minimum of broken ceramic.

The Ones Who Gave Up: Great Cautionary Tales

At last, the much-anticipated next installment in the Sorcerous Moons series, THE TIDES OF BÁRA is out! About and Buy Links at the bottom of the page.

Our topic at the SFF Seven this week is "My favorite great cautionary tale in the writing world."

This might even have been my suggestion, because I think it's really important to pay attention to the cautionary tales. Sure, there's an aspect of rubbernecking to these, or schadenfreude (or Franzenfreude, for a specifically literary metaphor). The key, however, is not to exult in the failures of others - because there but for the grace of the blessings of the universe go we - but to learn from them.

That's why they're Great Cautionary Tales. Don't cry wolf, don't be unnecessarily unkind, don't lose your soul to material possessions. Our core stories tend to be cautionary tales. It's up to us to take those cautions to heart and live by them.

There are many Great Cautionary Tales in the literary world, even more so with the internet ruthlessly detailing each to the miserable deaths of the final squirming pieces. I write a lot of them down and have been since I was a very newbie writer. In fact, lately I've been doing this enormous cleaning of my writing office, including files, and I found a set of notes I made back in 2000, when a writing teacher of mine won a prestigious statewide fellowship. We'd all applied, with shining puppy eyes, as we did every year. She won (deservedly), but showed up only for the awards ceremony rather than the associated conference, wearing scruffy jeans and called the honor "neat." My note says "Always remember to honor the honors you're given. Even if they seem small to you, they might be lofty goals for someone else."

When I finally received that same fellowship in 2006, I made sure to honor it.

But let's take a look at that. Six years between the disappointment of not winning -  yet again - and when I finally did. Ten years since I first applied for it.

I could cite a lot of Great Cautionary Tales, but with NaNoWriMo (National Novel-Writing Month) on the horizon, I'm going to pick this one: Don't Give Up.

Or, put positively, Keep Going!

I'm thinking back to those days of my crit group, the starry eyed aspiring writers who all applied for that fellowship. There were twelve of us, more than half who went on to publish in some fashion (from literary magazines to novels), a third of whom won that selfsame fellowship and a quarter of whom are now dead. None of them were old women, either.

But one of them, who I'll call Diana, lingers on in my mind. She was older than me then, but I'm thinking she must have been about the age I am now. A professor's wife who'd spent most of her life raising a family, she wrote these incredible stories about the passive/aggressive rage in women who gave up their ambitions. Her stories were deftly told, lyrical, and explosive. When I read Meg Wolitzer's The Wife, I thought immediately of Diana. Of all of us, I thought she was the most talented writer.

I still do.

And she never published anything, that I know of. No, she's not one who died, that I know of.

She moved away when her husband retired and we fell out of touch. She has a common enough name that Googling her would be very nearly futile. Oddly resonant, that.

The reason she never published was not because of the gatekeepers, because she was rejected too many times, because she didn't want to learn to self-publish (which back then was highly suspect anyway). She didn't publish because she never submitted anything to anyone. We were the only people who read her work. When we encouraged her to send in a story, she'd demur and say it wasn't ready. Once she confided in me that she couldn't bear for it to be scrutinized and rejected, that it was enough for her to write it.

I tried to respect that, but I think of her from time to time with a sense of great regret. When last I heard from her, she said that, with her husband retired, she'd given up spending time and energy on writing.

She gave up.

I know a lot of writers who have. It's a difficult business, fraught with challenges and opportunities to throw in the towel. It's frighteningly easy to let a small break become a hiatus that becomes a sabbatical that - years later - turns out to be quitting. It doesn't get easier, either. Many writers give up after having multiple books published by Big 5 publishers.

I'm asking you not to be one of them. Because the writers I know who are successful are the ones who kept going no matter what. Not the most talented. Not even the most prolific. Just who kept going.

This is the great lesson of NaNoWriMo, as far as I'm concerned. Writing 50K in the 30 days of November teaches you to build a writing habit, yes - but it also teaches you to keep going. To "win" - to reach the goal - requires that you don't let anything get in the way of completing those words.

It's the most necessary skill for being a writer.

So I'm urging you all: KEEP GOING. If you want to write, WRITE. Let nothing get in the way. Never surrender.

KEEP GOING.

******************

A Narrow Escape 

With her secrets uncovered and her power-mad brother bent on her execution, Princess Oria has no sanctuary left. Her bid to make herself and her new barbarian husband rulers of walled Bára has failed. She and Lonen have no choice but to flee through the leagues of brutal desert between her home and his—certain death for a sorceress, and only a bit slower than the blade.

