Responding to the Fandom

I don’t take input from anyone on which of my stories to tell next…

Or what events should happen to which secondary character, who should fall in love with whom, or any other aspect of my various series.

I’ve been writing for myself since I was age seven. I write the stories I want to read more of and can’t find, whether set in ancient Egypt or the far future of my Sectors.  I LOVE that I have readers who enjoy the stories too! I like hearing from readers and I don’t mind at all if someone tells me they’d love the sequel to Mitch’s adventures in Escape from Zulaire someday, or asks why am I “wasting my time writing fantasy when I should be spending my time writing more scifi romance”, as I was told by someone after my book The Captive Shifter came out. Well, as it happens, I wrote that story originally in late 2010, I like that story, I like the characters and I let it sit and stew until I felt I could revise it to the point where it was ready to be published and then there it was. Two sequels will be forthcoming, and maybe more, because I have other tales I want to tell in that world. I’m personally excited by that world! 

But I get that I have passionate readers who really prefer only my scifi romances and equally terrific readers who prefer only my Egyptian paranormals. (And some wonderful readers who love it ALL.)  It’s good feedback to have.

I’ve even been told that at least one reader wants me to get on with the end game war between my deadly aliens, the Mawreg, and the human-ruled Sectors. Don’t hold your breath, anyone. I have a LOT of stories to tell in the Sectors and none of them is a giant space opera full of space battles to resolve that conflict. I’m drawn to the more individual stories, set on one ship or one planet. Filling in the edges of the puzzle, not doing the whole 1000 piece finished-architecture at once.

 I do have a sequel in mind for Mitch of Zulaire now, by pure coincidence, but I don’t know when my Muse and I are going to get around to writing it. As everyone here knows (because I say it so often), I’m quite superstitious about how my Muse works and I only write what I’m really in the mood to tackle at any given time. If the words are flowing – yay! If a new and shinier idea pops up, I’ll go where the creative energy is. I don’t usually hop to a new plot about some other set of characters in the middle of writing a specific book, obviously, but as the next new project down the road.

It’s probably just as well I’m not traditionally published, with a contract that says I need to write the next book in series XYZ. Apparently my Muse and I rebel at such direction! We like to meander among the myriad of creative possibilities and pick whichever thing appeals to us.

I don’t want to sound truculent (always wanted to say that word!) but I don’t take direction either. Life is too short, I have too many stories to tell and the Muse knows which one needs telling next.

Not the Author but I liked the way the photo representing me with a myriad of creative possibilities!
Photo purchased from DepositPhoto

Story Tetris

This is my last post as a Pacific Northwesterner. By this time next week, I will have relocated to Florida. As you can see, Hatshepsut is very keen on 'helping' with the packing. We're almost done and the moving truck is filling up. I am so tired.

Packing a moving truck is an art. Think Truck Tetris. Or huge, fragile jigsaw puzzle. It's very much like putting a book together. Every book has scenes and characters and arcs. Motivations and conflicts. Those come in varying sizes and weights. The ones I can't lift have to act as the anchors to all the other bits and pieces. As the biggest, heaviest segments settle into place in a story, I have to juggle the smaller ones, slotting them into the perfect place for them. In a moving truck, I do that so the load doesn't shift and break everything. I guess stories work the same way. The pieces interlock. They prop one another up and keep the structure from collapsing under its own weight.


I wish I could talk about whether or not I'm tempted to cave to fan pressure about how a story goes down. But I'm honestly not in that position. I've had a grand total of one, count 'em one, protest about how one of my books ended. And at that point, the book was in print. So it wasn't as if I had an option to change that one to suit the reader. Would I if I had readers beating down my doors over a story?

Probably not. I cannot rearrange a story - shift boxes around - without risking the whole thing collapsing and breaking. That plot twist readers hate is, for me, the ONLY thing that will fit in just that spot in the story. It supports and props up the rest of the stuff that gets piled atop it. But hey. Never say never, right? Who knows what I'll do when faced with a mob of annoyed readers brandishing torches?

Where I DO bow to reader demand right now, though, is in what book to write when. Well. Kinda. I've had a number of readers after me for the conclusion of one of the series I write. Not that I didn't WANT to write it - but eh the rights are mine again and here we go.

So. Sunnier climes ho. When someone yells at me in protest over a plot point, I'll let you know whether I cave or fight back. In the meantime, break out the sunscreen and shades. We're palm tree bound.

