Category: process

Author Interview: Joyce Reynolds-Ward

personby Deborah J. Ross
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I love chatting with other writers!

Joyce Reynolds-Ward and I met in the pre-pandemic days when I regularly traveled to conventions in the Pacific Northwest. She’s warm, funny, endlessly curious, and a fantastic writer. And a knowledgeable and enthusiastic horse person. So when I heard she’d just put out a new book, I couldn’t wait to find out about it.

Deborah J. Ross: Tell us a little about yourself.  How did you come to be a writer?

Joyce Reynolds-Ward: I’ve been making up stories to entertain myself since I was little. At first, they were about books I’d read or TV shows I watched. Then I started writing stories off and on, starting with my junior high literary magazine continuing through the present day. I’ve gotten somewhat serious about writing since the late ’00s, however, and have been writing regularly since 2008 or so.

 DJR: What inspired your book?

JRW: My most recently published book, A Different Life: Now. Always. Forever. was an attempt to write something light. Um. Well. Maybe. It’s set in what I call the Martiniere Multiverse, a spinoff from my main series, The Martiniere Legacy and the People of the Martiniere Legacy.

When writing A Different Life: What If?, I half-toyed with the idea of writing about my main characters, Ruby and Gabe, from the perspective of Ruby’s best friend in college, Linda Coates, who Ruby hires to be her executive assistant. The more I thought about it, the more I liked the idea, and I figured that it would make a nice, light little story, which was what I needed to think about after several years of Covid and my worries about the 2022 election.

Things kinda happened from there. The book took a more political tone after the reversal of Roe v. Wade, with Linda’s brother-in-law becoming a rising reactionary political leader who has nefarious designs involving Linda. But there are still light moments, and we have a bit of biobot action where Ruby and Linda release the latest version of Ruby’s bots that are intended to counter climate change by helping plants absorb and retain moisture better. Plus–Linda’s reaction to living in an Art Nouveau palace in Paris, France. That was fun to visualize.

DJR: What authors have most influenced your writing?  What about them do you find inspiring?

JRW: My influences come from several very odd and unusual places, especially for a writer in the speculative fiction genre. One of my earliest influences was Mary O’Hara, of My Friend Flicka fame. If you have only read the first book, especially in an abridged edition considered suitable for children, you miss a LOT of the deeper undercurrents of O’Hara’s writing. The other two books in the trilogy, Thunderhead and Green Grass of Wyoming, delve into spirituality (O’Hara had become involved with early versions of Eastern mysticism) and conflicted, difficult marital relationships. Writing this, I suddenly realize that my character Gabriel Martiniere owes a little bit to O’Hara’s Rob McLaughlin. Not a lot–but there’s a little bit of Rob in Gabe.

One thing to consider, though, about O’Hara, is that she was one of the original script doctors in Hollywood during the silent film era. While she only cites a few instances where she got called in to work on scripts gone wrong, it’s enough to make me wish that she had written a memoir about that Hollywood experience. Nonetheless, her life story (as related in Flicka’s Friend) is quite fascinating.

John Steinbeck is another literary influence that I frequently cite from my early days of writing. One of my high school English teachers used his Travels with Charley as a textbook for her advanced writing class. From Charley, I moved on to his Journal of a Novel, drafted while he was writing East of Eden. Then I went on to read all of his books. Steinbeck, along with O’Hara, taught me a lot about the use of settings in my work that I think really still shows up.

Otherwise, there are many writers who have influenced my work and made me think more about the process of writing and what I was doing while writing. Obviously, I read widely and well beyond the genre. Recent influences include C.J. Cherryh, Beverly Jenkins, Aliette de Bodard, Kate Elliott (especially her so-underestimated Jaran books), Craig Johnson, N. K. Jemisin, Mary Robinette Kowal, and many, many more. I am always eager to discover a new writer and new works. My ebook library card gets a LOT of use these days.


DJR: Why do you write what you do, and how does your work differ from others in your genre?

JRW: Originally, I started writing what I do because I wasn’t finding the books I wanted to read. I wanted to read about more strong women, but I also wanted to read fantasy in settings that weren’t quasi-medieval Europe, as well as science fiction that wasn’t set in Southern California or New York. I wanted to see more work that included the things I was interested in, including realistic horses, the inland West as a setting, examination of political power that didn’t make me want to throw the book across the room, and other things.

