#WriterProblems: How Do You Name Your Characters? #WritingTips

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When you begin a story, what do you see?

A landscape of danger and mystery, perhaps. A relic with power to change the world dropped in the rain while fleeing the enemy. A duel of ambitions, weapons poised to take life and light of all.

You see a brittle world, crushed and smoldering. You know how to save it.

Maybe.

We don’t always begin with the conflict or the setting. Sometimes, we begin with an identity, one which turns the wheels of the plot in ways we are not yet sure, but we know the workings are hidden there, beneath the face of this person.

This name.

“It gives me great pleasure, a good name. I always in writing start with a name. Give me a name and it produces a story, not the other way about normally.”

J.R.R. Tolkien

Now I’m sure this method worked wonderfully for Mr. Tolkien, as I believe he’s gotten himself published a few times. However, we other creatives just do not always have a name to go with and find ourselves going “the other way about” quite a bit. Let’s explore a few of those situations together.

When a key scene and its conflict are etched in my mind, the character names are but one detail in a sea of details–not to be fussed about until the rest of the moment is captured. That was my approach in “The Hungry Mother” (free to read in Mobius: The Journal of Social Change!) where I could see the con artist and the mark engage in a rundown park, but not hear their names. So, my first draft had nothing but alphabet letters for character names to keep them straight. Only after that first draft was completed did I consider the backgrounds of the characters and setting to discover Puritan-style names for the homely, rural Remembrace and her daughter, Tace. But what of my network marketing hustler? Social media loves to dub such people “Karens,” so there was that name…eh, too on the nose. So I looked back into my own memories of bullies and deceives to uncover the name of a girl who was a real jerk during our school days: Nicole.

The woman turns away from the old man and locks eyes with Nicole. For a moment, Nicole is a freshman on the bus all over again, snickering at the pathetic group of Old Sancs boarding to attend school at New Sanctuary thirteen miles away, and none was more pathetic than the hunched creature in patched rags named Remembrance Priest. That was the creature Nicole pictured when she messaged that name and a hundred others about Suzy Ray! and its wonders. That was the creature Nicole pictured when agreeing to meet in this town forgotten among the fields of corn and cow shit.  

“Oh, my, gosh,” Nicole says. Normally she must count to three between each word so she sounds as wondrously pleased as possible, but Remembrance’s total lack of hunchback makes the greeting almost genuine. “Look at you, Mem! Has it really been ten years?” And a part of Nicole wriggles at how ten years has affected Mem. Her skin is smoother, firmer. Her braid of thick hair looks strong enough for a rope swing. Was Mem always this tall? Did another Ray of Sunshine beat me here?

Mem waves like the homecoming queen she never was. “Hiii!” She says and embraces Nicole so tightly Nicole almost spills her drink. Mem’s lips press through Nicole’s dark curly hair and onto her Suzy Ray! sunshine studs. “Sooo good to see you, Nicole. You look sooo pretty.”

Ten years clearly hadn’t taken the sliding whine out of her voice.

When the conflict shines so clearly before us, we must capture every line, every movement, as quickly as we can before that light dims. It is all too easy to allow our exploration of names get in the way of storytelling, so using the simplest identifier possible will keep characters straight until their true identities come to you.

I’ll be the first to admit I got lost in names for my Fallen Princeborn novels. Nearly all the names went through multiple changes as I researched history and better understood my velidevour world. Only Charlotte’s name remain unchanged, for it was a choice close to my maternal heart. Bo and I had been considering the name for our daughter-to-be, but in the end we gave Blondie a different name and Charlotte remained bodiless, name of strength, fluidity, tenacity, beauty and…I just had to put that identity, that soul, to use. The different versions of “Charlotte” also allowed the girl to make her name a boundary in and of itself, which helped those around her–and readers–see when she had finally accepted the friendship and trust of another.

“Come  now,  Charlie, don’t  leave.”  Liam’s fingertips graze her hand.

“Don’t call me Charlie.” That’s for family. You are not my family.

~*~

“Cate’s the luckiest princeborn ever, having a brother like you,” Charlotte lets the thought out, surprising herself a little, but sorry for the slip? Nah.

Dorjan blushes. “Well then, here.” He pulls an extremely fast hat trick of hair tug, ear flick, nose tweak. “Consider yourself an Honorary Durant.”

And now Charlotte can’t help but hug them both, these two who were willing to fight alongside her before they had known her a single day. “Call me Charlie.”


The House of Artair holds many Gaelic names. I wanted this family to be rooted to the Isles, intelligent and fierce. “Artair” is a version of Artur, which is Gaelic for “Noble Bear.” Considering the vicious head of the House, Bearnard (“strong as a bear”), transforms into a bear, this was a perfect fit. Liam’s name was a tricky one; it needed to carry the weight of his parents’ aspirations as well as the truth of his inner spirit. Plus, as a writer, I wanted the name to carry a timeless feel to it. Discovering Liam means “resolute protector” was nothing short of a miracle. Liam’s parents are determined to see him lead all velidevour into a new age of dominance; Liam desires to protect Charlotte and those who have come to support him and fight alongside him. And it’s a timeless name. 🙂

Granted, we sometimes allow ourselves a name purely because it sounds cool. Disraeli is the name of a Celestine, offspring of stars and magic. Why did I pick the name Disraeli? Because I saw it in a magazine and thought, That’s a really cool name. It was originally the name I intended for Arlen, but when I realized the need for the princeborn names to carry meaning and history, I knew I had to change that name. Still, I had to find someone to hold that name, and a creature of the stars just happened to fly by…

The world can help us discover character names, too. As I worked out the history of River Vine and the velidevour trapped there, I could see the natural setting would mean everything to them. They were souls who used animal and human bodies to hunt their prey as dictated by wicked The Lady of the Pits. Nature above ground would be their peace, their refuge. This led to me using plant names for many of them, such as Nettle, Poppy, and Campion. Does your own story-world have ties to nature, the elements, or some other unique feature in the setting?

Or perhaps the very world in which you write must change. This happened to me a ways back with Middler’s Pride. The first version of the story was a co-collaboration of sorts with fantasy author Michael Dellert, but as our goals with the character changed, he continued on his world’s story arc and I continued on with the character. This meant renaming recreating the Shield Maidens’ world and practically everyone in it, starting with the protagonist Gwen.

Back to one of my favorite resources: The Writer’s Digest Character Naming Sourcebook!

Now here I had to keep in mind that I was not just renaming a protagonist, but a character within a group of protagonists. This meant I did not want the characters’ names to sound alike, have the same cadence, start with the same letter, etc. Now that may sound silly–why should those impact the name if the name MEANS something amazing?–but this is an important strategy for the readers’ sake. How on earth will readers keep a group of protagonists straight if their names blend together or are easily mistaken?

So I first had to look at my own Shield Maidens whose names did not need to change: Wynne, Tegan, and Ellylw. I had chosen all these Welsh names loving how the names bounced so dramatically between simple and complex. Each starts with a unique sound and phonetically differs enough that one shouldn’t confuse them when reading aloud. But they were also all rather short, so Gwen’s new name could not be that simple. Oh, it could have the potential for a nickname–Ellylw becomes “Elle” pretty quickly–but it still needed to be longer than a couple syllables. So, I focused my search on longer Welsh names, and came across Meredydd, “Protector of the sea.” Considering Middler’s Pride is the tale of Meredydd and the other Shield Maidens rescuing the River Goddess from a cursed beast, this name felt right.