Perils of the Writer: Letting Fandom Set Your Sails

So, yesterday I had a nice long chat with one of my beta-readers about A Parliament of Bodies.  Yes, she gets to read it a year before the rest of you, but what she reads is an imperfect draft.  And we talked a bit about what happens in the book versus what her expectations as a fan were, and how either fulfilling or subverting those expectations result in reader satisfaction.

Because sometimes there is an urge to ignore what the story needs to give the fans "what they want".  And, I'm against doing that for two reasons.  One, I'm kind of a believer in that old Joss Whedon quote about not giving them what they want, but what they need.  This quote is sometimes treated with derision, in that people complain, "Oh, [Bad Plot Point] is what we 'needed'?"  I can understand that to a degree, especially when plots make characters suffer, characters the readers care about.  They don't want to see them suffer, because they want Good Things for the characters.

But my job is, as J. Michael Straczynski so eloquently put it once, to chase them up a tree and throw rocks at them.

The second reason I'm against changing with the winds of fandom desires is simple.  When it comes to Maradaine (or any other world of mine) and the characters within that world, no one is going to be more of a fan than me.  I love this setting, these people, and their story so much, and I hope that love comes through in what I'm writing.  It hurts me when bad things happen to them, but I also know... that's the path they're all on.

So what does that mean?

It means that I'm that #1 Fan, so I'm the one who gets to tie myself to a bed and break my own legs if I don't do right by the story.

So now I need to get back to work.  There's a certain fanboy who insists that I clean up this manuscript.  See you in the word mines.

It's Your Book, But You Need To Write It My Way

When fans tell you how to write your book, do you listen?

~shifty eyes~  

~leans forward~

~whispers~

What fans?

Just kidding. Sort of. Mebbe. There is no greater compliment than fans who really connect with your work. Some of those fans will shout their passion from every review page, book party table, and fan-Con hallway (gods bless 'em; most authors really need that visibility boost). Similarly, everybody has an opinion. So when those opinions about your work collide with a passion for the characters, world, and plot there might be a few "suggestions" made.

Don't kill that character. 

Ship these two characters. 

Get that character some religion. 

Not that religion.

Speaking practically, in a series where books are still being written, the author is most likely writing two or three books ahead of what's just hitting the shelves. A lot of those "suggestions" are too late.  Similarly, the series may only have been contracted for X number of books or the series was sold as a trilogy so there are certain plot points, milestones, character developments that have to occur at a specific in the timeline in order to satisfactorily end the series. Again, the suggestions are too late.

Now, what if, what if it's not too late? What if--because the author is a super-slow writer publishing on their own damn schedule like moi--there's time for fans to voice an opinion and have it be heard? Well, the kind of feedback that might sway me is if a minor character turns out to be a fan-favorite; that character might end up with more page time. Not so much as to take away from the story, but sure, why not give a nod to the fan base? Plot suggestions? No, sorry. My world, my crazy. Who lives and who dies? Sometimes those developments surprise even me. Who's going to get laid, when, and how explicitly will it be depicted?

Dudes. 

Duuuudes. 

Come on. 

Nookie will happen if and when it's meant to during the characters' developments. Whether it happens on page or off depends on a lot of things. It's not a radio show; the characters aren't taking requests.

Yep. Nope.

I've had this discussion in public plenty of times I see no reason not to have it here.

When people ask if I consider my fan base when I'm writing, the answer is no.

Please don't take that the wrong way if you are part of that fan base. It doesn't mean I don't like you and appreciate you. It means that I can't consider the desires of the readers when I am writing a story.

If I do, I might pull punches, and that weakens the tale.

Listen, I kill a LOT of characters off. I'm in  the final book of a series that involves a war with the gods. Trust me, a lot of people are about to die. I don't want to stop what I'm doing, what has been planned, and try to second-guess anyone. And, yes, that has blown up on me a time or two, when a novel hasn't the way a few people liked. That affected some Amazon reviews, but I'll stick to my plans.

It's not about the reviews. it's about telling my tale.

I can't do it any other way. If I'm nit having a good time, I firmly believe the readers will not have a good time.

The closest I've come to an exception was when I asked readers which character they wanted to see next on the cover for CITY OF WONDERS. I was rather pleasantly surprised when the vast majority asked to see Swech, one of the female leads who just happens to have the highest body count of anyone in the SEVEN FORGES series.