 I write politics from my training in political science and the nearly two decades I spent as a political organizer. Some writers in genre have that knowledge and understanding, but many don’t. While my understanding is more on the state and local level, it’s enough to extrapolate for larger settings. Additionally, because I spent many years as a corporate wife at the middle management level in sales, I know somewhat more about some of the stuff that goes on in that realm than most people. The ins and outs of management fads, the degree to which certain things get done, the internal politics…all of that. I focus on multigenerational privately-held corporate entities rather than larger publicly-held companies because that’s easier to control in a story.

The inland West as a setting as opposed to the Southwest is also a way that I’m different from many writers who might set stories in the North American West. I have always been drawn to the juxtaposition of mountains and prairies, such as you find around the foothills of the Rockies, both the east side and the west side. The western prairies get much less awareness than the eastern prairies, because they’re smaller. But the land of the Palouse, both in Oregon and Washington, is just chock-full of story potential. While I grew up in Western Oregon and have some work set in Willamette Valley-esque settings, including the Cascades, the Plateau country of eastern Oregon holds a fascination for me. The Blues and the Wallowas are considered to be the westernmost extensions of the Rockies in the Northwest.

DJR: How does your writing process work? Continue reading “Author Interview: Joyce Reynolds-Ward”…

The Lost Past and the SF Writer

personby Gillian Polack
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I wrote about lost culture for The History Girls  last week, and I’d like to continue the conversation with myself today, here.

Our lost past is often the past as experienced by cultural and religious minorities in lands ruled by someone else. My personal quest for lost pasts is currently the European Jewish past. I want to know what my ancestors ceded, culturally and religiously, in order to survive. I want to find out what’s missing. I also want to write more novels that use it.

The vast majority of English-language novels are informed (often very quietly) by Christianity. If writers depart too much from this, then most readers won’t have an expected set of understanding to start from and will have to work much harder to get into the novel. The cultural and religious minorities do the heavy lifting to make multiculturalism work. For the whole of my life I’ve had to do cultural outreach because most people can’t or won’t. This is not a wonderful thing for the everyday, and it also has an uncomfortable effect on our fiction. If the vast, vast majority of readers expect to see an historical world that refers to Christian heritage, then they need to be given a clear path into anything different. Creating that clear path while avoiding tropes and racist constructs can be … difficult.

I’ve got a bit of a history of looking into these things. My academic research examines what we do as writers to construct the worlds for our novels and to narrate the stories set in those worlds. I look into what we see when we build that novel… and what we don’t see. When I started publishing my research, I started with examining how writers use history in fiction, and moved onto cultural encoding. Right now, I’m beginning to have a much more precise understanding of how important genre is as a pathway that readers travel into story.

The novel I’m currently (slowly) working on is set on Earth but in the same universe as Poison and Light and after that same catastrophic war. It’s about lost culture.

The trick will be to welcome readers into a very strange land and to make them want to stay a while. The town at the centre of the story, where everything happens, is almost all Jewish. This was not historically so very odd, the capital city of seventeenth century Lithuania was at least 40% Jewish, for example, and many of the nearby towns were almost 100% Jewish. The history was destroyed when almost all the Jews in these towns were murdered and the English language world was left with some really odd views of that time and place. Christianity informs those views, and so does antisemitism. Moreover, since the Holocaust, most people have forgotten that there were wholly Jewish towns in Europe, that being Jewish was perfectly normative for millions and millions of people. It’s easier, storywise, to describe us as perpetual outcasts.

A Jewish strange land where Jews are safe, however well I can back it up historically, is surprisingly difficult to write. It’s not that Jewish history is lachrymose, it’s that we focus (in popular culture) on the hate and the loss and the tears. It’s easy to do. It’s easier to focus on tears than to to discover lost people and their interesting lives.

What’s important right now is that I think I’ve found a way of building the town so that it contains actual Jewish history (reconstructed with some glaring errors 300 years from now, since future historians and world makers are human, too, and will have their own preconceived notions) while keeping it interesting to the reader. It all comes down, as so many things do in fiction, to the opening.