Mer watched the sunlight caress the blade. She heard footsteps, and knew the others had pulled in around her to form a half-circle. Hauling lumber would surely take them until dawn, but by dawn she’ll have this worthless batch of—

“Wynne, stand here. Tegan, right? How’s your balance?”

I’m really hoping I can redesign these covers later this year.

“Hey, what?” That circus freak, walking about like she was next in command. The bloody nerve. “You heard the captain. The best way to get that dagger down will be a ramp, and that’s going to take lumber. All we need is an axe and—”

 “No we don’t.”

And I’M the upstart? “Captain Vala said—“

“She said to get the dagger.” The circus freak pressed down on each of Wynne’s shoulders. The pretty face winced, but didn’t complain. “We don’t need lumber. Just a couple good backs. Wynne, I think you can do it.”

She shriveled at the compliment. “I-I’m afraid I’m not as strong as you. I don’t want anyone getting hurt.”

“All the more reason to train up,” Meredydd tugged her arm towards the gate. Ye gods, it was soft as dough. This girl wasn’t lying. “You can’t be a Shield Maiden without power in your limbs.”

“And she’ll get there.” The circus freak grabbed Wynne’s other arm. “But not because you make her do something stupid.”

If Mer could just get Wynne behind her and away from this twit—“Would the king bestow a weapon upon an idiot?”

The key will be some series consistency!

The circus freak’s scar across her gross face went all squiggly. “Sure, if he’s desperate.”

Wynne yowled. Tegan’s fists tightened around her hips and she screamed:

STOP YOU’RE RIPPING WYNNE’S ARMS OFF!”

Three loud THUDS and the girls fell in a heap against the gate. Tegan coughed, shook, and ended up plopping down herself. “Look, this”—she waved at the three of them—“is stupid. Mer, you want to follow orders the idiot way? Fine. I’ll go with you. Wynne, you want to work with…”

“Ellylw.”

“Huh?”

“Sounds like a pig call.” Mer ignored Tegan’s glare. It seemed to keep her magick at bay, for one thing. And for another, the circus freak’s name did sound like a stupid pig call.

Wynne fixed her hair. Gods help her when a twig undoes her braids. “I think it’s pretty.”

You would.

The circus freak rolled her eyes as she finished catching her breath. “Just call me Elle, it’s easier.”

We are blessed to live in a world of countless tongues and histories. A single name can be the seed to a hundred variations, each unique with potential for an identity across the oceans. Whether you begin with that seed or uncover it as you dig through a story-world’s soil, be mindful of that name’s beginnings, the culture in which it is rooted. Nurture that name with the respect it deserves, and you will find a character as strong and perfect as the imaginary world you cultivate.

~STAY TUNED!~

The Hero with No Name but a Thousand Faces will soon be upon us! Let’s not forget to celebrate some everyday absurdities, too. More author interviews are on the way, and don’t forget I’ve got Story Cuppings, a weekly podcast of first chapter reviews!

Last but not least, hopefully–HOPEFULLY–we can talk about some story stuff. 🙂

Read on, share on, and write on, my friends!

Start #PrideMonth with #Magic and #Mayhem on this #Podcast: #Spellhacker by #MKEngland

Happy Wednesday, one and all! I’ve continued exploring unique fantasy reads, this time in the spirit of Pride Month. Let’s begin June with Spellhacker by M.K. England.

Let’s take a sip together to taste this urban world where magic is not…well it’s not your typical magical world.

 If the embedded link recording is not showing up, you can click here to access the podcast site.

If you’d like to recommend a read for the podcast, let me know in the comments below! I’d welcome reading any indie authors’ stories as well. x

Read on, share on, and write on, my friends!

A #Classic #Fantasy for this #Podcast: #TheHobbit by #JRRTolkien

Happy Wednesday, everyone! The Fantasy fiction celebration Wyrd and Wonder continues, and so shall we, this time with a timeless joy: The Hobbit by J.R.R. Tolkien.

Everyone has their opinions on this story, sure, but I’d love to share a sip with you to discover what it is about the voice of this novel that brings readers and writers back time and again.

If you do not see the audio player above, you can access the podcast here.

I have written about The Hobbit’s worldbuilding before. If you’d like to read about that, click here.

If there are any stories you would like to recommend for sipping on this podcast, let me know in the comments below! I’d also welcome reading any indie authors’ own stories. I keep discovering more and more fantasy books I’d like to try, so perhaps we’ll stick with fantasy? Or perhaps not! I’m enjoying the promise of possibility far too much. x

Read on, share on, and write on, my friends!

Another Wednesday, Another #Podcast for my Fellow #Readers and #Writers: #TheMidnightBargain by #CLPolk

Happy Wednesday, one and all! We’ll continue to celebrate Wyrd and Wonder with another fantasy read on Story Cuppings: The Midnight Bargain by C.L. Polk.

What does a reader experience in those opening pages, and what lessons can a writer take away in studying but a few paragraphs? Let’s find out together.

If you do not see the audio player above, you can access the podcast here.

I hope you enjoy this sip from The Midnight Bargain with me! Here’s awesome indie author S.J. Higbee’s review of the book for a more complete take on it. 🙂

If there are any stories you would like to recommend for sipping on this podcast, let me know in the comments below! I’d also welcome reading any indie authors’ own stories. Let’s all enjoy different genres and styles of storytelling throughout the year, shall we? xxxxxx

Read on, share on, and write on, my friends!

My #Podcast for #Readers and #Writers is up! Episode 1: #Raybearer by #JordanIfueko

Happy Wednesday, one and all! I’ve officially got the first episode of my podcast done and done. To help celebrate Wyrd and Wonder–and because it’s just been recommended so gosh darn much–I chose to start with Raybearer by Jordan Ifueko. What does a reader experience in those opening pages, and what lessons can a writer take away in studying but a few paragraphs? Let’s find out together.

I hope you enjoy this sip from the story with me. Any feedback on the podcast itself will also be greatly appreciated, as I hope to make this a weekly thing. x

If the link above does not work, try this one! Story Cuppings • A podcast on Anchor

Read on, share on, and write on, my friends!

#AuthorInterview: #Indie #Writer Rob D. Scott Discusses #Writing and #Submitting #ShortStories. Thanks, @RDScott9!

Image from Wisconsin Public Radio

A good morrow to you, my fellow creatives! The cold clouds of April blanket my Wisconsin skies these days. The world is a palette of tans and browns, the wee specks of new green, new life, just barely peeking.

There is, however, always new life to be found in our words. I’m excited to share an indie author who has planted a number of stories across multiple publications. My friends, please welcome Rob D. Scott!

Let’s work through the niceties first. Tell us a bit about yourself, please!

I live in Edinburgh and work in a community college. I only started creative writing three years ago, which is crazy. I should have started years ago. That’s life.

Look for updates from Rob on Facebook as well as Twitter.

It was winter and a period of really awful weather. I started writing a novel for something to do and out of curiosity. I enjoyed it, so kept going. I read books about writing, did a short on-line course, and started submitting short stories to on-line magazines and competitions while I worked on my first novel (which is now hiding in a cupboard). I’ve started a second one, which will hopefully turn out much better.

I find a lot of writing inspiration in the rural landscape of my state, Wisconsin. How would you say the urban setting of Edinburgh—or the countryside of Scotland—inspire your storytelling?

