Showing posts with label Tamara Lowery. Show all posts
Showing posts with label Tamara Lowery. Show all posts

Tuesday, March 29, 2022

Oh, Oh, Oh, It's Magic! Building Magic Systems in Fiction.


It's a staple in the worlds of fantasy fiction. Not just that, but you also encounter it in some sci-fi tales and quite a few of the various "-punks" that scatter the literary landscape. But outside of just copying the classics, how do writers actually put together a system of magic that makes sense in their settings?

How much thought do you put into your magic systems in fantasy (or even sci-fi in some situations)? Is it similar to the world building or even like another character or setting in its own right?

HC Playa: How deeply I delve into the system rather depends on the story. Generally there are some things that I have to consider:

  1. Does everyone use magic?
  2. Is it attached to divinity/religion?
  3. Is it innate or conferred through special objects or rituals?
  4. Do all beings in the world use or view the magic similarly?

Ernest Russell: Great Topic! I have found codifying the basics is important. I liken it to Asimov's laws of robotics.. here are the guidelines now, normally more than three, then ask can this work according to these guides in attempt not to break the system. Of course, someone often ends up breaking or trying to break the system. Intentional- they're usually a villain. Unintentional - often the McGuffin for the story.

Marian Allen: In my fantasy trilogy, Sage, the "magic" and "religion" are pretty much the same thing. I did quite a bit of research and thinking and note-taking to separate this into two different attitudes/approaches, one of harmony and one of domination. I wouldn't say the two are characters, but they certainly reflect and define the "good guys" and the "bad guys."

Frank Fradella: When I write in a magical setting, it's important for me that magic is vital to the story. If I can take magic out of the story and still tell the story, then I'm doing it wrong. For me, it can't be something you tack on for flavor. Magic IS the setting.

Tamara Lowery: My magic system is pretty soft, and I tend to make things up as I go. I have been pleasantly surprised when my subconscious applied known science on some aspects. For instance, I have gold coated vines which are carnivorous. Most real carnivorous plants develop in environments which don't afford much sunlight for photosynthesis. I didn't do that on purpose, but it works.

Sean Taylor: For me, magic is not a typical part of my fiction, but in the case when it is important, I like to take the time to figure out why and how it works. I like to get beyond the sort of "djinn" approach, where anything goes. I like the idea of tying magic to things like the five senses, the four humors, or the base elements, that sort of thing. 

What are your rules/guidelines for designing a magic system in your novels and stories?

Marian Allen: The rules/guidelines are the same as anything else: a magic/religious system has to have its own internal logic and has to have a solid reason for being part of the story or novel, not just be window dressing.

Frank Fradella: I try to think of magic as "science we don't yet understand." I don't bend science to fit my stories, and I give magic the same respect. I have clearly defined rules for how magic works, what it can do, and what it can't do. I work within the broad limits of those rules.

Mari Hersh-Tudor: I have two magic systems in my fantasy world: one for humans and one for nonhumans. Humans require study and spells and accoutrements. Nonhumans have an innate ability and require only discipline and willpower.

Kaleb Kramer: I tend to do a lot of thought, and no real rules, because it is very different for each project, and so much of the thematic and symbolic elements are tied into magic, that addressing magic is, for me, fundamentally addressing the theme, tone, and feel of the entire project

Sean Taylor: The best idea for magic I ever heard, and the one rule I've stuck to throughout my career came from you, Frank. It's this: If magic is energy, then it must follow the laws of energy. If something happens, an equal and opposite happens elsewhere. Nothing new can be created without pulling from something else. The law of energy conservation must be maintains. We even wrote a pair of stories that did this for a holiday themed posting on iHero. So much fun. And such a good rule for energy-based magic. 

Ef Deal: I put a lot of thought into it. Recently I researched both zombies and vampires before literature or film defined them. Once I realized the variety of types in myth and legend, I had to establish my own world’s version of these, and my workshop members who were not genre readers insisted it was a huge mess of disinformation. EVERYONE knows vampires sparkle and burst into flames in sunlight. EVERYONE knows zombies are the result of science gone awry—radiation or patient zero. But I spent hours and hours of research that didn’t involve watching movies. I had to take info time refuting the misapprehensions. In the end, I had my MC mock the sources of those tropes.

Ernest Russell: Another aspect to figure out what type of magic and is there more than one type? Will it be physical magic? Energy based? Spirit based? Is the mana high, low, none.

I have a series of short stories all set in a low mana version of our world. The magic is based on will and is channeled through the pineal gland. A few people can use a focus to do magic. Others have to make intense preparation, have large number of people, ritual and so to create magic. And the vast majority don't have a clue. The currently published is in All That Weird Jazz. Another, following different character will arrive in a Gothic horror anthology.

HC Playa: Much like with my plots, in my early writing magic tended to be as I go, making up the rules as I went. The more I have written, especially after taking a world building workshop, I tend to treat it as part of the world building and decide the things listed above before diving into the story. One of my most common choices is to apply different "rules" OR different views of it to different groups, which automatically builds conflict into the system and plot.

Tuesday, November 23, 2021

Thankful Writers Pass the Turkey


Let's get some November thankfulness in here on the ol' blog. I'll set the virtual table with imaginary turkey, dressing, and cranberry sauce, but I'll need you to bring the thankfulness. (And don't even try to touch that mac and cheese. That's all mine. LOL)

What are you most thankful for this year as a writer? 

Ef Deal: Thankful to be writing with ease. It's as if a dam broke and the stories keep pouring out of me. I don't write many things, but I am three and two-halves into a paranormal pre-steampunk series that I just love, and book one has been contracted for publication.

Robert Krog: My first published novel.