I could spend another 300 words explaining my theories and how I apply them to create the first words of the novel. Or I could simply give you my draft first words and you can ask yourself, “Would I read this novel?” All the explanations in the world don’t make an opening tempting. Let me give you the words:

Space and boundaries fascinate me. Take, for example, the street I walked through this morning. To most people, it was just a street. A very wide street. Once upon a time it was set up for horse and carriage. In the old, old, old world. Then it was used by motor cars and grew wider. That was the old, old world. It became so wide that, in the difficult days of the old world, there were wooden houses down the middle. They lacked plumbing and almost any other amenity. They became the place where refuse was thrown. The people that society couldn’t accept. Wouldn’t accept. Hated for no good reason. That time didn’t last long. It wasn’t because the bad attitude towards other humans failed. It was because someone in power noticed the value of wide streets. They bought it up, turned it into a market zone and all the rickety houses were knocked down.

It’s ironic, isn’t it, that half the people who live in this town are descended from the poor souls who were thrown out of their homes, like dirty dishwater. Their work brings the tourists in. Their work creates my work. Even walking down this street feels insolent.

Publication in the time of COVID – another anecdote

personby Gillian Polack
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I want to introduce you to Poison and Light, but I have no idea how to do this. It was released during the first year of COVID and so most bookshops have not been interested in it: it’s available from online stores, mainly. It was a finalist for an award, but there was no ceremony for that award, so no-one noticed it there, either.

This is all ironic, because it’s the book I wrote for people who wanted this history with the panoply and the danger. It has a Code Duello, and costume drama, and hot air balloons, and tentacled aliens, and secretive printers, and evil conspiracies, and the main protagonist is the last refugee from old Earth.

There’s one special character in it who was going to get their own novel if this took off, because they are just so very cool. I say ‘they,’ because even though they publicly identified as male, they didn’t always privately identify as male. It’s their idealism and their amazing clothes’ sense and their even more amazing rapier skills that made me want to know more.

I’m not the only person to want more of Fabian. Instead of summarising my novel, then, I’m going to send you to a review of it. That way you can see what both the novel and Fabian look like to someone other than me: https://performativeutterance.wordpress.com/2021/03/03/poison-and-light-gillian-polack-shooting-star-press-2020/

Me, I wrote Poison and Light because I wanted to explore a world that wanted to hide its head in the sand by pretending it was in the eighteenth century. Some residents of New Ceres thought they were in a world where nobles ruled, gloriously. Others thought they were in a world with decadence they could enjoy. Still others are planning a revolution. You get some of all of this in the novel, but it was going to be a series if it sold well enough, and there was far more excitement in store in those later volumes that will now never happen. There are issues that would have emerged concerning failed terraforming, for instance (we need more novels about failed terraforming, given what we’re doing to our own planet right now), and of slavery, and of how much New Ceres could remain its independent and dangerous quirky self when the rest of the galaxy had recovered from the war. How does the dream of history hold up against reality?

The novel I’m working on now is set in that same universe, but back on Earth. Only one character overlaps. I’m sorry, but that character is not Fabian.

I used actual 18th century texts and ideas and stories to build the world of the novel. That novel was part of the research project into how fiction writers use history, and testing the concepts other fiction writers presented me with gave me far more insight into what they did than if I’d simply collated my interview notes. It doesn’t come up in History and Fiction, and nor should it. When I use novels to test ideas, those ideas become part of the novel. I still have to check those ideas against my research for my academic side.

This means you can read Poison and Light without caring a jot about Gillian-the-researcher. You can enter it for the strange future world and for the people. In a perfect world, my readers do this. They look at my characters and pick the actors they would love to be playing them. Which leaves my second last thought as, “I have no idea who would play Fabian.”

My last thought is that I need to write more about Poison and Light. It deserves to be seen.

Reading (and Writing) Warily

personby Madeleine Robins
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Somewhere fairly recently I was in a conversation with someone (can you tell I cannot for the life of me remember when, or with whom, the conversation occurred?) about the why of writing. The person I was talking with spoke pretty definitively about why writers write, and while her points (I can remember it was a woman I was speaking with, maybe by the time I finish this post I’ll remember her name) were valid, I thought they were also limited. As if she could not imagine reasons to write that were not hers. Which is the crux of why I write. I’m trying to figure out why people do what they do. It’s why I read, too: to understand.