Edinburgh is a beautiful, amazing city and so many writers have used it. I haven’t that much yet. The countryside is more likely to find their way into my stories.

I usually start a new piece of writing using a memory (recent or distant) of a place or moment; that might be in the city or countryside. I write it almost as a factual description and the story develops from there. Stephen King in his book ‘On Writing’ talks about fossils that writers dig up and that’s what I feel I do. Once I find the right fossil, it soon turns into fiction; (to mix my metaphors) it’s like a paper ship floating down a stream. I just go with it and see where it goes. I might have an idea where it’ll end up, but not always.

Image from University of Edinburgh

What literary pilgrimages have you gone on?

When I was twenty-one, I went for a job interview in a town at the other end of the country just so I could visit the Thomas Hardy museum there. That’s not very ethical – especially as they paid for my travel and a hotel! I was first in the museum in my horrible new interview suit and I lingered there too long and was late for the interview. I didn’t get the job, but the museum was great and the countryside from the train ride was amazing. I had forgotten all about that. I should write that up as a story!

Someday, I’ll visit the USA and go to lots of writers’ houses and museums. Carson McCullers is a big favourite, so I would maybe head down there first.

Thomas Hardy’s home (image from The Acorn Inn)

As you should! 🙂
Nothing saps my creativity like a telephone call from my children’s school principal. What is your writing Kryptonite, and how do you overcome it?

I really have no excuses not to produce thousands of words every day. I work but I have free time; especially in lockdown. I am amazed how people with busy lives and family responsibilities (like yourself) manage to write.

Although I don’t think I could live without it now, writing is not the top of my priorities. Work, other people, a day in the countryside, a trip to the cinema, etc make me put down my pen. Life comes first, writing second.

Have you read anything that made you think differently about fiction?

I just absolutely love this Ray Bradbury quote:

“Love. Fall in love and stay in love. Write only what you love, and love what you write. The key word is love. You have to get up in the morning and write something you love, something to live for.”

As an amateur/beginner writer, this makes a lot of sense, and is great advice – I guess for successful authors as well. We’re all different – so just do your thing. Give it your best shot. Try to find something that’s meaningful to you in some way to keep yourself going through the trickier times.

Your encouragement here reminds me of the theme of hope I see in your flash fiction “Goodbye, Frenetikov.” The beautiful level of detail in the beginning uniquely balances with the uncertainty felt in the end. Do you find yourself drawn to themes uplifting to readers, or do you take readers into the darker feeling as well?

Thank you for your comments. I wrote a few very sad stories during lockdown. I think I’m out of that, now. In fact, I’ve just started writing a longer piece, and before I started, I decided that it should be something with a very positive theme. If I am going to spend the next few months on it, given what’s happening in the world right now, I feel that’s where I would like to spend my writing time.

In writing short fiction, you have to hook readers to care about characters, ground them in your story’s setting, and leave them pondering about your story’s end all within a few hundred to a thousand words. (“You Die If You Worry” comes to mind.) Can you walk us through the process of crafting your fiction’s pacing and language to accomplish so much so quickly?

I am very much learning the craft and that there are many different ways to produce a successful short story. The word-length requirements (e.g. 300, 500, 750, 1000, 1500, 2000) can influence the plan. I usually write the story to its best, natural length and worry about where to submit to later.

If I pick up a collection of published short stories, what strikes me is the quality of each line, the language. So that is the number one goal for me; the quality of each sentence, the appeal and magic of the jumble of words. For the structure, I really only think in terms of a beginning, middle and ending. You get in the car, start it up, go for a drive and stop somewhere. Apart from that, there is so much variety in short fiction – anything goes. For example, you might have no dialogue or almost all dialogue in a story.

With very short fiction it can be frustrating not being able to fully flesh out character, setting etc, in the way a novel allows you to, but equally that provides much of the fun and challenge of the form – perhaps like poetry – to find evocative/resonant ways to hint at what’s missing, the spaces in between.

You are published in a wide variety of literary magazines and anthologies. Do you have any favorites you’d like to recommend?

The ones that accepted me are the best, of course!

HA! Sorry, go on. 🙂

There really is something for every taste out there. Much of my experience of the writing for the literary world has been for on-line magazines. The creativity and quality right across the board is very impressive.

I have to say Popshot magazine is just a beautiful object, as well as the great writing. It’s a lovely paper magazine with poetry, fiction and illustrations. I was lucky to get in there once. They commissioned an illustrator to produce something to accompany my short story, which was just amazing – that someone would do that.

Thank you for the recommendation! I’ll have to check them out. What would you consider to be common traps for aspiring writers? I imagine there are a few when it comes to short fic submissions.

I had to learn a lot about the technical side of things – voice, point of view, plot and so on. I think it’s good to remember there is a lot to learn (I notice in your other interviews, writers say this, too).

In terms of submitting to litmags, not understanding at first why you get so many rejections can prove very disheartening. And it would be a great shame if beginner writers gave up because of that.

You learn that you have to know your audience and the market to give yourself a chance, so submitting to the right sort of magazines is important. That means reading the stories in the magazines to guess if yours might work for them, which is both enjoyable and a great way to learn from other writers’ work.

I must mention editors here because they really are the superheroes, along with their ‘readers’. They often do the job for love not money and are the people who choose your story. So be nice to them! And when you submit, follow all of their guidelines very carefully about format, word length and so on.

If you’re lucky they will help and even give a little advice. For some reason, I’ve found sci-fi editors to be especially supportive – or perhaps they’re just super-skilled at letting people down gently! I’ve been trying to ‘find a home’ for a couple of sci-fi stories since I started writing, with no luck. When I started, I kept a folder of ‘nice rejections’ to cheer myself up when the piles of rejections got too much.

I think one useful tip is that if there is a ‘themed call’ for an issue, you might have a better chance with that if you have a story to fit the theme.

As an indie author who is also having a go at lit mag submissions, I’d love to ask about your process in searching magazines and sending multiple pieces. Do you find yourself writing your stories first and then finding magazines that fit the story, or do you scope out the magazine themes first and then craft stories to fit them? I noticed you recently published in a “lockdown” themed anthology, for example.

Good luck with your submissions.

Thanks!

I usually write my story then look for a place to submit. The word length is a big decider on where to submit to, along with the house-style of the magazine.

Calls for submissions for a themed issue – with prompts such as ‘Road trip’, ‘First love’ or ‘Winter’ – can be a great way to get going on a story that you can end up submitting to more than one place or developing into something longer. The theme of the ‘Lockdown’ anthology I was published in fitted with something I was writing at the time and I spotted their call.

The submission pages are crucial. They describe the type of story they are looking for and often say ‘read some of our stories to get a feel of what we’re looking for’. That’s a must, but it’s also great to read the stories. You mentioned, Jean, that you’re inspired by the countryside – there are litmags that have a specific focus on that.

After three years of submitting, I have a much better idea of who might consider or accept a particular type of story.

Having said all of that, it is an amazing, random-feeling process, of being in the right place, at the right time, with a story that appeals to a particular editor, in terms of what they are looking for right then. Getting published anywhere – no matter how big or small – is an enormous thrill, but of course you set targets and have favourites you aim to get into.

Receiving acceptances are tremendously encouraging and validating. There really is nothing else like it. There’s more than a little ego and pride involved there, of course. But, it’s also reward for hard work and effort. And for not giving up.