Bobby Nash: I think I wrote some good stuff this year.

Brian K Morris: An overabundance of work.

Jason Bullock: That I survived Covid related complications when so many others didnt last year or this one.

Tamara Lowery: The invaluable source of information the author community here on FB has been in my journey to re-release my Waves of Darkness series as self-published. You guys ROCK!

Gordon Dymowski: Managing to balance creativity, work, and caregiving for Mom.

Krystal Rollins: Inspiration from you.


Tuesday, September 7, 2021

Ideal Work Environments


Whether it's a special desk in a locked office or a noisy coffee house and a pair of noise-canceling headphones, we all have our preferred environments when we sit down to write. But often the difference between our practical workspace and our ideal workspace can be vast. So, this week we turn our attention to our ideal and practical writing environments most conducive to our work. 

What is your typical writing environment when working? What do you do to make it as ideal as possible for your output?

Michael Dean Jackson: Lately the only things that seems to get me writing and stay at it until I am finished is a deadline. That, solitude and quiet. No music, no talk. Just as close to silence as I can get.

Paul McNamee: In my home office with soundtracks playing to set the mood.

Davide Mana: I've my PC in a very crowded room that was supposed to be the house library, but it's more like a big book depot right now. I wish I had a more comfy chair, but it's okay.

Eric Wirsing: My typical work environment is a minimalist desk at home with a laptop and tablet with speech to text. I fix myself two beverages at the start of the day -- one glass of iced tea and the other iced coffee.

Tamara Lowery: I've been writing during work breaks and downtime for well over a decade. At home, there are too many legitimate demands for my attention to get any writing or editing done. I have to nearly DEMAND time to work on anything book-related at home. I LOVE having Word on my phone.

Christopher Hobson: I set up my environment to be as much like the setting of the story as possible. Lighting is a major factor. I also have a cork board with pictures for character reference and environments. And finally “my rock,” a small statue or figure that I look to as an anchor.I also have a unique set of skills that allows me to paint and animate clips to help me see what’s in my mind.

Robert McDonald: Typical is sitting on the couch after the kids go to bed or in bed next to my wife.

James Palmer: I need relative quiet. Those folks who write in a Starbucks or a busy coworking space astound me. I get most of my writing done at work on my lunch break, with just a closed door and my laptop.

Angela Hope: I work at my desk, with a real computer (not a laptop), no music, just quiet. Since I am an administrator by trade, my desk is my 100 percent workspace. I think that having a dedicated workspace is key. Since I work with numbers most of the time when not blogging, I tend to not play music, which distracts me. When I am writing for my blog, I consider it work, therefore, my workspace is where I do it. For me, a quiet, controlled space is best.

Sean Taylor: I tend to write in many different environments, from at the local coffee shop to sitting at my kitchen table to my desk in the "office" (it doesn't have walls so it's not really an "office" to me). Sometimes even I'll sit on my couch, but I can't write too long that way because of the way I have to lean over and how that makes my old man back start to hurt. 

Josh Nealis: More often than not I'm sitting on my couch pecking away while the TV is on in my kid is running around doing whatever. And honestly ideally, I've been doing it that way so long I don't really know any other way.

Michael McIlvain: A quiet place. Preferably with few people around.

David Wright: My typical set up is on the couch with the little recliner section kicked back. I get all settled in with a large lapdesk with plenty of room for my laptop and forearms. I will find my favorite YouTube channels of either low-fi Chill Hop or Lord of the Rings ambient sounds and put in my earbuds. This is just to block out the rest of the world without grabbing my attention. And I'm golden. I use Scrivener and on my best days I've already written out "description summaries" of each scene (written as if I'm describing a part of a movie to a friend). If so, this helps me start producing finished scenes with minimal-to-zero mental ramp up time to figure out what I need to be doing. This scenario is my ideal and when I am at my most productive. 

Sean Ellis: I have a usual cafe where I write 5 plus days a week, for 1-2 hours a day. Sometimes it’s problematic because I know a lot of people who go there, but that’s what makes it fun. Headphones on, listening to music and writing.

Larry Young: I can write anywhere but it has to be 100 percent quiet. A mouse farting two houses away will distract me for an hour. I don’t want real people intruding on my made up people; it’s just rude.

B. Clay Moore: My desk in my office, a massive instrumental Spotify mix playing loudly behind me. Preferably alone in the house. 

Aaron Rosenberg: I USED to write at my desk, which is in the back corner of our family room in the basement. Fairly quiet, decent setup. But since lockdown last year I've had to work remotely from there and couldn't write in the same spot (needed to get up and move around once the workday was done). Now I write on my laptop in our living room instead. We have recliner couches and the corner by the front wall is mine so I sit there, recline it enough to stretch my legs out in front of me, set the laptop on my lap, and work there. I have noise-canceling headphones for when I need them, and an instrumentals playlist. Works fairly well--I've done four novels there, along with several novellas and a handful of short stories.

Chris Burke: Brainstorming usually happens with a notebook and pen with dated entries. Sometimes fully formed ideas come out of this. Better is sitting at my desktop when the house is quiet where I can type to my heart’s delight. I can also do this during lunch at work with the flash drive hanging around my neck. 

John French: I "write" all the time, thinking and planning stories. Sometimes I even remember what I thought about. When I do sit down to put words on the screen (pen to paper no longer applies) it's at a desktop computer in the basement. I'm alone, no music, no TV in the background, just me listening to the voices in my head. I can't write if there's someone in the basement with me.

Alan J. Porter: I have two distinct writing environments. When I’m working on non-fiction I need to be in my office with my reference material and books around me. But no music or background noise. - Conversely, when I’m writing fiction I’m most productive in a public space with background chatter as “white noise.” I do most fiction work when traveling- writing on the plane, or in coffee shops or the quiet corner of a pub or restaurant.