I am the daughter of an alcoholic, which comes (at least for me) with a certain number of good and bad sequelae. One of those is a certain wariness, and the ability to zig and zag given immediate circumstances. Another, for good or ill, is to set up a series of actions, and create a story that explains why my characters complete those actions. Continue reading “Reading (and Writing) Warily”…

I Did Not Write This in Longhand, But …

personby Nancy Jane Moore
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I don’t usually read John McWhorter. Over the years, I’ve seen enough work by him to know I find him annoying, possibly because he strikes me as one of those people who have carved out a career as a contrarian.

But he had a column about whether kids should be taught cursive this week and, given his usual defense of the old-fashioned, I thought this might be one place where he and I aligned.

Nope. Turned out he thinks it’s great that kids aren’t learning cursive anymore. Our ongoing record of disagreement continues, because I do think learning cursive — or, as I call it, longhand — is useful.

Now I should tell you that the only subject I struggled with in elementary school was handwriting. That includes learning to print as well as learning to write longhand.

It’s not that I couldn’t recognize the letters — I was reading before I started school — nor that I didn’t know how to make them.

It’s that the way I made them was always messy. They were readable. They were “right.” But they didn’t look very good.

Longhand was no harder for me than printing, which is to say that I could easily do both, but never do either to my teachers’ satisfaction.

The end result? Judging by my handwriting, you’d assume I was destined to be a doctor. (I wonder if the old joke about doctors’ handwriting still applies in the modern world in which prescriptions are sent electronically.)

My handwriting has not improved with age. At one point in my life, I took an aptitude test in which I discovered that I had multiple aptitudes — an explanation for my multiplicity of interests — except in one area: fine motor coordination.

I test at 5 percentile on fine motor. The funny thing is, I kind of enjoyed the test for that. I was just very, very slow and clumsy at it.

I took typing in summer school when I was in high school and even though I was never a great typist — I am apparently not good at any skill where you are supposed to be very accurate with your fingers — I immediately starting typing everything.

Long before personal computers were a thing, I was writing on a typewriter rather than by hand. I should probably note that I was raised by journalists, and being able not just to type but to write directly on a keyboard was considered a basic skill.

I thought correcting typewriters were a gift of the gods and I got my first computer in 1983 (which is about to be 40 years ago). Typing on something where I could correct my errors and go back and revise without having to retype was the most wonderful thing I could imagine.

I compose almost everything I write by resting my fingers on a keyboard and thinking. (I do not like keyboards that are so responsive that you can’t touch a key without it registering.)

So why, you reasonably ask, do I think it’s good to learn longhand? Continue reading “I Did Not Write This in Longhand, But …”…

Story Matrices, History and Fiction, and why I wrote them

personby Gillian Polack
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There is a constant buzz around concerning new books, old books, favourite books.

I’m part of that buzz. I write about books all the time. I analyse story and describe narrative. If I were someone who was confident about her work, I’d tell everyone my list of things to consider for prizes, but I’m not, and my big work this year is a little book, Story Matrices, looking at story and how we transmit culture through it. For me, its big achievement is that I’ve finally managed to find a way of explaining important things so that writers and editors can work with some terribly important concepts. Too many have (in my presence) said “I can’t handle this” about these ideas. Some still will say that they can’t handle things.” But writers are now coming up to me and saying, “I think I understand.” They understand how culture can be more safely tackled in fiction. They understand how to weave culture into their writing, just as people who read History and Fiction could see how history is used and what research for story is all about and…

I spend so much of my life trying to understand and then explain, that these two books are very important to me. What I want is people to read them and to argue with them and to annotate them and to find their own understanding of story. I want readers and critics to take what I’ve described and say “But” and “I can do better than this” and “Wait, I have an idea!”

Awards help people find the book they want to read next (so nominate the books you want seen), but the biggest reward of all is someone reading my books. Intelligently, Argumentatively. Not arguing with me, but with what I’ve written. Finding their own path through this argument.