Let’s wrap up with a little inspiration. Writing and reading can, to me, be a transformative experience. Do you view writing as a kind of spiritual practice?

Yes, in a way. It is certainly a deeply personal process, and also both reflective and instinctive. I often find it quite meditative, even therapeutic. It can be fulfilling and quite emotional at times – as you go through your imagined characters’ experiences. Although it’s a solitary activity you are very engaged with memories and thoughts of other people and the world.

Maybe it sounds corny, but I think words and the way they can be strung together really are magical. It expresses who we are.

Making the connection with a reader is very special too – even if you never meet them beyond a ‘like’ on Twitter or Facebook, or a purchased magazine. The thought that people read your work and find something interesting, rewarding, enjoyable makes the whole process more of a communal, shared activity. It must be great to have people buy your book because they know your work and love your characters. That’s something to aim for in future, for me.

A beautiful encouragement we all should aspire to, Rob. Thank you so much for sharing your time and thoughts here!

~STAY TUNED!~

Who else is ready for a month of Wyrd and Wonder-full fantasy? I am!

I’m super stoked to share an interview from a new SFF publisher as well some amazing music to inspire the epic adventurer within you. There’s also a side project of mine in the works that is so close to “publication”…

Every semester I encourage my newest group of students to read for fun to improve their writing skills, but then here I am, not getting much reading in. Oh, I’d just tell myself the excuse that if I commit to a book, I want to get something out of it as a reader and a writer, and how am I to know what book will give me that? I’ll just watch what my favorite book bloggers recommend and just go from there.

But that doesn’t force me to commit to reading, and that’s just not cool. Sure, time has always been that elusive treasure in this life as a mother, teacher, and writer. That’s not an excuse, though. Besides, there are plenty of other writers with jobs who don’t have much time to read and–

Oooooh.

And so, I decided to start a podcast.

Please watch for updates in May while I get this wee podcast off the ground. x

Read on, share on, and write on, my friends!

#WriterProblems: #StoryEndings and #LooseEnds (Also, a Defense of #EarwigandtheWitch)

Hello hello, one and all, aaaaaaand April Fools to you!

Nope, I don’t have my article on the importance of names done yet. I’m still waiting on some research to come from the library. While waiting, I perused a Diana Wynne Jones story that had gotten a lot of mixed press in the States:

I’m talking about the little Middle Grade fantasy Earwig and the Witch.

And by “little,” I mean little. The entire story is 117 pages with large-print font and illustrations. Like Wild Robert, the chapters jump into hijinks and misadventure quickly and wrap up just as quickly. Books like this are excellent for kids transitioning from readers to chapter books, as it has a balanced mix of simple and complex sentences as well as connecting events between chapters.

However, there are “drawbacks” to such storytelling, if you wish to call them that, for those drawbacks come to a head when a shorter story is made into a feature film. Yes, there have been some amazing films made from short stories (Shawshank Redemption, anyone?) so I’m not saying shorter stories could never be adapted. But that is the key, isn’t it?

Adapting.

Things have to change in a story when it changes mediums, and from what I’m hearing about the film, Studio Ghibli (who has a good history with Jones’ work) stay fairly true to the story which, if you listen to the reviewer here, is extremely detrimental to the film. Why should the audience care about a kid whose entire goal is to make grownups do what she wants? Where did this kid come from? What was up with the witch leaving this baby behind? Why is the whole story just in this witch’s house? This is a movie where almost nothing happens, etc etc etc.

After reading the book, I recalled having similar reactions to Neil Gaiman’s Coraline. What IS the Beldam? How does the cat move between worlds? What’s up with those creepy rats? How on earth didn’t previous tenants wonder about that freaky-ass door that’s actually a mouth or throat that’s actually OLDER than the Beldam?

I also realized for Gaiman’s intended audience, these questions are not important to the central story: Coraline growing through her experience with the Beldam and being thankful for the parents and life she already has. That’s why the story doesn’t have Coraline discovering ancient texts about the Beldam, or meeting the Smithy who crafted the one key, or any of those things.

They. Didn’t. Matter.

Even the film adaptation of Coraline didn’t try to answer all those questions. Sure, it added some color and creepy songs to the Other Mother’s world, but the film left those loose ends, well, loose.

Something else that seems to be lost in the mix is that these stories–Coraline and Earwig and the Witch–are both Middle Grade novels. That means they are SHORT and must STAY short for its audience. Yes, yes, there are longer MG novels out there now, but if you go back a decade or two, you’ll see these length requirements were adhered to pretty closely. Anyone who’s submitted short fiction to a journal or magazine knows the importance of that length requirement: if your story is too long, it won’t even be considered.

So, after all this rambling because I don’t have to worry about word counts on a blog (though I should, according to some readers), let’s see if Earwig and the Witch really is a story where “nothing happens.”

The opening sequence that movie reviewer Stuckman praised is not actually in the book; rather, the one snippet we get of young Earwig’s backstory comes in exposition during the first scene. A “very strange couple” have come during the orphanage’s visitation day. Foster parents can come and select a child to take with them, and this “very strange couple” are the first to pay Earwig any attention.

“Erica has been with us since she was a baby,” Mrs. Briggs said brightly, seeing the way [the couple was] looking. She did not say, because she always thought it was so peculiar, that Earwig had been left on the doorstep of St. Morwald’s early one morning with a note pinned to her shawl. The note said: Got the other twelve witches all chasing me. I’ll be back for her when I’ve shook them off. It may take years. Her name is Earwig.
The Matron and the Assistant Matron scratched their heads over this. The Assistant Matron said, “If this mother’s one of thirteen, she must be a witch who has annoyed the rest of her coven.”
“Nonsense!” said the Matron.
“But,” said the Assistant Matron, “this means that the baby could be a witch as well.”
Matron said “Nonsense!” again. “There are no such things as witches.”
Mrs. Briggs had never told Earwig about the note, nor that her name really was Earwig.

I must say that I can’t blame Ghibli for imagining what that chase would have looked like and putting that scene in their film. There’s just one problem.

Earwig’s mother never appears in this story. Nor do the other witches.

Oh, Ghibli tries to tie the loose end up in their own way for the film, and from my understanding the ending feels…like a chapter break instead of an actual conclusion. So I’m not sure where Ghibli thought it could take this tale.

Honestly, I think the biggest problem people have with Earwig and the Witch is the fact the story is NOT about a girl reuniting with her mother or some other epic quest. Not all stories are grand in scale.

For some young readers, watching a child learn how to get adults to do what she wants is plenty grand already.

Because this is not a story about redemption, either; that is, the bratty Earwig does not mend her ways to become a nice, sweet girl who shares all sorts of lovey feelings for her new family. Nope. She’s still happy to have others do what she wants.

The character growth comes when Earwig wants to keep getting her way. At the orphanage, we understand that Earwig never had to do anything to get her way.

[Earwig] was perfectly happy at St. Morwald’s. She liked the clean smell of polish everywhere and the bright, sunny rooms. She liked the people there. This was because everyone, from Mrs. Briggs the Matron to the newest and smallest children, did exactly what Earwig wanted.

After the “strange couple” take Earwig to their home, she quickly learns their intentions:

“Now let’s get a few things straight. My name is Bella Yaga and I am a witch. I’ve brought you here because I need another pair of hands. If you work hard and do what you’re told like a good girl, I shan’t do anything to hurt you.”