Bobby Nash: I write at the desk in my office surrounded by clutter, comics, books, and collectibles. Is it ideal? Maybe. I don't know.

John Morgan Neal: I don't have one and I know it hurts my production. I want my big ol' military desk to be that but that has been problematic. I have pain and comfort issues.

Ed Erdelac: I write absolutely anywhere whenever I have the time. I've written sprawled on the living room floor as my kids watch Amazing World of Gumball, I've written on my bed, on the apartment stairs, in my van, at my desk on break at work.

Jason Bullock: It has to be at my work desk where I can let my fingers fly across the keyboard. I also will write excerpts of stories, scenes and chapters in small notebooks from the Dollar Tree. I then make notations in the main draft or script on the computer the labeled books or tear out pages to keep in my main draft hardcopy notebook.

I seem to thrive in writing by filling my background with the noise of an all too familiar movie or soundtrack to soothe my subconscious mind. This frees my frontal cortex up to plow the furrows of my story.

Bill Friday: I don’t want to return to my LAST successful writing space. That was a warehouse, on graveyard shift, alone, feeling like a cross between fictional characters (Mark Whatney and Jack Torrance to be exact). I have a new writing space beginning at the beginning of next month, renting a room with wood-paneled walls that make it feel like a chalet… without the forest. We’ll see how it goes.

Joann Maria: I can get a lot done in a quiet corner at the public libray

Gordon Dymowski: My preferred writing space is a section of my living room with laptop and/or pen and paper. I try to reduce the number of distractions: I use the Stay Focusd extension to block social media, I may have soft music in the background, but otherwise my writing environment is relatively stress free. (Another option - the Walker branch of Chicago Public Library, which allows me to have a long, contemplative walk before I sit down and start to write.

What would be your ideal writing environment for getting the most (and best) work done? And I mean really get work done, so no wild parties in Ibiza or men in loin clothes feeding you grapes on an isolated beach, please. 

Davide Mana: I prefer to work in silence, or have music in the background - possibly something that will work as a soundtrack for what I'm writing. Instrumental music, preferably, or I'd get distracted listening to the lyrics. And this is it, and it is my ideal environment. It's not very good for taking "the writer in his studio" photos, but I am here to write, not to be photographed, so it's fine.

Eric Wirsing: The ideal writing environment is just what I have now -- sufficient food and drink, a space to go for a walk in suburbia, and internet access for research (I'm boring, I know).

Robert McDonald: Ideal would be a home office where I could both have a drink and cigar, play some music, and not be interrupted.

Jason Bullock: My ideal working environment is and will always be lakeside near shoals or waterfalls in a mountain-esque scene. Fresh air, serenity, and the high bombardment of negative ions from the water hitting the rocks and lakes makes the human brain balance in harmony. I know that sounds hokey but it has beem scientifically proven that all atoms vibrate. Since we are a compilation of molecules of atomic nature we too vibrate on that frequency. Our emotions change the amplitude of that frequency whether happy, sad, focused, or diffused. The natural world can be connected by each of us to enhance our mental and physical productivity. Sorry if this answer was a bit verbose.

James Palmer: My ideal space is an office with my bookshelves, artwork and Funko Pops, which is my setup at home.⁠

David Wright: The only way my ideal would be different from my typical set up is if I have no other obligations for the day and no one making demands of me. But even a wholly dedicated writing day requires exercise breaks. I'll go workout or run to not only work out the kinks but also brainstorm or let my subconscious wrestle with a plot issue.

B. Clay Moore: I'd like to build a small office behind the house for maximum isolation. That would be my ideal circumstance. The problem is always interruption. No one understands how completely derailing even the smallest interruption can be.

Aaron Rosenberg: I'd be happy to switch back to my desk, with my Aeron chair and dual monitors and proper mouse. What would be nice, though, is to be upstairs with it, where I can have a window open on nice days and get air and sunlight and a breeze. Ideally in the back of the house, so as not to get distracted by passing cars, neighbors, mailmen, etc.

Chris Burke: I don’t know what would make it better. I use the Internet more than it distracts me so I wouldn’t want to be someplace away from it..

Alan J. Porter: I’m not sure I have a theoretical writing environment as I find writing in different locations part of what inspires me.

Bobby Nash: I love writing outside on my back porch. I have a swing and take a table out there. The downside of this is that I live in Georgia so it's either too blasted hot and humid outside (like today) or too cold. I take advantage of that week of Spring we get though.

Ed Erdelac: My ideal place is anywhere quiet. I miss my apartment in Chicago when I lived basically alone and could sit at a desk, but I write wherever I have to.

Gordon Dymowski: Ideally, I would love to have my own private writing office close to home. Home often brings several distractions (caring for a sick mom doesn't help), but I don't want to invest huge amounts of time commuting to a coworking space. Give me a small room with a desk, working Wi-Fi, and a coffee pot, and I'll be good to go.

Sean Taylor: I have two ideals. One is at my MeMe's house in South Georgia. It has not internet, and I simply set up in the front bedroom or on the front porch and write and watch the cars drive by. The other is a home office set up. In that ideal home office, it would have walls and be big enough for me to have my library in it too, along with my music equipment for recording and my record player. 

Thursday, April 1, 2021

Tamara Lowery and the Waves of Darkness

I can't remember which convention I was attending when I met Tamary Lowery, but I can tell you it wasn't the last we'd attend together. She's such a stalwart on the convention scene that no doubt most of my blog readers have probably already met her themselves. Still, for those of you who need to re-ignite your acquaintanceship with her or meet her for the first time, this one's for you. 