All my books are meant to be read actively. Maybe not all with argument – that’s the academic books – but with criticism and thought and feeling. And…

Maybe it’s time to do a blog series that introduces all my books. Today you’ve had Story Matrices and History and Fiction. Short academic works that people tell me are surprisingly readable. Over and over again I am told this. Every time, I hope that this means that the person telling me has frowned over one page and laughed at a comment and taken notes to find a book I mentioned and said, at some point, “Yes, this is what I needed to read right now.” And then they put the book down and think about what it says and how that applies to their favourite writers. And to their least favourite. And to the book they’re reading because the book club says to. And to the book they got from the library by mistake. And to the book their favourite bookseller says “You really need to read this.”

I love readers who think for themselves and have their own opinions. I won’t agree with all their opinions, just as they won’t agree with all of mine, but it’s such a joy to hear them. Of all my books, the two that were written to provoke interesting discussions are Story Matrices and History and Fiction. They’re short on character and plot, and long on research, but that’s fine, other kinds of books have character and plot.

I love it that some books are read because they’re like others and are comfortable, and we read others because they pull us into new worlds and light up our minds with concepts and humour. I’m not sure whether authors are the right people to describe their own books, but … I’m going to try. This post is the first in a series that may well last right up until the next author interview.

Jacarandas in Australia (large spreading trees with purple flowers)

Walking Among the Jacarandas With John Fowles

personby Amy Sterling Casil
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For the privilege of sharing a common favorite book and an interest in natural history with the noted British author John Fowles, I earned a book hurled at my head.

Not by Fowles!

It began with Wiwaxia and ended with the jacarandas and a cup of tea.

My aunt, I told Fowles as we walked among the beautiful jacarandas in bloom on the Chapman University campus, always had loved these trees. Although their purple flowers always draw comment and interest, their pods were what she had loved so.

The pods are like purses, or perhaps herbaceous oysters. They’re strong and durable.

Fowles’ voice was soft and he spoke carefully, with a bit of sibilant whistle with some of his “esses.” I’m sure this is a British mark of something … but he wasn’t the least bit “crusty” (as in upper-crust). He was down-to-earth and courteous.

He was curious, almost relentlessly so.

He asked about the many rabbits on campus — escaped from labs ages before.

He asked about the large flock of green parrots — escaped pets, now breeding in large numbers (as did the rabbits).

He asked about the jacarandas. I had always thought this tree was from Australia, as were the many varieties of gum and eucalyptus we see everywhere around Southern California. But it turns out that jacarandas are from Argentina and in the wild, they are regarded as a threatened species.

But they are planted as landscape trees around the world and their purple flowers rival cherry blossoms for beauty.

I’ve been going over my work today and thinking, “Fowles treated me as an equal.”

Because he was egalitarian? Perhaps. Fowles is the author of one of the least-objectionable of the “man kidnaps, rapes, and tortures young woman” books, his first bestseller, The Collector. At the time I was walking with this man on the Chapman University campus, it hadn’t yet dawned on me that this type of literary subject might represent an extreme form of toxic patriarchy and that sane people might not regard such a tale as a subject for light reading prior to bedtime.

That issue was never raised at the time, not in any seminar where I was present, and not between Fowles and me.

We talked about Wonderful Life, a mutual book favorite of ours, written by the late (both men dead, now) Stephen Jay Gould. This book tells the story of the discovery and interpretation of the Burgess Shale animals, and Fowles had just returned from a trip to Canada to see the Burgess Shale with his own eyes. He wrote about other fossils, those found on the beach at Lyme-Regis. Collecting and studying these fossils formed a significant part of the story of The French Lieutenant’s Woman, which was made into a well-received film in the 80s starting Jeremy Irons and Meryl Streep.

I insisted that Hallucigenia was groovier than Wiwaxia, although now, I’m no longer sure. What do you think?

Hallucigenia (l) Wiwaxia (r)

Fowles read some of my work and pronounced it good.

He spoke with me some about being a writer.

He said, “You must always do what you do for yourself first and only. Never do what others want or demand.”

He signed one of several of his first editions, and a few not-first, to me. I took those with me in my single box of books when we moved to Florida.

I’m reading something of mine today, preparing it for publication.

In book form.

And I saw something else, as well.

Via social media, a young woman asked, “Are you proud of your skin color?”