A Race Against Time 

At the mercy of a husband barely more than a stranger, Oria must war with her fears and her desires. Wild desert magic buffets her; her husband’s touch allures and burns. Lonen is pushed to the brink, sure he’s doomed his proud bride and all too aware of the restless, ruthless pursuit that follows…

A Danger Beyond Death… 

Can Oria trust a savage warrior, now that her strength has vanished? Can Lonen choose her against the future of his people? Alone together in the wastes, Lonen and Oria must forge a bond based on more than lust and power, or neither will survive the test…

Buy the Book

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What Happens Before the Writing Starts?

Short answer: nothing visible to the human eye.

Right now I'm working on the sequel to 'Star Cruise: Stowaway', which is my novella in the Pets In Space anthology. (Oh yes, you'll see those buy links for PETS at the bottom but hey, we are supporting a charity which provides service dogs for veterans.)

When I was writing Stowaway, I had an idea for a sequel, so I built in a hook - the heroine has a sister who's in big trouble. If you've read the novella, you know what I'm alluding to! No spoilers here. After I finished my next novel, the long awaited sequel to Wreck of the Nebula Dream (hopefully out in November), and sent it to my editor, I took a few days off to clear my head for commencing a new project. I wrote a lot of blog posts, read a few books by other people and played around on social media.

Slowly but surely I start to feel myself becoming grumpy that I'm not writing my own next story.By whatever process my subconscious (AKA my Muse) delivers my books to me, I know the heroine, the hero, the overall situation, the opening, the ending and a few key scenes.

I sit myself down at my great-grandmother's desk, pet the cat while my laptop boots up, open WORD to a fresh new document and start typing.

TA DA! The process revealed. I don't plot, I don't outline, I don't do anything else before I start writing. In the old days when I had a long commute to the day job, I used to think about my plots while driving and listening to music, mostly to pass the time. And while keeping an eye out for the other drivers on the crazy SoCal freeways.

Now as the writing progresses, there may be times I sit and noodle on a lavender legal pad, and think about some plot options, choices the characters might make and how they'd play out in terms of the story. I've adapted a root cause analysis technique I learned at NASA/JPL, kind of reverse engineered it and it works every time to show me where I really want to go when I've hit a thorny spot in my story.

When I'm writing a novel set in ancient Egypt (my other genre), I stop and do research on various things.

But before the writing starts? Nada.

Total pantster here, but it works for me. and since I'm independently published, I don't have to write an outline or a synopsis ahead of time to 'sell'. I don't have to live up to an agreement to write three books set in the quaint village on the nice planet where X, Y and Z will happen. I suspect I'd be TERRIBLE at any or all of that! I like being a free spirit and am grateful the current publishing environment lets me get away with it. As long as my readers are happy, which they seem to be, I'm good.

So about Pets In Space.... (we do have over 50 four and five star reviews):

Even an alien needs a pet…

Join the adventure as nine pet loving sci-fi romance authors take you out of this world and pull you into their action-packed stories filled with suspense, laughter, and romance. The alien pets have an agenda that will capture the hearts of those they touch. Follow along as they work side by side to help stop a genetically-engineered creature from destroying the Earth to finding a lost dragon; life is never the same after their pets decide to get involved. Can the animals win the day or will the stars shine just a little less brightly?
New York Times, USA TODAY, Award Winning, and Best selling authors have eight original, never-released stories and one expanded story giving readers nine amazing adventures that will capture your imagination and help a worthy charity. Come join us as we take you on nine amazing adventures that will change the way you look at your pet!

10% of profits from the first month go to Hero-Dogs.org. Hero Dogs raises and trains service dogs and places them free of charge with US Veterans to improve quality of life and restore independence.

About Star Cruise: Stowaway:
Cargo Master Owen Embersson is shocked when the Nebula Zephyr’s ship’s cat and her alien sidekick, Midorri, alert him to the presence of a stowaway. He has no idea of the dangerous complications to come – nor does he anticipate falling hard for the woman whose life he now holds in his hands. Life aboard the Nebula Zephyr has just become more interesting – and deadly.

Buy Links:

iBooks    Amazon    ARe     Nook      GooglePlay     Kobo

The Four Steps to Starting

There are four stages of starting anything. I'd tack "for me" onto the end of that, but since I'm writing this, I'm gonna go ahead and assume you've worked that part out already.

Step 1. Boredom

This is how the whole story telling thing began for me - long stretches of silence with nothing to do while tucked into the backseat of a car while the family drove from one military posting to another. Long stretches of highway, watching the scenery go by, imaging what went on in the forests or in the towns behind the facades of houses and businesses. Eventually, I liked the stories playing in my head enough to write them down. Once that happened, I could be bored anywhere and come up with a story idea. Usually as snippets of dialog. Angsty, drama-ridden dialog, but you have to start somewhere, right?

