Saturday, March 19, 2011
C2E2
In Chicago this weekend making friends and influencing people. Hope that book I read about this works.
Monday, November 1, 2010
Quick Update
Bulletpoint Update
- Been short story writing. It's great until the last 500 words. Seems that's when the inspiration runs out.
- Snuck into World Fantasy Con. Had no credentials. Somehow got in.
- Started a new book. It shoved the other projects aside. Started today. 5,000 words down.
- Been short story writing. It's great until the last 500 words. Seems that's when the inspiration runs out.
- Snuck into World Fantasy Con. Had no credentials. Somehow got in.
- Started a new book. It shoved the other projects aside. Started today. 5,000 words down.
Thursday, July 1, 2010
State of the Writer
I'm 34 now. I am grim on my birthday (Wednesday's child is full of woe). I reflect.
My Writing Year
A Monstrous War is in the best shape its ever been. I'm getting back into Firstsons as soon as I finish a short story that struck like lightning (if it comes you must obey it). I have 3-4 short stories sitting around, all lightning strikes (I'm a long form guy, so when a short story comes, it comes easy, riding on pure inspiration) I guess I should learn how to submit them and start with that.
I had a busy year. Between my query package (he both loves and hates the query package), several short stories, and my roadhouse fan fiction (love me some wade garret), I've also worked on some comic stuff and a 300 page SECRET PROJECT.
Yes, you heard me. 300 pages of something SECRET. I had a dream with the Penny Arcade guys, and in it and they were very impressed. Maybe it wasn't a dream, maybe it was whatever Deja vu is before it happens the second time*.
This Year:
Firstsons
J.B. v. O.D. Rum (more on this later)
Submit Short Stories
More Conferences
Mentor (I need a writing mentor, badly. I have no connections. This is where am BFA or MFA could have helped. How will to accomplish this? I don't know. Shove pages into the hands of someone I respect, I suppose.)
*Promnesia = Deja Vu. New word: Prenesia. Def: The pre-state of Deja Vu, where the groundwork for noting something no one cares about occurs. (From my twitter)
Monday, June 21, 2010
Writing vs. Writer
I've read about wanting to write vs. wanting to be a writer.
Me, I want to write more than I want to be a writer.
So what does that mean? Allow me to illustrate by telling a story.
In January of 2009, I went to the New York Comic Con. I had a still-cooling first draft of A Monstrous War in my hands and wanted to talk to some writers, editors, marketing people, and whoever else would talk to me about the industry. I wasn't going to pitch (This is not the place to pitch, and I wasn't ready anyway), I just wanted to get the lay of the land.
I spoke to an undisclosed editor, who told me point blank that this was not the time to try to sell a traditional fantasy novel. If I wanted to get published, undisclosed editor said, I should write urban fantasy. The only way traditional fantasy would be published, they said, was someone had to be in love with the book. I'm paraphrasing, but the gist was, an agent and editor had to be willing to put everything on the line to get it published.
I was told my book had better be a very special book if I had a chance.
Now, my first reaction was to say "Don't worry, it is." However, I just nodded and asked undisclosed editor how their weekend was going and wished them the best.
I could have went home, shelved A Monstrous War, and tried to write an urban fantasy novel. Actually, that's a lie -- I couldn't have done that. Because I didn't have an urban fantasy novel in my head that needed to be written.
If I wanted to be a writer more than I wanted to write, then I would have grinded one out, and maybe it would have cut the mustard in a hot market, but it wouldn't have had any spark or magic.
I want to write. I want to tell the stories I have in me that need to be told. I just don't have that mercenary quality. If someone asked me to write for an anthology, and I thought I had something worth it, I'd go for it. But if not, I'd have to pass.
Because of that, what I write is always going to have magic in it.
Me, I want to write more than I want to be a writer.
So what does that mean? Allow me to illustrate by telling a story.
In January of 2009, I went to the New York Comic Con. I had a still-cooling first draft of A Monstrous War in my hands and wanted to talk to some writers, editors, marketing people, and whoever else would talk to me about the industry. I wasn't going to pitch (This is not the place to pitch, and I wasn't ready anyway), I just wanted to get the lay of the land.