I understand the reason why the question was asked, and though my answer to that question is “No,” I ask myself the question, “Are you proud of your work?”

The work I’ve done for a lifetime.

And to this, my answer, is “Yes.”

And I think, now that I am ten years younger than the 70-year-old Fowles was when he walked with me on that long-ago day on that far-away campus,

He was right.

I’ll never know why Fowles wrote The Collector. I see some material online that says he wrote it to “Fulfill a boyish fantasy of imprisoning a woman.” I hope that’s not really the case; certainly there was little to nothing of this left in the kind, thoughtful, gentle older man I walked and talked with.

He seemed to me to have been a man who had grown tremendously throughout his life. A thoughtful man, interested in the world around him and all of its creatures. All of life.

“You must always do what you do for yourself first and only. Never do what others want or demand.”

It seems like such simple, easy advice to follow.

So it seems.

The truth, would be quite the opposite.

The Downhill Path to Understanding

personby Gillian Polack
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I’m waiting for mail. I blame conversations. I also blame virtual and hybrid science fiction conventions. This last month, I’ve been to a couple, and one of them worked out how people could get that casual chat that’s such a part of face to face conventions. And all this is good… except…. Except… when one is sitting at one’s computer (notice how I distance myself from something I’ve done) it is the work of but an instant to buy that book that the group is talking about.

A group of prize-winning Korean writers talked about influences on their work, for instance, at VICFA (the Virtual meeting for the International Conference on the Fantastic in the Arts) and one of them threw casually into the conversation that the most important writer was finally in translation. Reader, I now own Kim Bo-Young’s I’m Waiting for You.

Most books are still heading my way.

Only one has arrived, and it’s related to me trying to understand why the popular view of Jewish history in central and eastern Europe is so very wrong (mostly) for anything prior to the 1770s. What happened in and around the 1770s, was the partitioning of Poland. A vast country (the whole of the Polish-Lithuanian Commonwealth) went, to describe it a bit simplistically, from being dominant, to being under the rule of others. Most of the sense of Jewish history we have came from places under Russian rule, which is currently very topical. So many lives were changed so profoundly and for such a long period, that we still think of Tevye the Milkman as being a kind of Universal Nice Jew and Anatevka as being the classic stetl and stetls being the only place Jews could live in all those vast regions.

I know more of the history of the region now, and understand both why the change happened, and why a lot of people take the position of Jews in the late Russian Empire as typical and push it back to the seventeenth and sixteenth centuries. I need to know more about how people actually lived. Polish SFF fandom is helping me in this endeavour, but I also have to help myself. I helped myself to much reading. Some I’ve borrowed, some I’ve read online, but very occasionally there is something I must buy because I live in a city with too small a Jewish population to obtain it locally. A book by Yohanan Petrovsky-Shtern is the most recent ‘must-buy.’ It’s called The Golden Age Shtetl. A New History of Jewish Life in East Europe.

My little library of Jewish history is slowly growing, as is my knowledge. This book covers the transition period, when Jewish life changed so dramatically. Before the book begins, there was the Polish-Lithuanian Commonwealth, where Jews could work in almost any trade and lived in cities and towns. At the end of it, we have that dream of a small town or even village Jew, being thrown out of their home by an uncaring Tsar.

The reality is complex, but if I can understand those changes, I’ll know my own heritage but I’ll also be able to write more about it, whether using it as a setting for fiction, or writing critical essays. The immediate reason I bought the book is partly because someone mentioned it and I checked it out, but mostly because I had a conference paper on Jewishness in a couple of works of fiction accepted and I need to know this book to write it. Right now, my subject knowledge is cumbersome. One day, learning about this subject will tip down the artificial mound of rubble made by ill-digested information. As I roll down that hill, everything will suddenly be clear.

And now I must watch for mail. I’m still missing eleven books. They’re all work-related, just as these two are, and every single one of them is likely to upend things I thought I knew and maybe, just maybe, push me off that hillside and start on the real learning.

Auntie Deborah is Still Giving Writing Advice

personby Deborah J. Ross
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Dear Auntie Deborah…


I wrote a story using another person’s characters, even though they said not to. Can I publish it since their book isn’t copyrighted?