Step 2. Names and Situation

This is my proof of concept step. From angst and drama, I have to come up with a compelling situation - the background, the world, the people, and a general sense of how the story might begin and how it might end. Ish. I need only a general notion. This, for me, is no time for detail. Lots of note taking and journaling happens at this step. I play a lot of 'what if' games. But one thing is certain, without character names, I'm dead in the water. The protagonists must step forward and identify themselves. This is where I need characters to develop the beginnings of voice - this is the illusion that these people actually live and breathe and have wills of their own outside of my imagination. This is the point that the monster has to rise from my laboratory table and either go forth to wreak havoc or collapse in a mass of stitched together body parts that are all going to have to be burned before they start stinking up the place.

Step 3. Character, Character, Character

Once I have a general notion of a story and some character names, it's time to dive deep, and for me, everything comes from character. Everything. The plot, the conflict, black moment, and the climax. I spend about a week working my way through Mary Buckham's Break Into Fiction templates for all of my major characters. Protagonist(s) and antagonist at the very least. If it's a romance, I'll work through hero and heroine. This step also serves as my initial immersion point for the story - meaning that at this stage, I'm spending several hours a day buried in questions about who my characters are, why they are who they are and what they believe they know about themselves but have totally wrong. This is where conflict is born for my stories. It's also where scene lists begin building. If you're writing genre fiction, you have to build scenes that challenge your protagonists' assumptions about themselves and motivate them into change (there's your character arc). If you're writing literary fiction, your scenes will rub a character's nose in his or her faulty assumptions, but not force the character to change, though he or she may come to comprehend his or her faults.

Step 4. Word Count

This is the point at which there are no more excuses. Armed with a few markers (I usually know how a story opens and I have a soft grip on how it might end - everything else is a blur) and with a pretty good understanding of my characters and what drives them, I can start making tracks. The form of my story is still vague. I'm usually flying blind once I get past the first few opening scenes, but with my character's templates filled out, I have guideposts to keep me pursuing their goals and challenging their weaknesses even if I don't know exactly what happens in the middle of the book.

That's my summary of 'how to begin'. Do you follow any kind of pattern for starting something? What I'm curious about is how plot-driven writers approach starting a book. (As opposed to a character-driven writer.)

Perils of the Writer: Gearing Up To Start A Novel

Some of you out there might be planning to participate in NaNoWriMo: National Novel Writing Month.  Good on you.  It isn't something for me, in part because the pace demanded doesn't match my ideal writing pace, and in part because, for me, every month is Novel Writing Month.  My current schedule, my current system... it really doesn't allow me much breathing room between projects.  

I've compared writing a novel to running a marathon, but that's not right.  It's going on an expedition.  You're going to trek out there and do some serious Lewis and Clark level stuff to get from staring at a blank page to "Hey, I wrote a book!"  And if you were to cross to the Pacific or climb Everest or reach the south pole, you wouldn't just strap your shoes on and start walking and find out what happens.

No, you're going to do some prep work.  You're going to get yourself supplied.  What does that look like for this expedition?

Here's my checklist:

• Worldbuilding:  At this point, for all the Maradaine books, this is more or less done, but each book will probably have some additional element to investigate or deepen.  In An Import of Intrigue, that meant figuring out the street-level of The Little East in finer detail.  
• Outlines, Spreadsheets and Timetables: With three (or four) interconnected series in the same city, there's a lot of moving parts, and a lot of keeping track of what happens when, and how that has repercussions elsewhere.  My outlines have a structure that have served me well, and in addition to writing on Scrivener, I've been playing with Scapple (from the fine people who made Scrivener) and Aeon Timeline.  Both fine programs I recommend for free-form thinking and laying out timelines, respectively.
• Character Work: Every book, at the outset, has a Dramatis Personae, and this file gets updated over the course of the work, as new characters show up who weren't intended in the original outline.  Sometimes minor, and those minor characters blow up as the series progress.  Also part of my process is getting myself a visual reference for the character in my head.  So I create a facepage of the main characters, digging through actor headshots (here's a good source) to find people who look like the characters I imagine.
• Playlist: I don't do too much of this, but I do try to find some music that fits the mood of the book I'm about to write.

All this reminds me, I've got to get moving on finalizing the prep work for A Parliament of Bodies in the near future.  And you've probably got some work to do, also.  Get on that.

In the Beginning...

Today I want to talk about pre-production of the writing process.

First comes coffee. Period.

 It must be Millstone Chocolate Velvet coffee. It must be properly adjusted with cream and flavoring, and it must be served in a.) the Star Trek mug above, or b.) the Maleficient mug below. Without the adjustment or if served not in the proper mug, the coffee cannot be drunk. If served improperly, whipped cream and purple sugar sprinkles must be added to the top as a measure of penance. Oh, who am I kidding. I add the topping for the Hell of it.