I spoke to an undisclosed editor, who told me point blank that this was not the time to try to sell a traditional fantasy novel. If I wanted to get published, undisclosed editor said, I should write urban fantasy. The only way traditional fantasy would be published, they said, was someone had to be in love with the book. I'm paraphrasing, but the gist was, an agent and editor had to be willing to put everything on the line to get it published.
I was told my book had better be a very special book if I had a chance.
Now, my first reaction was to say "Don't worry, it is." However, I just nodded and asked undisclosed editor how their weekend was going and wished them the best.
I could have went home, shelved A Monstrous War, and tried to write an urban fantasy novel. Actually, that's a lie -- I couldn't have done that. Because I didn't have an urban fantasy novel in my head that needed to be written.
If I wanted to be a writer more than I wanted to write, then I would have grinded one out, and maybe it would have cut the mustard in a hot market, but it wouldn't have had any spark or magic.
I want to write. I want to tell the stories I have in me that need to be told. I just don't have that mercenary quality. If someone asked me to write for an anthology, and I thought I had something worth it, I'd go for it. But if not, I'd have to pass.
Because of that, what I write is always going to have magic in it.
Friday, June 18, 2010
Orb Bestiary: the Blood Cardinal
The Damphel is also known as the Blood Cardinal. It is a small bird, weighing only 165 grams. Its plumage is the color of dried blood, but other areas of the bird, such its beak and feet, are a deep, fleshy pink.
The most interesting feature of the Damphel are the bony projections that extrude from its head, in the approximate location where a normal cardinal would have a feathered crown. These projections are a veiny pink, which appear to be tied to the cardinal’s nervous system and brain. This strange adaptation has been employed by those with knowledge of the beast for centuries.
If one can obtain a blood cardinal, and prick their finger upon the bone crown, an interesting reaction occurs. The cardinal will sit quietly for approximately 30 seconds, then take flight, leading the owner of the blood it bears to the thing they most desire.
Why this occurs is unknown. It is theorized that the blood is somehow absorbed by the cardinal’s bone crown and signals are sent to its avian brain. However, it has been noted the bone crown must pierce the skin; blood that has been exposed to open air will not activate its seeking mechanism.
Because of this power the Damphel is used by investigators, treasure hunters, and thieves. It is also used by those whose loved ones have disappeared or been kidnapped. Young romantics often use the blood cardinal to attempt to find love, but beware: if your motives are impure, and you seek carnal desire, it will simply take you to the most likely candidate.
A lord with a Damphel as a totem will be seen as a seeker of things, and person of great desire and passion. They will also be seen as a possessive person, with many wants and needs. They may be thought of as quick to change their hearts, or uncertain, as the Damphel is needed to guide them. Of course, if the holder of the totem engages in a life of service, this perception changes, as they often help others seek what they want most.
The Damphel was the totem of Saint Raphael Christholm, Valadin and head of King Thane I’s Quests and Crusades division. Christholm was a famed seeker of lost artifacts, and secured many treasures for his King, most famously recovering the King’s amulet after it was stolen by “Lord” Herne in AA 4137.
The most interesting feature of the Damphel are the bony projections that extrude from its head, in the approximate location where a normal cardinal would have a feathered crown. These projections are a veiny pink, which appear to be tied to the cardinal’s nervous system and brain. This strange adaptation has been employed by those with knowledge of the beast for centuries.
If one can obtain a blood cardinal, and prick their finger upon the bone crown, an interesting reaction occurs. The cardinal will sit quietly for approximately 30 seconds, then take flight, leading the owner of the blood it bears to the thing they most desire.
Why this occurs is unknown. It is theorized that the blood is somehow absorbed by the cardinal’s bone crown and signals are sent to its avian brain. However, it has been noted the bone crown must pierce the skin; blood that has been exposed to open air will not activate its seeking mechanism.