Earwig has never had to work like this before, and of course she hates it. In dealing with a witch, though, she can’t do her typical schpiel of talking people into doing what she wants. There’s magic in the mix now, and so she’s going to have to learn magic to fight magic.

THAT is what this story is about. The title isn’t Earwig and the Lost Coven or The Intentional Orphan or Escape from Bella Yaga or Whatever Happened to Mummy Witch?

Jones wrote this story with the conflict between child and adult at the center. Plenty of kids struggle with authority as it is, even moreso when the authority is not a parent. What kid wouldn’t want their most hated teacher to look ridiculous, if only for a moment?

Jones’ Earwig and the Witch revolves around the conflict between Earwig and Bella Yaga. Anyone else, anything else, is periphery. That’s why the outside world plays little part in Earwig’s life once she’s in Yaga’s home. Even the Mandrake, the “man”–or demon, or whatever he is–of the “strange couple” does not interact with Earwig much. He is the only thing in that house more powerful than Bella Yaga, Earwig thinks…until she finally puts herself to work to learn magic with the help of Thomas, Bella Yaga’s cat.

Aren’t these illustrations by Paul Zelinsky a scream?

It’s not easy to get a kid to want to work at something. Believe me, I know. 🙂 Perhaps a typical audience may not see this as growth in Earwig as a character, but for a child and one who’s worked with children, this is HUGE. Earwig has never had to work at anything before. Sure, Bella Yaga’s got her doing plenty of awful chores, be it slicing snake skins or gathering nettles from the garden, but those awful chores only motivate Earwig to learn magic quickly so she can put a spell on Bella Yaga and give her that “extra pair of hands” she wanted so badly. (You can see the earlier illustration for the result of Earwig’s work.)

When Bella Yaga rages over the new “extra hands” and sends a torrent of magic worms at Earwig, Earwig guides the worms into what she thinks is the bathroom next to her. Being a magic house, though, the walls don’t always work like normal walls, so Earwig ends up sending all the worms into the Mandrake’s room instead. Being one who can control demons and spirits and such, the Mandrake isn’t exactly one to surprise with magic worms. After lots of fire and shrieking, the Mandrake calls Earwig to come from her hiding place. Earwig readily admits that hiding the worms was a mistake, but the Mandrake knows Earwig did not make the worms and declared Bella Yaga would be training Earwig properly from now on. Earwig does not hoot or holler her victory, but instead approaches Bella Yaga with care.

She carried Thomas across the hall into the workroom. Bella Yaga, looking red and harried, was picking up broken glass and bits of mixing bowls. She turned her blue eye nastily in Earwig’s direction. Earwig said quickly, before Bella Yaga could speak,
“Please, I’ve come for my first magic lesson.”
Bella Yaga sighed angrily. “All right,” she said. “You win–for now. But I wish I knew how you did it!”

When the conflict ends, so does the story, and Jones knows it. Apart from a couple pages of wrap-up, Earwig and the Witch is over. Are we all curious about what kind of witch Earwig could grow up to be? Sure. I’m guessing Studio Ghibli was too, and that’s why they teased more to come at the end of their film.

But questions are not loose ends. Sure, I’d love to learn more about the history of the village in Shirley Jackson’s “The Lottery.” What really went down between two friends to motivate one to bury the other alive in “The Cask of Amontillado”? Whatever happened to The Misfit after he killed the family in “A Good Man is Hard to Find”?

A story has to end, and that end comes when the conflict ends. Even the big ol’ multi-book series will start and end their installments over the rise and fall of a specific conflict.

So storytellers, please do not feel like you have to answer all the questions and explore all the lands and dive into all the characters. Look at the conflict that drives your story forward, and ask yourself: Does ____ matter relate at all to this conflict? If you can’t find a good answer, then chances are, you know the answer is no. And this goes for novel writing as well as short fiction. Sure, novels do not demand thrift in words like short stories do, but if readers feel like you’re taking them on a detour from the main conflict, they’re going to start asking questions, and lots of them.

And those are questions you as a writer will have to answer.

~STAY TUNED!~

Honestly, the research and discussion on naming characters is coming, as is a post about the wondrous music of Two Steps from Hell. More author and publisher interviews are on their way as well, and I’m also *this close* to getting Blondie to share her dragon story here.

Just look at the drama packed into these characters! xxxxxx

Read on, share on, and write on, my friends!

#AuthorInterview: #indie #writer @julidrevezzo shares her latest #FantasyRomance and #lessonslearned on building a #platform

Beware the Ides of March, my friends!

I have just been…uffdah, it’s been a March. Nothing bad, thank heaven, but the plagiarism this term has been particularly ugly–students stealing from classmates, cheating with paraphrasing software, buying papers from paper mills, and so on. Some of my hunts for proof have been successful, some not. Either way, it’s extremely frustrating.

On the positive side, Biff has found a lot of joy in research writing! He spent weeks gathering facts and drawing pictures for his big research project. I may just have to recruit Biff to help me write titles from now on, as his title gathered quite a bit of attention from family and friends. 🙂

Blondie is still working on her own story involving wolves, foxes, and dragons–hopefully I can get her to type the first installment here, especially considering her laments of, “What can I do during Spring Break? I’ll be so boooored.” Welp, this would give her something to do, lol.

Bash has been doing so wonderfully at school, I could cry. Having the extra support from his IEP (Individual Education Plan) has made all the difference. His support teacher encourages his creativity while also helping him stabilize his reactions, and his teacher’s been extremely flexible while also keeping control in the classroom, which is HUGE.

So writing hasn’t happened much this month, but the blessings definitely outweigh the problems. x

I’m also thankful for each and every one of you, so it’s a joy when I can spread good news about your work. Antique Magic series author Juli D. Revezzo and I had another conversation about her goings on and latest work, and now I can share our conversation with you. Welcome back, Juli!

Thank you. Glad to be here.

We last spoke in October 2019 about your work with historical romance and other magical stories. I see you’ve been continuing two different series with publications in 2020. Before we hear about the books themselves, can you first share your process on how you the character arcs and plots straight for such different story-worlds?

Notes! Tons of notes. I keep most of them in old fashioned spiral bound notebooks, and supplement that with word doc files, when the spiral bounds get too unruly. (I do. I have boxes and cabinets full, if you don’t believe me!)

Luckily, in my Antique Magic series, I kept that to one pov throughout the series, the arcs many revolved around her relationships with the minor characters.

Okay, NOW tell us about your latest work.

The latest, well, since we last spoke, I finished off my other series, the paranormal romance series: Stewards War, so it’s completing Stacy’s war against the evil god Balor. If you haven’t read that one, she owns a sacred battleground for an ongoing battle between the mythical Tuatha dé Danann and Balor. The book we talked about in October, Bitter Thorn Tribe, saw her digesting everything that happened in the previous book, Keeper of the Grove and dealing with an unexpected magical threat, while my soon-to-be-released novel Druid Defiance, sees her making a major parlay against Balor. It will wrap up the series, so I can’t say more than that without spoilers. 😉

Sometimes we need to visit a place, be it the setting of a story or a home of a favorite author, in order to be inspired. What literary pilgrimages have you gone on?

I’ve visited Fort Pickens (which is a feature in my Antique Magic series) and the mountains in Druid Warrior’s Heart and those in …well, the forthcoming last book in Stewards War series (Druid Defiance) are inspired by the mountains of North Carolina, which I’ve visited several times.