Tell us about your latest work. 

There are 2, currently. I recently finished the first draft of Hunting the Dragon, book 8 in the Waves of Darkness series and first book in the second story arc for the series. The first 7 books comprised the Sisters of Power arc. While they have been out of publication since I broke with my publisher, Gypsy Shadow Publishing, the rights were immediately reverted to me. I'm in the process of revising and reformatting them for self publication. 

As for book 8: it picks up with the final events of book 7,  Maelstrom of Fate, and starts the Daughters of the Dragon arc, which will also take place over 7 books. 

The other recent work is artistic in nature. I was commissioned to do the face card portraits for a 5 suit Dragon Poker game. This is a companion game for an authorized Dragonriders of Pern LARP available from Antiquarian Boardgames. 

What happened in your life to prompt you to become a writer?

It was a natural offshoot of my need to be creative. I love to read, and, like so many others, loved to create my own fanfic in my head  ...decades before the internet existed. While my original career choice was to become a journalist, I eventually decided to become an honest liar instead and write fiction. The tools and access afforded by the internet led me to finally go for it. 

What inspires you to write?

I find story ideas and inspiration in various places. Sometimes it's a news article. Sometimes a stray odd bit in magazines like National Geographic or Smithsonian find their way into my writing. Sometimes TV shows trigger an idea. Often my husband tosses out an idea. Mostly though, it's because I'm that special kind of not-right-in-the-head person who HAS to write. I truly enjoy writing. Luckily, having to wear a face mask at work keeps my coworkers from being disturbed by my evil grin when a particularly wicked story idea occurs to me. 

What are the themes and subjects you tend to revisit in your works?

Adventure, horror, sex and sexuality, and the fact that all sorts of side issues keep cropping up and interrupting my main characters' efforts to complete their Important Task or to find out what it even is. 

What would be your dream project? 

I haven't got a clue. Wait  ...yes I do. I would love to get a story accepted for an anthology I've been invited to and have it actually see publication IN MY LIFETIME. So far, something has halted publication of every anthology I've submitted to. 

What writers have influenced your style and technique?

Anne McCaffrey, definitely. I wish I could be even half as good at world building and characterization as she was. Several authors I've encountered over the past decade or so at conventions have provided guidance and advice, either directly or on writing track panels. I also have tried to make my own unique voice in my writing, and I've noticed the development changes over the course of my book series. 

If you have any former project to do over and make it better, which one would it be, and what would you do?

Well, I'm already revamping the first 7 books of Waves of Darkness for re-release; revising to fix a few stylistic issues I've become aware of during my growth as awriter, reformatting for a different print size, and commissioning new cover art. I would like to redo season 1 of The Adventures of Pigg & Woolfe with new, art and professional covers. I also plan to up my marketing game on all my projects. 2020 kind of did a number on my creativity and energy levels. 

Where would you rank writing on the "is it an art or is it a science" continuum? Why?

I think it depends on what type of writing. Both really apply to fiction, because you not only need a flair for good storytelling, but you need to research what your readers want, and you definitely need a good grasp of grammar and vocabulary. One of the few stories I DNF'd had good bones, but the author was too busy showing off his vocabulary of obscure, rarely used words. You don't want to dumb down your writing, but you don't want your readers having to go through several Google searches per paragraph just to understand WHAT they're reading. 

What is the most difficult part of your artistic process?

Keeping track of story ideas when I come up with them at work, when I don't have access to scrap paper or my phone and have to stay conscious of my surroundings and the task at hand for safety purposes. 

How do your writer friends help you become a better writer? Or do they not?

I'm fortunate and privileged to know or follow a wide variety of writers, both in person and online. Granted, conventions are about the only times I get to interact in person, since my work schedule pretty much rules out attending local writing group meetings. Still, I get good advice at cons, and I learn quite a lot from news letters, blogs, and videos put out by other writers sharing their journey. I pick up various tips about style, current tropes, publishing processes (both traditional and indie), and what pitfalls and mistakes to avoid. I see what does and doesn't work for them, and I figure out my own methods from these. I never ever allow myself to be so arrogant as to think I have learned everything useful I can. 

What does literary success look like to you?

Hitting a best seller list would be nice, but it is not my definition of success. THAT is getting confirmation that people enjoy reading what I write as much as I enjoy writing it. I hit that mark when I encountered a fan online through a mutual friend during a Fandom discussion of Girl Genius. I made a mention in the thread about the book I was working on at the time, and she started fangirling on my series. She's up in Oregon, the opposite corner of the country from me, and had been introduced to my books by a friend of hers. I recently made her my alpha reader. 

Any other upcoming projects you would like to plug?

I really want to get my Waves of Darkness books into audio books. I've had interest expressed to me about this for a few years now. I still have some research to do on my options (besides ACX and Audible). But, I eventually WILL get this done. 

For more information, visit:

https://talowery.wordpress.com for my blog, character profiles, book list, excerpts and deleted scenes, and a pretty nifty virtual convention dealers' room under the Pirates Cove & Hucksters Haven heading. 

https://facebook.com/Waves.of.Darkness

https://plurk.com/Viksbelle 

Thursday, February 4, 2016

The Obligatory "Promote Your Book" Post

Marian Allen


In order to work off-world, you have to have your connection to the 'net severed. But what if you still hear voices in your head? In an alternate history, three young friends and their mechanical dog rent an airship for a jolly holiday. Then sky pirates happen. These stories and poems, most collected from various venues and one brand new, imagine alternate Earth, future Earth, Earthlings in space and on other planets, and people of other planets. Science fiction. It's not just ray-guns anymore.

http://www.amazon.com/dp/B012HN603I

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Terry Smiles



 

 “[A] blend of fantasy and political thriller … an adventurous twist of genre, much recommended.” ~Midwest Book Review

The Rothston Institute is home to a special class of adepts who can control the decisions of anyone in the world. But college student Kinzie Nicolosi is just discovering her own dangerous powers — and her role in the battle for humanity’s future.

