SFF Dinner Date

Just so we're clear, the only reason I'm having a dinner party for writers past and present is so I can fangirl. Also, I'm going to need a massive table because this is just scratching the surface of the invitations I'd ship out (in no particular order). 

Martha Wells, N. K. Jemisin, Alice (Andre) Norton, Ursula K. Le Guin, Anne McCaffery, Robin McKinley, Rebecca Roanhorse, and Nnedi Okorafor. 

Yeah, I know it's all female-presenting. Listen. I love me some SFF writers who are guys. I do. But I tell you what. I'm having a really great time right now reading stories that aren't written from within the confines of the white straight male experience (or just the white cishet experience in general). For that reason, if I started bringing the male-presenting folks to the dinner table, Dr. Chuck Tingle would be on the list. John Scalzi would be, as would Neil Gaiman, and boy howdy, wouldn't it be a hoot to have Sir Terry Prachett for the event? If I could suddenly learn adequate Mandarin, Liu Cixin would be there. 

Phew. At this point, I think I just opened my own restaurant and I'm not going to get to talk to any of these people, much less drink tea with them. Still. I'm so interested in the wealth of experiences and perspectives and the fun that could be had at these dinners. 

Living the Dream

I used this photo (Thanks to Craig Chrissinger for taking it!) a couple of weeks ago, but it's too appropriate for this week's topic to pass up using it again. Our topic at the SFF Seven is our fantasy dinner party. We're asking which SFF authors and characters you’d invite to a soiree. 

The thing is, one of the best perks of being an author is getting to make other authors be your friends. So my fantasy dinner parties have mostly happened! Case in point: above I'm having dinner with Martha Wells, Darynda Jones, and Kelly Robson. Yes, it was a great conversation. I feel so blessed and fortunate that I pretty much get to have my fantasy dinner parties on a regular basis now. 

Last week I got to have dinner with Amanda Bouchet, Maria V. Snyder, Jennifer Estep, H.R. Moore, and Maria Vale. On another evening, I sat between Juliette Cross and Chloe C. Peñaranda, later joined by Carissa Broadbent. 

The one person I have yet to meet in person - and hopefully have dinner with! - is Neil Gaiman. But I do have his cell phone number and have chatted with him on the phone, which gives me all kinds of happiness right there. Since it's a fantasy, Anne McCaffrey, Tanith Lee, and Vonda McIntyre could all come back from the dead and join us. 

My younger self would be thrilled. 

 

Self-Promo Allergy Cure

Oh lort. It's self-promo week. If anyone needs me, I'll be in my pillow fort with Perceval. Why, oh why does self-promo give me such a rash? I mean, yes, I'm mortified that I don't have a new book to promo. I hate that, and then, I think, there's a dose of self-loathing that dribbles into the mix, too, no matter how hard you try to tell yourself it's okay. You're making slow, steady progress. 

Spoiler alert: It never, ever feels okay.

So, I'll stare that icky feeling right in the face and say, hey! Can I interest you in a weird little tale that you'll either love or you'll hate? Damned If He Does is a light read about an incubus who gets tangled up with an asexual and her cat. Or is that the other way around? 

Dark Fantasy LARCOUT: On Sale for A Limited Time!

 This Week's Topic: Promote My Work!

This week, my dark fantasy LARCOUT is on sale for $0.99 in eBook format. The sale ends Monday, May 6th. If you haven't picked up my story of a rock-eating, parasite-wielding, fire-warrior trapped in a nation of corrupt magicians now's your chance!

LARCOUT
Fire Born, Blood Blessed: Book 1

Blood-beings can be chattel or char.

Fire seethes through the veins of every Morsam, demanding domination and destruction. Combat is a hobby. Slaughtering the inferior blood-beings is entertainment. Life is a repetitious cycle in the prison fashioned by the gods. But mix-race abomination Vadrigyn os Harlo suspects the key to freedom lies in safeguarding the blood-beings; until her blood-born mother uses foreign magic to turn the Morsam against her. Betrayed, bound, and broken, Vadrigyn struggles against the dying of her essential fire. Yet the ebbing flames unleash the dormant magic of her mixed heritage…

The magic to destroy free will.

Seized by the gods and dumped in the desert nation of Larcout to stop history from repeating, Vadrigyn discovers her mother’s legacy of treason and slaughter still festers. To survive the intrigues of the royal court, the roiling undercurrents of civil war, and the gods themselves, Vadrigyn must unravel the conspiracy behind her mother’s banishment. But manipulating free will unleashes a torrent of consequences.

If she fails the gods, she will return to the Morsam prison, stripped of all magic and all hope.

If she succeeds, she can rule a nation.

Kasthu. Roborgu. Inarchma.

Live. Learn. Burn.

BUY IT NOW: Amazon | Kobo | iBooks | Other Leading Retailers

Revision List

 I’m behind. Again. We’re talking about revision. I believe I’ve mentioned it before, but revision is my favorite part of writing. I think I’ve also mentioned that how I come at revision is in the word itself. Re-vision. Once a draft is done, the revision process is my opportunity (and obligation) to look at the story with new eyes.

As I finish a draft, I keep a revision list. Once I type The End, I pack the WIP up, and I put it away for at least two weeks. I, too, am an intuitive writer. I feel my way through a story. Most of the time, that works really well, and revision is a minor affair. Most stories simply need a little tidy up. Most of my revision job is working through my list, tightening, calling myself out on my own BS – repeated words, gestures, over describing or over staging. I ensure that character arcs are fully realized. I make sure the plot holds together and drives from one end of the story to the other. Most of the time, my revision process is mostly about pruning to expose the trunk of the plot to air and light.