If the author has published their story in any form, it’s copyrighted. That, however, is beside the point. It’s just plain unethical to do what you suggest. It’s a great way to make enemies in your genre and create a horrible reputation that will haunt your career, assuming you still have one after such a bonehead move.

Create your own characters. Write your own stories. Treat your colleagues and their work the way you would like to be treated. Pursue your career with integrity and generosity.

 

Are self-published books inferior to professionally published books?

It all depends.

Not that long ago, self-published or vanity press books were assumed to be of inferior quality, that is to say, unpublishable by “real” (traditional) publishers. There were exceptions, of course, but that was the conventional wisdom.

Today, however, many self-published books go through the same rigorous editing and quality standards as traditionally published books. Some genres, like romance, are especially friendly toward self-pubbed projects.

With modern publishing technology (ebooks, POD printing), there are many reasons why a pro-level author might want to self-publish, including:

  • Niche projects, like memoirs or family histories.
  • Series that were dropped by trad publishers but that have an enthusiastic fan following.
  • Well-written books that don’t fit into the NY “best-seller” model.
  • OP (out-of-print, rights reverted to author) backlist.
  • Great books that straddle genres or otherwise confuse traditional marketing/sales departments.

That said, many self-published books are dreadful. They aren’t good enough to attract the interest of an agent or publisher to begin with, they aren’t professionally edited or proofread, the covers are amateurish, and so on. The challenge for the reader is to sort out those books that are truly a wonderful reading experience.

Does reaching a certain number of reviews increase your indie sales?

The short answer is that nobody knows. Theories abound, usually to line the pockets of the “experts.” “Gaming” the Amazon system is a losing proposition. What might have been true 2 years or 6 months or last week no longer works — because thousands of self-published authors have tried it, thereby flooding the system with meaningless tweaks.

If you want to increase your sales, write a great book. Publicize it. Get stellar reviews on Publishers Weekly and the like. Write an even better book. Rinse and repeat. Even then, there are no guarantees when it comes to sales, but you’ll have the satisfaction of writing really good books.

My first attempt at a novel is a New Adult Romance novel using the Three Act Structure and I’m floundering. Help!

I’ve been writing professionally for over 35 years and this is what works for me: I noodle around until the story catches fire. Then I have some idea of: the hook, one or two plot points/reversals, the big climax, and the emotional tone of the ending. Sometimes I fall in love with the characters and they run away with the story. If I’m selling on proposal, I use that much to generate a synopsis. If it’s on-spec, I dive in. As long as I feel as if I’m flying or surfing the story, I keep on. I use things like structural analysis only if I feel stuck.

The thing is, and always has been for me (12+ trad pub novels, 60+ short stories, plus collections and non-fic), I go where the creative joy is. Anything else is a boring slog.

All this said, I write fantasy and science fiction, where fluid structures are appreciated. Romance is much more formulaic. Consider that your muse might be leading you to write a love story, not a by-the-numbers romance. Always, always listen to your heart. Continue reading “Auntie Deborah is Still Giving Writing Advice”…

Information Overload

personby Nancy Jane Moore
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Somewhere, something incredible is waiting to be known.
― Carl Sagan

A lot of writers I know do research, by which they mean (I think they mean) they have an idea for their book or story and go look for materials relevant to that.

I do some of that when I need to make sure my story isn’t full of howlers.

But my own actual research forays when I’m writing fiction are pretty specific: Do I have that date right? Is there any science that supports this flight of fancy? I generally do this after I’ve started writing and found something I need to know more about.

I get the impression that a lot of novelists I know go down much deeper rabbit holes doing this kind of research than I do.

I do get obsessed with subjects or with author, but this obsession is rarely related to research for a particular story or book. It has to do more with coming across an idea or an approach that strikes me as fascinating, regardless of whether I have any practical use for it.

Most of the time, I read widely (or as I put it in a recent senryu, wildly) because I’m interested in an immense variety of things, including things I don’t know interest me until I stumble across them.

My biggest FOMO is of not discovering something I want to know about. Carl Sagan put it more elegantly in the quote at the beginning of this post.

But I also read widely/wildly because this is the backbone of my writing. I don’t know in advance what I need to know.

Continue reading “Information Overload”…