The final installment of The Rothston Series to be released Feburary 29, 2016.


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Ralph L. Angelo, Jr.



1937, the world on the brink of war. But in the city of Riverburgh, NY forty miles north of Manhattan there was a different kind of war brewing; it was a war of survival for the common man. A war against the gangsters and thugs who ruled the streets and against the corrupt politicians who turned a blind eye to the evil that ran rampant in Riverburgh.
In a city where everyone had given up hope and cried to the heavens for a savior, a savior had arrived. But was he heaven sent or a monster from hell?

http://tinyurl.com/TheGrimSpectre

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Perry Constantine



The Spear of Destiny, believed to have pierced the body of Christ, is said to be an artifact of incredible power that will render the user unstoppable. And now the Thule Society, an occult order from the days of Nazi Germany, is after this weapon. Only Elisa Hill and her allies stand between this Nazi death cult and their genocidal plot! But when faced with ancient, forbidden magicks, does even the famed myth hunter have a prayer of success?

http://www.amazon.com/dp/B015S6OIFI?tag=percivconsta-20

 

Infernum. A shadowy, globe-spanning network of operatives run by the mysterious power broker known as Dante. They hold allegiance to no one, existing as rogues on the fringes of society. In this three-book series, meet some of Infernum’s top agents: Angela Lockhart, a spy on a mission of vengeance; Carl Flint, a retired assassin looking for peace; and Dalton Moore, a professional thief drawn into a dangerous game!

Contains The Following Books

Book 1: Love & Bullets
Book 2: Outlaw Blues
Book 3: Gentleman Rogue


99¢ COUNTDOWN DEAL BEGINNING JANUARY 30TH

http://www.amazon.com/dp/B017YI55K0?tag=percivconsta-20


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Bill Craig



When Vern Brisbane is murdered after docking his shrimp boat, the Key West Police think it was a random killing. But Brisbane’s daughter Lilly disagrees. She hires Rick Marlow to look into the shrimper’s death and what he finds is a smuggling operation that is using shrimp boats to smuggle in both drugs and people. Not knowing who he can trust, Marlow must navigate the Dark Waters to get the man behind it all.

http://www.amazon.com/Marlow-Dark-Waters-West-Mysteries-ebook/dp/B019S5X2XE/ref=sr_1_2?ie=UTF8&qid=1451150400&sr=8-2&keywords=marlow+dark+waters
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Mark Bousquet



In the tradition of NBC’s THE BLACKLIST and BLINDSPOT, Space Buggy Press is proud to present AMERICAN HERCULES, a modern re-imagining of the strongman’s classic Labors!

Decorated war hero Nathan Hercules awakes to find blood on his body, a knife in his hands, his wife and children dead at his feet, and no memory of committing the crime.

Six years later, the lawyer who put him away comes to Nathan with an offer to help him track down the truth. All Landon Eurystheus wants in return is Nathan’s help in finding the one man in the world Nathan cares least about: Washington Zeus, the world’s richest missing person and Hercules’ biological father.

http://www.amazon.com/American-Hercules-Nemea-Crime-Serial-ebook/dp/B017MRUOBI

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Lucy Blue



“When you have eliminated all which is impossible, then whatever remains,however improbable, must be the truth.” In An Improbable Truth: The Paranormal Adventures of Sherlock Holmes, 14 authors of horror and mystery have come together to create a unique anthology that sets Holmes on some of his most terrifying adventures. A pair of sisters willing to sacrifice young girls to an ancient demon for a taste of success, a sinister device that can manipulate time itself, and a madman that can raise corpses from the dead are just a few among the grisly tales that can be found within these pages. Curl up with a warm cuppa and leave all the lights on. This is not your grandfather’s Sherlock Holmes.

http://www.amazon.com/Improbable-Truth-Paranormal-Adventures-Sherlock/dp/0984004262/ref=sr_1_1?ie=UTF8&qid=1454702036&sr=8-1&keywords=paranormal+adventures+of+sherlock

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Stephanie Osborn



"I have always loved Sherlock Holmes stories. As a teen, I read The Hound of the Baskervilles and was immediately hooked. As an adult, I continue to read or watch stories featuring Holmes, whether from the eyes of Mary Russell (Laurie R. King) or those of the modern day Sherlock in Stephanie Osborn’s The Displaced Detective series. To date, I have been particularly enamored with the contemporary BBC series featuring Sherlock Holmes, and anticipate each new episode’s release.But now I have a new favorite --The Gentleman Aegis series, starting with book 1: Sherlock Holmes and the Mummy’s Curse...It’s almost like going full circle, because this book is written in a style unique to the Victorian era, not unlike that first Sherlock book I read as a youth. Aside from a riveting good tale, replete with a wonderful mystery steeped in ancient cultures and vibrant personalities, this book stands out from the usual offerings in contemporary fiction...Bravo, Ms. Osborn, and thank you for a beautifully rendered book." ~Aaron Paul Lazar, Murder By 4

http://www.amazon.com/Sherlock-Holmes-Mummys-Curse-Gentleman/dp/1518883125/ref=sr_1_1?ie=UTF8&qid=1454702078&sr=8-1&keywords=Sherlock+holmes+mummy%27s+curse

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Mark Halegua



Well, I have a story in the new Super Swingin Heroes 1968. Mine't titled "Automaton Investigations, Inc."