Your stories cross multiple centuries, so it’s understandable that names are going to change depending on the time period, culture, and so on. How do you select the names of your characters?

The Stewards War series, I assume you mean. The heroes keep their same names across the centuries, in order to keep from confusing everyone. They…ha. Funny story, but when I wrote the first book, I had no intention of turning it into a series, so I picked names that sounded old and either came from history, or mythology. Thinking the modern sounding ones would be good enough. But they branched out, so the main ones (Stacy, Aaron, Erika, Jim and Isaac) needed more friends and family so I had to do some mythology dives.

 (For instance: Dylen, Lugh, and Brighid all came from Celtic mythology. Éle is a faery queen name; Caírech, Fintan, Dermot, and Gwenevieve are Irish names, Maedus is named for a son of a legendary Iberian prince; Aaron and Isaac, and Ruth well, their names are Biblical, of course. Lilly comes from… just flowers and Diarrt is a spin on dart, because what were good names 7,000 or 8,000 years ago when those characters lived? Who knows? I only wish I’d given Aaron and Isaac better—more Irish—names. 🙂 )

In Antique Magic, their names were contemporary, so they were much easier to choose!

I’m always on the lookout for good books on the writing craft. Do you have any recommendations?

I’m reading The Heroine’s Journey by Gail Carriger. So far, it’s pretty good. And I’ve read 365 days of Writing Prompts for Romance Writers by Kim Knight, over the Thanksgiving holiday. It was helpful—and not just for the romance genre, I think.

Oooo, thanks for the recommendations! I’ll have to check those out. Now when I look back, I see you published your first story in a compilation in 2011. How did publishing your first story change your process of writing?

From what I remember, (2011 was an eon ago!) it didn’t? I just had to have the story finished and out by a deadline so I had to write it fast. Since then, I’ve plotted more than I was doing back then; I’ve become more of a plotser, (plantser?) than a true pantser, but I still usually pants my way through the initial ideas of stories. Usually only the first half of the notes, now, to be honest.

From 2011 onward, you have been constantly putting out awesome stories! I’m lucky if I can get one thing published per year. How do you maintain a strong brainstorm-to-publication routine for yourself so that readers can count on new work from you every year?

Aw, thank you for your kind words, Jean Lee. As you say, I’m constantly working on something. While we’re talking, here, about three different books—two recently released and one in pre-order—I’ve got one manuscript finished that I need to do a first read and edit on, and one I’m not quite that far into (*ducks*), and I’m making notes for beginning another—and I have one that I need to get printed out to revamp. Yes, all at once. I work a little bit on this one one day, a little on that one the next. One might be half done at 40k words while one’s only 2k words; and one might be half-edited. *shrugs* It’s just the way I’ve always done things. Ideas I can’t get to right away, I just scribble them down in notebooks to come back to.

Your years of writing have seen a lot of change to the digital market and concept of “author platform.” Can you share a few lessons you’ve learned about marketing your books?

OMG, how much time do you have??

You can’t not do it, so just get to it. But I differ in one thing that everyone else says is a must. Yakking about your unpublished books online. Waste of time. Why do I say that? Why, I was blogging about the books I was sending out to publishers way back, starting in 2000 (that site’s since crashed and lost, alas), and in 2010, I still didn’t have a book out. And I had a professional fellow say to me. “Why aren’t you blogging it?”

Dude, I had been for years at that point! Total waste of my time. Your mileage may vary, but that was my experience and proof that building a platform years before you have a published product to sell was a waste. All the time I spent blogging and coding and recoding, I could have spent writing.

Lesson two: The minute you think you have something figured out, it changes.

Don’t believe that Facebook and Amazon and the all-important newsletter list providers will be around forever—they probably won’t. Tomorrow, they’ll be today’s Myspace. Just expect it.

Thanks so much for sharing your lovely insights, Juli! Let’s wrap up with something you’ve learned from experience. What would you consider to be common traps for aspiring writers?

Focusing on everything but their writing, and believing the first thing they finish is good. It’s not. Not spellchecking, not proofreading. Thinking that your market will never change. Believe me, it will.

And, conversely, another trap is not writing to market.

(???Do you have a headache yet? So do I!)

Just find the best fit for your story you can and send it out. And remember to keep learning. I remember someone saying (I can’t remember which writer I heard this from—Stephen King? Steinbeck? I forget which) but he said you’re never good enough. All you can do is keep writing, and keep improving on your last work, no matter what. But in the meantime, as Dean Wesley Smith says: do as good as you can, and send the book (or story) out, and write the next one, and do it again. 🙂

Here’s the synopsis of my latest book, Druid Defiance:

Destined for War…

As Steward, Stacy travels to her ancestral home in Ireland to wed. When she is granted access to the family’s sacred site, her presence opens a magical portal that brings her into a new version of the world. Does this mean the gods approve and her wedding can move forward or will the evil Balor object and end the world once and for all?

If you’d like to check it out, it’s available at Amazon:

About Juli D. Revezzo

Juli D. Revezzo loves fantasy and Celtic mythology and writing stories with all kinds of fantastical elements. She is the author of the Antique Magic paranormal series and the Stewards Wars and Celtic Stewards Chronicles series, the historical romances, Camden Girls series, Vesta’s Clockwork Companions, House of Dark Envy, Watchmaker’s Heart, and Lady of the Tarot, and more. She is also a member of the Independent Author Network and the Magic Appreciation Tour.

Website:  https://julidrevezzo.com/
Amazon Author Page: https://www.amazon.com/Juli-D.-Revezzo/e/B008AHVTLO
Newsletter http://bit.ly/signupforJulisnewsletter
Blog: https://julidrevezzo.com/blog/
Twitter: https://twitter.com/julidrevezzo
Facebook: https://www.facebook.com/julidrevezzo
Pinterest: https://www.pinterest.com/jewelsraven/
There’s also a board dedicated specifically to the Stewards War and Celtic Stewards Chronicles series: https://www.pinterest.com/jewelsraven/related-to-the-celtic-stewards-chronicles/
Instagram: https://www.instagram.com/julidrevezzo/
Goodreads: https://www.goodreads.com/author/show/5782712.Juli_D_Revezzo
BookBub: https://www.bookbub.com/authors/juli-d-revezzo

~STAY TUNED!~

I’m excited to share more indie interviews, including a small press fantasy publisher. It feels like the perfect way to help celebrate May’s Wyrd and Wonder!

We’ll also dig into the wonderful worlds opened to us through names, and let’s not forget the joy music brings to exploring new worlds…

Read on, share on, and write on, my friends!

#Fantasy #Podcast! Talking #WritingInspiration and #CharacterDevelopment as the #Countdown to #FallenPrinceborn: Chosen’s #BookLaunch Continues. Includes #SneakPeek!

Hello, my friends! I’m back once more before Fallen Princeborn: Chosen is released on Tuesday.

I’ve been honored by other amazing indie author’s invitations to share my stories and thoughts on craft. Today’s share is a podcast I did with fellow fantasy writer Neil Mach. We covered all sorts of gleeful things, from flawed heroines to our mutual love of spaghetti westerns. I hope you enjoy it!

Click here for the Apple Podcast link of our interview. Also, here’s a link to the portals post Neil references, as well as a little info about Night’s Tooth. If you love the wild west with a magical edge, I hope you check out my novella–it’s just 99 cents!