For me, after the required coffee provisions are met, if there's a new seed and new work at hand, then before I get into the bulk of the writing the whiteboards and planning come into play, followed by reading.

It starts in my head with that seed of an idea. When it starts to root, it goes to the whiteboard. Here that nifty scheme gets explored and refined. In the case of Seph books, I'll research what has come before that is primarily relevant to this story and make notes, draw lines, use colors and make it interesting to look at because, hey, yeah, the artsy shit in my head doesn't turn off.

Once the appropriate connections seem made, I start plotting. Might be a few beats like the points on a W plot frame. You know, two triggers leading two turning points before the resolution. Easy, right.


Whew, we needed that laugh, you and I, didn't we? Yeah. Writing a book is never easy. But starting a plot can be as simple as five sentences.

Examples:

Point 1.) Due to feisty droids, Luke meets Ben.
Neo's at work one day, gets a weird package, and a weirder call.
Harry finds out he's a wizard, is sent to Hogwarts.

Point 2.) Due to his Aunt and Uncle's deaths, he leaves with Ben and meets Han and Chewie, and shortly are captured.
He learns about this reality, doesn't believe it when Morpheus says he's special. 
Harry makes friends, meets his teachers, learns about the school and his parent's. 

Point 3.) The group hides on the Falcon, come out later, rescue the princess and get away with the important plans.
Neo trains, meets with Oracle. He still doesn't believe. 
The potions teacher seems to be up to no good, which Harry investigates

Point 4.) Regrouping with the Rebellion, they plan how to defend against the attack that is inevitable.
Baddies attack, take Morpheus, and Neo and Co come up with a plan. 
Harry and his friends face various trials and 3 headed dog

Point 5.) Luke hits the mark and destroys the Death Star.
Neo accepts his fate and faces the baddies and wins. 
Harry faces and defeats the true bad-guy, another teacher than suspected.

Okay, okay, I over simplified it, but you get the point, yes?

Knowing a few beats allows me the freedom to explore the story and characters as I learn more about them through research and through the writing itself, so the whole process is discovery in large or small ways.

Those few sentences (or less) might be all a panster needs to write a whole novel. But I like a little more. Not a full forty-page outline, but the main points, certain details about characters (fill out character sheets, etc), items, places, and the expected emotional journey of the characters. I say 'expected' because the characters sometimes change their minds mid-story.

Then comes the reading.

Yes the reading. Those details on the chart turn into sparks that make me want to read up on items or places (view pictures, read personal accounts of being there) or psychology (quirks/patterns/etc). This is not just to reinforce my plot points. There's inspiration in those readings, if you want to find it.

I might write a scene or two here and there, but I generally have a well-rendered picture in my head before I really delve into the story.

Now, I'm bound for World Fantasy Convention in Columbus Ohio. Hope to see you there!

Pre-Production: Films Say Storyboard, Books Say Outline

Pre-production. To me, this is a film term adopted by multiple industries. I knew the details of pre-production in certain circles but not in filming. Because I like to pretend I'm smart, I looked up the details. Gods bless Google, I now know more than I meant to. All of the pre-production checklists--all of the decent lists at least--had "Lock Your Script" as the starting point.

Aaaahahahahahehehehehe

Okay, okay, okay, that's near the end of the process for us. But they did have line-items that meshed fairly well with the author-verse. Things like: Know Your Budget, Write the Production Schedule, Hire Your Crew, Cast the Show, Find and Secure Your Locations, and Complete Storyboards.

Strangely enough, that's pretty much what I do before I stare at the very blank page of Chapter One.

Budgeting: How much can I spend on cover art, editing, formatting, ISBNs, copyright filing, and marketing? The length of the book is often determined by the funds I have to pay the editors.

Production Schedule: When do I want to release the book? How many days before that do I need to lock-in the final file(s) with assorted distributors? How much lead time do I give ARC Reviewers & Street Teams? How many days does my formatter need? Proofreader? Copy-editor? Dev Editor? Artist?

Hire Your Crew: All those people from the production schedule need to be booked well in advance. I prefer a minimum 90-day lead; though, some artists and editors need to be contacted 6 months out.

Cast The Show: By the time I think "hey, this might make a good book" I've had many, many, many conversations with the protagonist about their plight, their scooby-crew, their most exhilarating/debilitating moments. I always cast more people than I really need, but, hey, that's what edits are for.

Find & Secure Your Locations: The couch hasn't gone anywhere in twelve years. However, before I start writing, I declutter and clean the house. Physical clutter is a distraction and I am too easily distracted when I write. Cleaning is necessary because once I start writing, the level of tidiness is on a constant decline.

Complete The Storyboards: Since I'm a plotter, this would be the outline phase for me. Outlining often explodes into full-on story writing, so...yeeeeah, this is the very, very last step of pre-production for me.