http://www.amazon.com/Super-Swingin-Hero-1968-Special-ebook/dp/B019M54B8A/ref=sr_1_fkmr2_2?ie=UTF8&qid=1454702119&sr=8-2-fkmr2&keywords=super+swinging+1968

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James Bojaciuk




You can tell a lot about a dragon by their hoard. Not the shiny one, the other one. The one where they keep their favorite things. The Dragon Lord himself has a library. A library that devours halls and caves, filling them with every kind of book and codex and scroll. These are the stories that fill his favorite shelf.

http://www.amazon.com/Dragon-Lords-Library-1/dp/0692618988/ref=sr_1_1?s=books&ie=UTF8&qid=1454702149&sr=1-1&keywords=from+the+dragon+lord%27s+library

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Tamara Lowery



Viktor Brandewyne finds himself tasked with finding the most flighty of the Sisters of Power. He tracks her from New England to the ends of the earth. She sets him the task of retrieving three things as the price for a portion of her magic: a dragon’s egg, a dodo’s egg, and a drop of blood from the Daughter of the Dragon, one of the few beings capable of killing him.

http://www.amazon.com/Hells-Dodo-Waves-Darkness-Book-ebook/dp/B0196ZQO90/ref=sr_1_1?ie=UTF8&qid=1454702220&sr=8-1&keywords=hell%27s+dodo

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Michael Woods

I didn't write this but I did edit and format the tale.



Fool's Gold
By S.E. Lehenbauer

Can you hear it?

Regina Sol is just trying to escape her dark memories and make a new life aboard the spacecraft Tzigane. When a strange illness infects the entire crew, Regina finds herself quarantined with the reclusive captain, Imrah: an alien woman searching for a god-like beast from her home world.

Nothing will stop Imrah from chasing her fairy tale. Heedless of the sick crew and the asteroid field that could tear the ship to bits, Imrah’s pride could doom them all. With her new family’s life on the line, can Regina stop the hunt for fool’s gold before it’s too late?

http://www.amazon.com/gp/aw/d/B015VGTZ8U

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B. Chris Bell



Save a few bucks for TALES OF THE BAGMAN VOL. 3, THE BUTCHER BACK O' THE YARDS! (Soon to be released) “Be there, or miss out on the invention of the greatest new American pulp imagination at work in decades!!!!” --Keith Allan Deutsch, Publisher Black Mask Magazine

http://www.amazon.com/Tales-Bagman-Three-B-C-Bell/dp/0692636307/ref=sr_1_3?ie=UTF8&qid=1454702250&sr=8-3&keywords=tales+of+the+bagman

Friday, June 19, 2015

Oh, the Horrors (of the Publishing World)

For this week's roundtable, let's talk horror stories. No, not how to write horror stories. Instead I want to hear your horror stories from the world of getting and staying published. Please don't name names, as this is a small world (after all), but it would be good (I think) for new writers to be prepared for the inevitable stuff than can go wrong.

Alan Lewis: My first two books, published by different companies, were messed up initially. Each company uploaded the wrong (unedited) file to the printers. As a result, I was hit with bad reviews until they were able to upload the correct (edited) versions. This pretty much killed early sales since reviews help drive ebook sales, and negative reviews kill them completely. Having it happen once, I can understand. But two time in a row and by different companies? I almost quit writing completely as a result. They say lightning doesn't strike twice, but in my case, it does.

Mark Bousquet: I have a story in with Publisher X now for a book that was supposed to come out in January. It's now June and on track for a July release. Publisher X has valid reasons for not hitting the January deadline (some his fault, some not), but when you're excited to get a story out and it's not out when it was originally supposed to be out, it sucks, and I get mad at Publisher X.

Also, Publisher X is me.

And yes, there are valid reasons - my own long-term unemployment and never-ending search for a full-time job, formatting issues between different submissions, one nightmare file that doesn't play well with Pages, difficulty with a cover artist, someone getting sick, someone else disappearing, a file getting misplaced, and so on.

Valid reasons - It still sucks, though, and I feel terrible for that anthology's writers. But the contracts are signed, the final edits are being done, and the anthology will be out in July.

Instead of sharing any particular horror story beyond that, I would say that new writers need to be aware that horror stories will happen. A copy editor will miss an easy grammatical mistake. Or twenty. A publisher will tell you your book will be out in June and then it won't come out until October. Your name will be spelled wrong (this happened to me on my first publication credit, which came from Yale University Press! (I was an Illustrations Researcher on the Encyclopedia of New England book which came out a decade ago.) An artist will disappear, another will deliver the wrong content. You'll have a release your excited about come out on the same day as a horrible tragedy, which means you're caught between wanting to get the word out and not looking insensitive (this is happening to me right now). What I've learned is that whomever your publisher is, your artist is, your copy editor is, your graphic designer is ... ultimately, the final responsibility lies with you, so the more you can take control of your own career (not doing everything but being intelligent about everything that's being done), the greater your happiness.

R.J. Sullivan: Haunting Blue was rejected by a major publisher for being "too exciting."