Thanks again, Neil!

Lastly–for I don’t want to scamper off so soon, but there’s been one of those delightful domestic disturbances of a broken garbage disposal to deal with–here’s a sneak peak into one of my chapters of Fallen Princeborn: Chosen. Charlotte’s been separated from the others and in trapped inThe Pits. Only one thing could make it worse:

She is not alone.

~Pale Fire~

Charlotte’s body slams into the ice-cold clay of the Pits. She slides down the tunnel, faster and faster, until it evens out and she slows to a stop. This clay is a little less damp, the air a little less putrid. And light: barely, but there. Any light at all must mean the atrium. So, breathe through your god-damn nose, Charlie, and sneak on over that way to get help.

But why would Orna trap you down here only to let you out again? The Voice puzzles.

Shut up, no one asked you.

Toes first. Charlotte wriggles them into place, then carefully brings weight back down on her heels. Charlotte holds the bone-knife before her, ready to slash and swipe, while her free hand finds the tunnel’s side and presses it gently. Step by step. Forward.

Stop breathing through your mouth, Charlie!

But Charlie isn’t breathing through her mouth.

In the void ahead…somewhere, someone is breathing. Slurping. A click-popping, almost like a frog’s broken croak.

Charlotte pauses. Looks back. Ahead.

Another broken croak. Followed by a slow, slow rattle.

Orna—or a Hisser?—lies ahead.

Charlotte takes another step.

The rattle stops.

Charlotte slaps her hand over her face. Counts her breaths and reaches for the pendant that’s not there. Dammit, Dad, I wish I had a piece of you with me like I did that first time down here.

But even though Charlotte’s alone in the darkness, she is not alone. Liam and Arlen can find me, and they will find me if I ain’t quiet.  

“Bring it on, bitch!” Darkness sucks her words into the void.

The rattle starts again. The croaking quickens to a sort of buzz…

Charlotte’s fingers groove the tunnel’s side as she walks with blind briskness. Colors squiggle where her eyes strain for light, but the air continues to freshen—she is moving towards the atrium. “How the hell can you even see me in this dark? Ha! Can you see the reeeal me…” Charlotte starts to sing, and the rattle ramps up its insane rhythm. The Voice in Charlotte’s heart laughs as it presses the bellows to the rhythm of Charlotte’s favorite Who song. Orna’s henchman Cein thought he could take it from her—hell to the no on that.

“Can you see the real me, preacher? Preacher?!”

The rattle keeps getting louder, but now Charlotte sees a clear, definable web of light ahead—the tunnel’s exit into the atrium of the Pits.

“Can you see, can you see, can you see?” Charlotte runs and slides out of the tunnel, singing,

“Can you see the real me, doctor?!

The atrium is a graveyard of branch and bone. Ash floats lazily in the air like dust mites. A wide gaping mouth high in the wall above Orna’s old platform still hangs open, drooling its lines of glass droplets—the old channel for the water road, now crystalized tears of dead magic because of the Wall.

Charlotte looks up to the atrium’s ceiling, where the white tree once grew. New roots, black as pitch, are sewing the gap shut. But in this moment shards of light can still sneak through. She breathes deep and belts as loud as she can, “Can you see the real me, Maaaaaaama?!” she holds that last “Ma,” ready to sing herself hoarse—

“No. No. No. No. No.”

Charlotte spins around. In another tunnel’s entrance stands a pale shadow. The bottom half writhes, and the rattle grows louder. Two needle-thin arms stick out and shoot up as though a child is positioning the limbs. Ten fingers as long and sharp as snake fangs jerk out, jerk up, and take hold of the head slumped to one side. They wrench it upright. Mangled, oily locks of hair fall into place, but the tongue remains free to slurp and drool where it wants.

Inside, Charlotte wants to gag. What drunk sewed your face back on?!? Outside, Charlotte sticks her hands on her hips. “What, no Anna skin this time? I could describe my grandma to you if you want. Always did want to punch that hag in the mouth.”

The rattle tones back. “Ha ha ha ha.” Her lips don’t—or can’t—move. The tongue slithers about in the air and catches Charlotte’s scent. It wavers in Charlotte’s direction, and Orna’s snake-half finally slinks forward in short, halting movements. The hands jerk free of her head, and The Lady’s head flops to the side once more. Her fingers move in mechanical fashion at Charlotte, even as one finger falls off to the ground, lifeless at last. Orna’s eyes look pathetic without the menacing stars that once glowed in them.

Charlotte scoffs. “Jeez, even I could kill you now.”

“Charlotte?!” The cry flies down through the crevices. Yet the roots still grow, bridging every gap they find.

Charlotte sticks her bone knife back into the red belt. “Pardon me for just a second,” she says to the herky-jerky Lady and cups her hands to her mouth. “DOWN HERE!”

“An an an ha ha ha.”

Charlotte’s eyes narrow at the name. “That name’s got no power comin’ out of your stupid-ass mouth. Damn, even I can sew better’n’that..” She pulls out the bone-knife—

—almost too late.

Orna’s tongue whips far longer than before, missing Charlotte’s shoulder by a hair. Charlotte rolls to the side and curses at herself. “Yeah, Charlie, you can really slay the snake-lady easy peasy, can’tcha?”

The roots threading the atrium’s ceiling shake and crack, but don’t break. Thunder shakes from within a tunnel, echoes of light rippling out the tunnel’s sides to die in the atrium.

Orna’s tongue blossoms into three, then five, then ten translucent pink living whips. The stitches at the bottom of her face rip as her jaw unhinges wide enough to swallow a human. The hydra-tongue descends—

Charlotte leaps aside and slashes with the bone-knife. Dammit, this ain’t no blood dagger! But the blade is wicked sharp and takes out one of the tongues. It flops fish-like on the ground, spurts of oil and veli barely missing Charlotte’s leg.

She runs away before Orna’s hydra-tongue can take aim again. If I can slash up the snake part, I bet I could bleed the bitch out.  She spots the serpent portion of Orna’s body, its peeling, sick skin caught on the rocks littering the tunnel’s entrance. Charlotte picks up speed, bone-knife aimed for the massive molting serpent—

Fire lights up the atrium. Roots rain ash as Liam’s blood sword burns through them all. He rolls, sheathes the blade, transforms mid-fall into the golden eagle, talons at the ready.

Charlotte’s knife strikes hard and deep into the snake’s belly. Oil laced with veli oozes from the gash. The funk of rot floods Charlotte’s nostrils.

Thunder builds in the tunnel. There’s a light, white and spectral, running with the thunder…

Orna’s body shakes and screams. Her head flops as the hydra-tongue feels the air for Charlotte.

It finds Liam’s talons instead.

“Liam fly up, NOW!” Charlotte screams. The hydra-tongue quickly coils round both Liam’s legs. Liam’s whole body burns feathers of fire, but the tongues don’t give. He transforms and hangs upside-down several feet above Orna’s gaping jaws.

The empty eyes meet his. A moan of pleasure oozes from her mouth.

The blood dagger slips from its sheath into Liam’s hand, and he slashes one leg free. Charlotte runs and aims for those needle arms, ready to rip one out.

 “Can you see, can you see—” A tenor voice barrels out of the tunnel, followed by a pale figure wielding a sword of white light. Charlotte slides to a stop as he lops the bottom half of Orna’s jaw clean off. “Can you seeeee the real me?!”