I'm all about commercial success, please don't get me wrong, but before I worry abut that part of the equation, I worry about telling a good tale. That means two things to me: 1) I'm not going t take your idea and write it for you so we can split the profits 50/50 (No really, that offer happens. A LOT) and 2) I'm writing the book I want to read. Hopefully I find others who feel the same way.

Who's Looking Over Your Shoulder as You Write? Appeasing the Fandom

One of my faithful desk companions - Isabel has little interest in the stories themselves, but she disapproves of my reaching for the mouse. Good incentive for me to keep typing with no backtracking!

Not as visible - and not as likely to claw me for reaching for the mouse - is everyone else virtually on my desk as I write. By this I mean my readers. And not just any readers - but those passionately invested in the stories, worlds and characters. You know who you are! These are the power readers, the ones who take time to give me personal feedback on how much they love what I write.

And they have opinions. Sometimes strong ones. Again, you know who you are. :-)

That's our topic this week: Responding to the fandom – where do you draw the line? (e.g., not killing a character after all)

It's an interesting question for me because I've noted several authors in recent years who I've felt have caved to reader pressure on various levels. That might be a bit sideways of this topic, so let me respond directly to the question before I dive into that.

Would I not kill a character because my readers urged me not to? Absolutely. Okay, probably I wouldn't. The only exception would be if I believed that death to be necessary to the story in a way that resulted in greater richness. I wouldn't do it to make a point or to create emotional angst. I like stories that make me feel enriched and optimistic, so I like to leave my readers with that feeling, too. I have killed characters - because people die, and sometimes a character's death is needed to allow another to move forward - and I would even kill a loved character because the story demands it.

For example, in MAGIC RISES, the sixth Kate Daniels books (don't read this paragraph if you aren't caught up and don't want to be spoilered) Ilona Andrews made the choice to kill Aunt Bea, a hugely popular character. I tell you - and you know if you love the series, too - I cried and cried. BUT, her death was important. The stakes were very high and it made no sense if no one was killed in that situation. Also, her death meant a change in the political structure and allowed two other characters to step into leadership positions. I'm sure the writing team of Ilona and Gordon Andrews got a LOT of upset feedback from their passionate fandom about not killing that character. They mention in interviews that they argued between themselves about it.

They made a hard decision and stood by it.

At the same time, other authors have made the choice to kill characters - even first person point-of-view protagonists - in order to make a point. George RR Martin famously kills off characters, sometimes almost arbitrarily, to demonstrate how capricious such things can be, and how tenuous our grip on life.

I'm not into that so much.

Where I do draw my own line is bending to political pressure. There's a great deal of discussion online about what's appropriate in real life - such as consent and healthy relationships - and also trope exhaustion. I've seen authors change their stories to accommodate this kind of feedback. One wrote a beta hero who gave way to the heroine in all things because her readers were "tired of alpha holes." (That's a cross between alpha and asshole, for those not in the know.) You know what? That book was dead boring, at least to me. I know some readers loved it, which is cool, but I thought it was far from her strongest work - and I fell off reading that series due to lack of interest.

Another author has gotten tons of feedback on a couple who are both highly emotional, sometimes violent people. She's really toned down their interactions over the years - and I wonder how much is due to the sometimes strongly chastising posts written about some of those scenes. The thing is, I read the most recent book - found it dead boring - then went back to an earlier one and devoured it for all the excitement and turmoil. I'm missing that element now.

Passionate voices are loud voices - and strong opinions have great conviction behind them. It's important to discuss issues like consent and healthy relationships. But it's worth noting that conflict is what makes STORIES interesting and exciting. I think authors bend to social pressure at the risk of bleeding the energy from their books.

In real life, we'd never find it useful for someone to die. As authors of our worlds, it's a choice we make. Sometimes with relish.

Because relish is what adds the flavor!

The Best of Both Worlds For Me

This week’s topic is about doing worldbuilding for the pleasure of doing it, as I understand the guidelines.

I write in two very different worlds – ancient Egypt and the far future. (I also have one fantasy romance out, The Captive Shifter, but as yet I haven’t written enough there to really discuss today. Although yes, I have massive worldbuilding in my head.)

Ancient Egypt is a very well established world, with oodles of research out there to revel in and draw from, and gorgeous artifacts galore, some of which I’ve seen with my own eyes and marveled at. I have multiple book shelves full of tomes about ancient Egypt – everything from translated love poems to scholarly treatises on one tomb by itself -  and I love doing the research. There are so many more stories and story possibilities than I could use in a lifetime.