Lucy Blue: I probably should leave this topic be -- I come across as the hag on the hill screeching doom every time I get started on it. My biggest horror story is the collapsing dominoes that were my writing career a few years back. After working with an A-list agent for a decade and publishing six mid-list paperbacks with a Big 6 publisher, in the space of three months I found out that 1)my publisher didn't want my next book and in fact wanted me to basically "go erotica or go home;" and 2)my agent was retiring, closing up shop, and the nice girl who'd been taking care of my stuff while he, my actual agent, was ill had decided (AFTER I had chosen to NOT go with the new people taking over the agency but stick with her out of loyalty) to not be an agent after all because the market was just too horrible. When I was a new writer, I thought that once I had an agent who knew everybody's name in NYC and signed a contract with a publisher, it would be smooth sailing, and I could just concentrate on being the Shakespeare's sister of historical fantasy/romance. Yeah.. . not so much. BUT--BUT BUT BUT BUT BUT -- and please, any new writers reading, this is the most important part -- it hasn't stopped me writing, or publishing, or finding readers, or making money as a writer. I just have to work harder and take more responsibility for my own stuff. I don't expect somebody else to take care of me and my career and my ego any more - which is good because nobody will. And in a lot of ways, that's been really liberating. But it sure didn't feel liberating while it was first happening.

Tamara Lowery: Before I found a publisher, I found a "publisher" that seemed very interested in my manuscript. I sent it in; they looked it over and sent it back with the advice to have it professionally edited then resubmit. The snag was that they preferred I use only an editor THEY recognized. For me, that was a red flag. Sure enough, when I did a more thorough bit of research of this "publisher" I found that several articles warning about them had been posted on SFWA's "Writer Beware" blog. Bullet dodged.

For quite a while, I kept an eye out to make sure my story did not turn up under a different author name/title.

Desmond Reddick: I'm still a neophyte to being published, As such, I don't necessarily have any horror stories about staying published. That horror story is still very much in progress. I do, however, have a story about my first anthology acceptance that gnaws at me to this day for reasons beyond my control.

I had written many stories in the first quarter century of my life, mostly yawn-inducing screeds sure to bore even the most diligent and forgiving of readers. Then the submission notice came out. It called for zombie stories and the anthology was specifically geared toward authors who had yet to be published. Perfect! It just so happened that a brilliant idea popped into my head. Of course, looking back, it's far from brilliant, but it was unique and fun in a sick way. I wrote it feverishly and submitted it. Lo and behold, it was accepted. I was ecstatic! It wasn't a major publishing house or anything, but it offered a token payment and an author copy. That was more than enough to stir my excitement.

Then, thanks to a particularly nasty internet battle between said publisher and an author he once worked with, it was revealed that the publisher spent more than a dozen years in prison for four counts of first degree sexual abuse of his former step-children. He admitted it, referring to his past mistakes, and said there would be no hard feelings if someone wanted to withdraw their story from the anthology. In a stunning turn of events, I appeared to be the only one to do so. I am an educator, so being in any way associated with a convicted sexual predator is not necessarily something I need in my career. Further than that, as a human being, it would certainly bother me. Yet, here I was: the only person who didn't see that "he'd paid his debt to society" or whatever. Honor had certainly kept me away from other situations that would have been boons earlier in my life, but this was my first foray into becoming a published author, my dream.

I eventually would be published, shortly after, with a different story. Though, that anthology made zero attempt to copy edit and completely neglected to put in a Table of Contents, but that's far lower down on the publishing horror story ladder. Today, with my first professional short story sale and my forthcoming first novel, I feel a little better about the publishing world, though that zombie story is still sitting in my completed drafts folder. I still sneer a little bit when I see it sitting there. Maybe one day I'll get over myself, polish it up and send it off.

Thursday, March 20, 2014

The Opening Salvo -- Grabbing Readers from the First Sentence

Been a long time, but finally it's time for another writer-focused, practical, down to brass tacks (that enough cliches for you?) Bad Girls, Good Guys, and Two-Fisted Action roundtable interview. This time around let's talk about story openings, and what makes them really zing for readers to keep them going past the first sentence, paragraph, and page. 

As a reader, how much to story openings mean to your enjoyment of a book? Does a bad one make you put a book down and stop reading, or are you willing to forgive a bad one and hope a book gets better later?

Scott Sandridge: When I was younger I was willing to forgive a slow start, but as I got older and more jaded, and finding myself with less time, I became less and less forgiving of stories that don't hook me from the start.
 

Mark Koch: I am patient with slow or clumsy openings, but it does impact my opinion of the author. Once my disapproval radar is up, it tends to stay in effect. I'll read it, but I am far less likely to trust and pick up another book from the same author. So, I hope it gets better and typically grind it out but become very skeptical and will need much more to turn it around and allow myself to be impressed.

Tamara Lowery: I'll give it a chance, but only so far.

Lance Stahlberg: Conventional wisdom says you have to grab the reader in the first paragraph or they put it down. I give it at least the first few pages. Roughly the amount that Amazon lets you browse for free. That much is enough to give me a reflection of the writer's style, and set the tone of the story. If it doesn't grab me by page, say, 5, there's no point in continuing.

But that's me personally. For the public at large, I do not dismiss the power of first sentences.

I.A. Watson: Story openings are critical when the book or author is an unknown quantity. I'll tolerate a poor or slow start when I trust the writer or have already enjoyed a previous episode in a series. I'm less tolerant when I don't have previous quality assurances. The house is littered with volumes that failed to engage me by page 20.

Do story openings for different genres need to do different things? For example, in traditional fantasy, an world-building info-dump is still considered okay, even though that sort of thing would be heresy in a thriller. Or should story opening follow the same guidelines regardless of the genre?

Mark Koch: Regardless of genre, the opening is where the author introduces his or her style and makes the first connection with the reader. I don't care what you are writing -- unless it is an academic paper I need a reason to care pronto. An entertaining and vigorous introduction is a must.

Lance Stahlberg: I hate world building exposition dumps. Which might be why I've never been too huge a fan of high fantasy.  But even in that genre, all of my favorite books open with something happening. A demon awakening -- opening on the villain will rarely steer you wrong. A ship spotting a dragon. A thief in the middle of a job.