Orna’s eyes roll towards him. A geyser of oil and screams erupt at the base of her tongue.

Liam slashes his other foot free, and he somersaults to the ground.

The pale figure wraps his hand in a hank of Orna’s hair and lifts her oily, sparkling half-face off the ground and right up to his own, the star-less orbs even darker next to his white-blond hair and ice-blue eyes. “You should have played the game my way.”  Her herky-jerky arms begin to reach out, but he stomps down on her breasts and pops her head off with a thock! He tosses the head over his shoulder, spins the light sword. It flickers down into a broad, thick dagger with vicious claw marks crisscrossing in its steel. He slips the dagger into a leather sheath strapped to his right calf, then looks at Liam. “And where in Aether’s Fire have you been?”

~*~

Just two days left until Chosen’s release–and Stolen‘s sale ends! If you’ve not tried the first book yet, you can still snatch the ebook for a bargain.

Read on, share on, and write on, my friends!

My #BookLaunch #Countdown for #FallenPrinceborn: Chosen Continues with #WritingTips on #Plot and #Character

Hello once more, my friends! I thought it’d be fun to continue sharing some of the inspiration for my Fallen Princeborn characters, this time including some kickin’ writing advice I got from the craft books 45 Master Characters and 20 Master Plots.

“But I hate templates!” Of course, no one wants their story to be considered some sort of cookie-cutter tale. What’s cool about these particular craft books is their analysis of how far back certain kinds of stories and character types go, and in so doing shows why these kinds of stories and characters are timeless and therefore always relevant no matter what the story.

First, let’s talk plot.

It’s all right to let yourself go when you write, because you’re using the best part of your creative self. But be suspicious of what comes out. Plot is your compass…Fiction is a lot more economical than life. Whereas life allows in anything, fiction is selective. Everything in your writing should relate to your intent. The rest, no matter how brilliantly written, should be taken out.

20 Master Plots is likely a book I’ve mentioned here before, but I can’t help but re-recommend it for both inspiration and reflection on the primary shapes a story has taken through literature. Now I love pantsing my way through plot development like many other NaNoWriMo folk, but when it comes to a series, stuff has to fit, dammit, and if you don’t take time to make things fit, you are promising yourself a story-world of plot holes and problems. You may very well mixing several of the “Master Plots,” such as Rivalry, Rescue, or Riddle, and there is nothing wrong with that. What is wrong is losing sight of what those Master Plots need in order to complete the story. For instance, I know I’ve got some Riddle in mine, as Charlotte’s curious abilities to handle Velidevour magic are not yet explained. Were I to leave that unexplained book after book until the series ends, readers would understandably give me a good rap with the knuckles and ask what’s going on. Pursuit is another Master Plot I use quite often, which Tobias defines here as–

Two games never seem to fail to capture the imagination of children: hide-and-seek and tag. Try to remember the excitement of being on the hunt and finding where everyone was a test of cleverness (how well you could hide) and nerve.
Tag is like that, too. Chasing and being chased, always trying to outwit the other person. We never lose our appetite for the game. For children as well as adults, there’s something fundamentally exciting in finding what has been hidden. As we grow older, we grow more sophisticated about how we play the game, but the thrill at the heart of it never changes. It is pure exhilaration.
The pursuit plot is the literary version of hide-and-seek.

Perhaps you’ve seen thrillers, suspense, and/or mysteries referring to the “cat and mouse” chase within the story. Welp, there you go! We love this game of seeking what’s hidden, or hunting the baddie. It means a constant foray into uncertainty with high stakes, and dire consequences will befall whomever fails. This drives any pursuit within Fallen Princeborn: Chosen, and I promise you now it will only grow in the stories to come.

Liam keeps an arrhythmic staccato pace with Dorjan. Scattered leaves and pine needles hide an array of sharp rocks. Liam’s feet seem to find them all, but with the sparks of Charlotte’s touch still alight within him, he cares little about the pain. Only Dorjan’s nose matters now, tracking the scent of their quarry. He slows, checks the ground, speeds up. Slows, checks the ground, speeds up. They move like this out of the sun-baked brambles and into the tattered forest.

A branch breaks. A creature cries. But nothing is close enough, not yet.

Dorjan is the first to slow. He points where a few drops of oil speckle upon a pine’s crusted sap. The brittle cove around them bears a pathetic green compared to the lushness of the foliage surrounding Rose House.

Then Liam feels it—a prickling around his wrist. Blast it. Already the mark is alive and moving. “The Wall is close.” He strains to look past the scattered clumps of life around them but sees nothing of the Wall surrounding River Vine.

Dorjan sniffs the air. “And Campion’s got company. Two, by the smell of it. Bully for us.”

The first time I read 45 Master Characters, I had already drafted my series’ first book (Stolen), and it struck me how much this description fit Dorjan, my rogue Princeborn who’s appeared in both my novels as well as my novella Night’s Tooth. Unlike other Velidevour who don’t care much about devouring the desires of an adult or child, Dorjan takes extra care to defend human children to the point of killing his own kind, as he does in Stolen:

Human once again, Dorjan grabs Jamie by the neck and pins him against a tree. “You wonder, do you, why I do this. Why I hunt you and Campion, why I seek a duel with Cein. Know, then: I do this for Jennifer Blair, whose brother you unlawfully stole, an innocent, a borderland child. A child!” His fist breaks skin and muscle and bone. Blood splatters Dorjan and leaks from Jamie’s mouth.

“Just… human… just… human…” he murmurs like a broken toy,
hiccupping between words.

“A human worth far more than you or me,” Dorjan says with a low voice that begins with a quiver and ends on a battle cry as his fist tears in and then slams out of Jamie’s ribcage, heart in hand. The moment his last artery snaps, Jamie’s eyes deteriorate into dull gems, onyx. Then mist. Another breath, and his entire body blows away in a cloud of violet embers.

Dorjan studies the black heart a moment before pitching it far into the trees.
“Let me know if Cein and Campion get my message, will you?”

Every character needs motivation to be what they are, be it through principals, wants, needs. Whether or not that purpose lifts them up to heroics or plunges them deep into villainy is up to you, fellow writers.

…the Male Messiah may not know of his connection to the Divine, but he may just be driven to accomplish something important. In this respect, he isn’t working on a spiritual goal. It seems his whole life is for one sole purpose and that purpose affects the lives of thousands of people…The Male Messiah has the ability to see the whole picture when it comes to problems. He never jumps to conclusions or gets involved in the gossip or drama of everyday life…

As the Punisher, he’ll curse the man who has “fallen” to teach him a lesson. He wants to break the man’s ego. He’ll kill the man’s spirit to transform him into his image. He may try to justify himself to others, but they’ll never fully understand his power or the burden he carries. They view his reprimands as harsh and uncaring. Many will leave his side, unable to follow his rules and treatment…He feels his word is law.

Just one unmet need–love, hope, peace, whatever else–and one’s soul is cast in darkness. This struck me good and hard as I developed another character in Fallen Princeborn: Chosen. You will know him when you meet him, this carrier of pale fire and song.

Stay tuned for my next post to read his introduction as well as information about a cracking podcast I got to do with fellow indie fantasy author Neil Mach.

Oh, and my kindle countdown sale begins October 23rd! If you know someone who loves dark fantasy and romance, now’s the time to send them to my Amazon page, nudge nudge. 🙂

Read on, share on, and write on, my friends!