 I picked my era, which is around 1550 BCE, when the Egyptians drove out the Hyksos and embarked upon an age of expansion and stability in the New Kingdom. I invented my pharaoh to allow myself more latitude in the stories I could tell, although he’s based on several real rulers of the time.  My added element is the fact that I have the Egyptian gods and goddesses involved in daily life the way the Egyptian believed and hoped they were. My readers have told me that I make them feel as if they were in ancient Egypt, despite the fact I have this paranormal or fantasy element going on, and I also commit certain deliberate anachronisms to make my books work better and sound plausible to the modern reader who may not be immersed in all the research about the time. (Not writing actual historical where every detail is expected to be 100% accurate.)  I have a page devoted to this on my webpage in fact. As an example, Egyptian deben wasn’t actual money per se, no coins but more of a concept of relative value, but my characters deal in actual money.

I really enjoy trying to fill in the blanks left for us by the elaborate tomb paintings and the artifacts, to figure out and portray what daily life might have been like for a lady in Pharaoh’s court or living on a country estate. How was it to take a ride in a war chariot and go so much faster than you’d ever moved in your entire life? What did a priestess of the Crocodile God do all day, running her temple?

In short, I have a heck of a wonderful time dwelling in ancient Egypt on my terms, telling my story and then returning to my own modern life.

Pretty much any topic I have questions on, I can find at least a few kernels of useful information in the research materials or online and then let my imagination soar.

Now the science fiction romances are a different story and there I created my interstellar society, the Sectors, from scratch.

Except not really, because my chosen author theory is that we as humans are going to remain pretty much the same, whether in the past or thousands of years into the future. I really resonated with the well-worn, lived in, used spaceship type of universe depicted in the “Aliens’ movies and the early “Star Wars.” I also loved Andre Norton’s science fiction and the structural set up she had going on. 

My Sectors are kind of similar to all of these influences, although I’ve added elements of my own including various alien civilizations both friend and foe. The longer I write Sectors novels, the more I add to the world building. I do have some secrets that only I know, which may or may not ever be revealed in a novel, but which give me the high level context to write the stories.

So I have fun in either universe I’m inhabiting – Egypt of the Pharaohs or the far future in the big galaxy. Currently I have my next Sectors novel at the developmental editor and I’m about midway through writing the first draft of my next Gods of Egypt novel. I'm living the best of both worlds!

Fandom: the Gateway Drug to World Building

The picture has nothing to do with the subject today. It's just the season for butterflies in the zinnias and I was lucky enough to be out there with a camera when this one flitted in to have a snack.

World building, huh? Well. I have a theory.

Fandom is the gateway drug to world building (and often to writing . . .)

Pretend for me that I'm not the only one so invested in a fandom or twelve that I tell myself stories inside the world of whatever story/movie/book/game du jour that I love. I mean, you have a thing you love. Maybe it's Dr. Who, or Anime,  or Star Wars, or Sponge Bob. I don't know and I don't judge. Much. But after you've binge-watched all you can binge-watch, what happens?

If, like me, you go into immediate withdrawal, you probably start daydreaming yourself onto the bridge of the starship Enterprise. Or into some tiny New England sea-side town mysteriously afflicted by madness and rumors of something terrible lurking beneath the surface of the waves. If you do that, you're world building. If you've ever shipped a non-canon partnering in that thing you love, you're world building. Sure. Both are on a small scale and in someone's pre-built world. But you are and you know what they say. The first taste is free.

It's a slippery slope. First you're playing through mental movies of you starring in that thing that gives you life, the next, you're resentful of the restrictions that come with working inside someone else's constraints. I mean it's a stupid rule that Sponge Bob can't fly, right? So you shift worlds - you create a new construct, one that's all your own, one that won't hold back your imagination. The world you create may be based off of something that already exists - whether book, game, TV show or movie, but you'll have tweaked it to suit you. And that's it. You're hooked on world building. You're spending your time debating the finer points of whether magic that requires blood makes the mages of your world vampires and if it doesn't, where exactly IS the line between blood mage and vampire? (Do they ever cooperate? Share blood recipes, maybe?)

World building is a game, one that begins with 'what if?' and ends in narrative structure, conflict and some kind of resolution. You mix and match and create something wholly new. Like a mad scientist. Oh. Oh. Do you suppose this makes one of us here the Walter White of fiction?