Then there are stories that need more. I’m working on a manuscript right now. This story needed to sit for years. I love the story. My beta readers like the story, too, and remember it even after all the time it needed to sit. It had to sit because all of us agreed that the story was flawed. Jeffe kindly read the story for me to help me identify the issues and she couldn’t finish the book. That confirmed for me that I had a major structural problem that I couldn’t diagnose. So, I shelved that story. I needed time and space before I tried to understand the issues.

It paid off. At least, I think it did. When I came back to the story and read it again, my story sense went off, immediately. The main character had no arc. She wasn’t driving the latter half of her story. That’s a pretty major issue. It required a serious rewrite of the second half of the book. That’s still in progress as a wrestle with the climax of the story and layer in ALL THE THINGS. This is the part of the book I really want to get right so it’s taking a frustrating amount of time while I obsess over it. I hope it pays off.

The biggest issue for me is that every story needs something different from a revision standpoint. I mean, the initial prerequisite is a finished draft. After that, though, each story dictates how I approach ripping and tearing at the guts. Some surgeries are less involved than others. Some are great big Frankenstein’s monster stitch jobs. And even then, I prefer revision to drafting. I probably need to be medicated for that.

Revising

Typing The End on a first draft is a thrill like no other. I hope every time you reach that point you celebrate! I like to unwind with my husband and a glass of wine. 

And then it’s time for revisions.

I write beginning to end, no moving ahead three spaces for me. And as I write I keep a notebook to jot down any inconsistencies, anything I change character/scenery/or plot wise, and any layering ideas that I know I’ll need to go back in and add. 

I revise the same way: beginning to end as I work through my notebook’s notes. I cross out the notes I complete. Add in new ones for things to change as I go. And attempt to catch the grammar issues. 

The last stage of my revision process, funny enough it’s the same as Jeffe and KAK, I listen to my book. I prefer to have the computer read it to me, even though it’s very robotic because I use the free options. I have read it out loud myself, but I catch things better if it’s being read to me. If you’ve never tried this I highly recommend it. The first time I listened to a manuscript I was shocked at how strong the typos and word choice changes stood out. 

Then my book goes off to someone else. And the revision process starts over again. The trick is knowing when is when. 

I haven't written a double digit number of books yet. I hope that once I have I'll be able to give stats like Jeffe: x number of months for first draft then x number of weeks for revisions before poof = finished product. My manuscript spreadsheets have oodles of data I'll be able to play with over the coming years. 

If you're revising this coming weekend, happy editing! 

Read, Revise, Read Again

 This Week's Topic: My Revision Process

Though Jeffe and I have different methods of drafting, my revision process is pretty much the same as hers (which you can read here). 

Since beginnings are the hardest part of the book for me, I have a lot to clean up in the first arc after I've completed the first draft. That includes ensuring I have concise statements of initial GMC and evolving milestone GMC as the story progresses. I cut info dumps back to the minimum the reader needs to know to progress to the next scene. As Jeffe mentioned, there's also the matter of ensuring proper seeding and foreshadowing.

As part of the character development review, I focus on whether I have sufficiently conveyed what the character(s) is feeling since that's a consistent weakness my editor has called out over the course of eight books. I love writing action scenes but I tend to gloss over the emotional risk, cost, and consequences during drafting. Thus, during revisions I have to make sure I've answered those big Emo questions for each transformative scene. 

For the final readthrough, I have the computer read the book back to me instead of reading it aloud myself because my brain will autofill stuff that's not there and autocorrect words that need to be corrected on the page. It's the low-stress last step of edits/revisions for me. I kick back in my recliner, click "Read Aloud," and close my eyes...and then open them at the first wince. It's funny and a little tragic how many glitches still survive what I deemed the (almost) publishable version.

Pantsing Doesn't Mean Lots of Revising

 This week at the SFF Seven, we're talking about our revision process. 

I'm running behind, as I seem to eternally be doing these days, and posting this a day late, but I feel it's important to talk about my revision process to dispel a huge myth about intuitive writers. I feel strongly enough about making this case that I'm using the term "Pantsing," which I almost never use.

(As an aside, the reason I don't like that term is that it comes from "to fly by the seat of your pants," which implies a lack of control that I think comes from the pre-plotting end of the spectrum. Writing without outlining beforehand does not mean having no control of the story. It also doesn't mean that intuitive writers don't plot. All writers plot; otherwise there wouldn't be a story. The difference lies in whether we determine the plot before writing or during it.)

A consistent message I hear from those espousing pre-plotting is that writing a book without creating an outline first leads to many blind alleys, cutting huge chunks of prose, and spending even longer on revision. While this can be true of some writers - which is fine! Figure out what your process is and own it, I always say - this is not true of me.

Intuitive writers like myself have often internalized story structure. We know how to write the novel without resorting to external guideposts like an outline. I also think that I draft faster by writing intuitively, by submersing myself in the creative flow of the subconscious. It takes me typically 55-60 working days to draft a novel of 90-100K words. Then I spend about 14 working days revising. I typically cut 1-2K words in revision and add ~10K. 

Explaining everything I do in revision would take longer than I have in this blog post, but in essence, my process is this:

1. Write the story beginning to end, skipping nothing, never jumping ahead.
2. Revise from the beginning. This involves:
   1. layering in foreshadowing and other clues for stuff I figured out along the way and about the ending.
   2. smoothing character arcs
   3. removing extraneous information, red herrings, doorways to routes I didn't follow, tweaking word choices.
3. When done, I read out loud one more time to catch any consistency errors or clunky wording.

 

And that's all she (I) wrote!