If you're going to open on setting, that setting better be REALLY cool and original. RA Salvatore got away with opening Homeland by waxing poetic about the Underdark because it was the freaking underdark. A setting like that demands a little extra time. But even in that one rare example... he kept it short. Four pages in, we are looking at Menzoberranzan through the eyes of a drow on an urgent mission. It's still exposition, but things are moving.

Very few settings need an introduction like that. By now, we've seen them all. Today's readers are savvy enough that they can fill in the blanks on their own. So bottom line is I'd say they should always follow the same general principals, regardless of whether it has aliens and space travel or orcs and magic. 


I.A. Watson: I'm actually suspicious of fantasy stories that require an infodump start -- especially a prologue infodump start -- because it suggests a lack of writer refinement. Okay, Tolkein could get away with it. Most of us aren't Tolkein.

The only real rule is to grab the reader and keep them reading. If you can do that with a long essay on the socio-political machinations of the dwarves then great.

Allow me also to add a grumpy caution about the opposite of the info-dump problem, the in media res fashion that explains nothing at all for the first 70 pages, counting on the reader's patience to hold out for motives, backstory, and relevance. I'm not usually that patient.

Tamara Lowery: I think it should function similarly regardless of genre. Personally, I think the opener should drag a reader into the story by the eyeballs THEN you can mess with world-building to let them orient themselves in the story.

Dave Brzeski: There's a related thing that I really hate. When the story starts with a POV character, but you're given no physical details whatsoever this character -- sometimes not even the gender. Then, 30 pages in, the author finally drops in an important detail, which almost always clashes with the version your imagination has made up, in the absense of that information. 


Scott Sandridge: A story needs a good hook, regardless of genre. Also, I don't believe in info-dumps. There's plenty of ways to get your world-building information across without long drawn out boring paragraphs going for pages and pages. And most times, the info-dump is often unnecessary, having no relevancy to the story. At the end of the day, it should be about writing a great story, not writing about how awesome your world is.

Do you go back and rewrite your opening many times or are you the type who can't move on until it's nearly perfect?

Scott Sandridge: No matter how much of the story I already know in my head, I can't even start on it until I have the first sentence down right. That's how important I feel that first sentence, first paragraph, first page is. But once that's done, I usually breeze through until I get to the ending...and then I obsess just as much over the ending.

Lance Stahlberg: A little of both. I have had to force myself to move on from an opening scene and come back to it.

The golden rule of action adventures is to open strong. But I actually hate it when books open too strong just for the sake of having an action scene. When I get too deep into a scene without having clue one about the who or why of what's happening, it has the opposite effect on me that the experts claim it should. I like to set the stage and have at least some intro to the characters.

What ends up happening is I write a relatively slow opening scene that does just that. I reread it. Realize it's too slow, then come back with a quick and dirty prelude to better set the tone that the rest of the story will take.

Again, conventional wisdom says to avoid prologues at all cost. But I think they can work really well when kept short, like a page or two at most.

I.A. Watson: Different things I write have different inspirations -- a concept, a piece of dialogue, a twist I want to use, even a title. Quite often it's the opening scene I want to get out of my head onto paper. A number of stories, even a novel, have started out as just a first scene. Of course, some fisrt scenes have stayed there and never progressed to a second.

I always revisit the first scene at the end of the writing process. Since it was probably the first bit I wrote, the story and style might have been refined in the subsequent 100,000 words so it needs checking for tone. It must have page-turning impact, so it needs some extra polish. The danger is that in tinkering I lose that original spark that made it a good scene in the first place.

Tamara Lowery: Rewrites can wait until time for revisions and edits prior to and after submission. Write it once, let it sit, then go back later with a fresh mind.


What makes an story opening effective? What makes you want to keep reading?

Mark Koch: I can be indulged to care with action, or emotion, or intellectual gymnastics. Paint a fun alternate reality or draw up a curious character. Slap something unexpectedly violent across the windshield. But you had better give my mind a toy to play with before it gets bored. Clever prose can do it, but clever storytelling is a better bet.

Lance Stahlberg: Movement. Always be in motion. It doesn't necessarily need to be violent, explosive action. But the reader wants to follow somebody and see events unfold through their eyes right out of the gate.

And humor. Even the most serious story should be presented with healthy doses of humor, and I want to see that up front.


Scott Sandridge: The opening of the story has to get you asking "What's this? what's going on? I need to know more!" It needs to introduce the main protagonist, or at least someone just as important (like the main antagonist), set up the situation, and provide the motivations to get the character going. In a short story that has to be done within the first page or two. In a novel, before the first chapter has ended
.
 

I.A. Watson: The reader has to care about or wonder about something or someone. The reader must invest. Either we like - or hate - a character or situation, or we're intrigued by an event.

Think of the start of Ian Banks' The Crow Road -- "It was the day my grandmother exploded." Nobody could avoid reading the next line. And the next, and the next, and it unfolds from there. Think of Lessa's awakening at the start of Anne McCaffery's Dragonflight and how her fantasy world naturally unveils from there.

A word of caution, though. As a seasoned, cynical, critical reader I am very suspicious now of books that start with a prophecy poem. Tolkein nailed it with "One ring to rule them all..." Other prophecies need not apply.

Prologues are a controversial topic too. I've had publishers request them added and others ask them to be deleted. My general rule is that unless you can quantify what value they add, other than making the author look clever on a second read, then they're best left until you are Stephen King popular and can do whatever you like. Use them if there's good reason. Otherwise, go straight for your readers' jugulars and never let go till they wake up buying the sequel.

Tamara Lowery: Interesting character(s); interesting, fun, or emotionally gripping action; and the kind of location you'd like to visit, can relate to, or hope to God is NOT a real place.