Because of this power the Damphel is used by investigators, treasure hunters, and thieves. It is also used by those whose loved ones have disappeared or been kidnapped. Young romantics often use the blood cardinal to attempt to find love, but beware: if your motives are impure, and you seek carnal desire, it will simply take you to the most likely candidate.
A lord with a Damphel as a totem will be seen as a seeker of things, and person of great desire and passion. They will also be seen as a possessive person, with many wants and needs. They may be thought of as quick to change their hearts, or uncertain, as the Damphel is needed to guide them. Of course, if the holder of the totem engages in a life of service, this perception changes, as they often help others seek what they want most.
The Damphel was the totem of Saint Raphael Christholm, Valadin and head of King Thane I’s Quests and Crusades division. Christholm was a famed seeker of lost artifacts, and secured many treasures for his King, most famously recovering the King’s amulet after it was stolen by “Lord” Herne in AA 4137.
The Boyscout Approach
My first writing conference was very successful. I attribute this to being prepared.
- I had a finished book, synopsis, and query.
- I knew my book and could describe it in 25 words.
- I had business cards. This is a must.
- I dressed the part. Actually, I overdressed a bit. Still, I looked professional.
- I did my research. I knew who would be there, who I needed to talk to, and even if I didn't need to talk to them, I familiarized myself with their work, so if I ran across them I could strike up a conversation.
- I was passionate about my book. I think that really showed.
- I put myself out there. I made an effort to walk up and talk to people. I wanted to get on their radar. This isn't so hard for me (I love talk, and I am interested in hearing people talk, a.k.a. be a sponge), but even if you aren't outgoing you have to do your best. Volunteering to introduce speakers was well worth it.
Writers at all stages of their careers are at these conferences. Some want to learn how to get started, some want to get motivated, some are just curious, and some (this is me) are there to find an agent and publisher. Whatever your goal is, be prepared for it. I went into Pennwriter's determined to suck every ounce of worth out of it and it really paid off.
- I had a finished book, synopsis, and query.
- I knew my book and could describe it in 25 words.
- I had business cards. This is a must.
- I dressed the part. Actually, I overdressed a bit. Still, I looked professional.
- I did my research. I knew who would be there, who I needed to talk to, and even if I didn't need to talk to them, I familiarized myself with their work, so if I ran across them I could strike up a conversation.
- I was passionate about my book. I think that really showed.
- I put myself out there. I made an effort to walk up and talk to people. I wanted to get on their radar. This isn't so hard for me (I love talk, and I am interested in hearing people talk, a.k.a. be a sponge), but even if you aren't outgoing you have to do your best. Volunteering to introduce speakers was well worth it.
Writers at all stages of their careers are at these conferences. Some want to learn how to get started, some want to get motivated, some are just curious, and some (this is me) are there to find an agent and publisher. Whatever your goal is, be prepared for it. I went into Pennwriter's determined to suck every ounce of worth out of it and it really paid off.
Conventions are good for you: 2
Pennwriter's was a well designed conference, and I can't recommend it enough. I'm going to focus on aspects and people instead of timeline. Today, let's talk about C.J. Lyons.
C.J. writes medical thrillers (my description of her work, not hers), a genre I don't read whatsoever. However, she was running a pitch clinic first thing Friday morning (see how smart Pennwriter's is, they put this where it did the most good) and I was keen to attend.
I have to say, C.J. is great. She knows her stuff, has incredible energy, and is genuinely concerned about other writers. She made a fan out of me.
Her session on pitching was invaluable. I went to the conference prepared (an entry for another time, fair reader), but she helped me sharpen my pitch and will let you know what is working and what is not. I am sure a lot of new writer's look at classes and wonder if they are worth it or not. Hers are.
After her talk, we had a chance to pitch our book in front of the class (a hundred people? more? I'm not good with counting crowds), and I took it.
It was a wise decision.
One: I got valuable practice. Two: It put me on everyone's radar. People came up to me, commented on my pitch, offered advice, etc. It was a great icebreaker.
I heard a lot of "I don't usually read those kind of books, but yours sounds interesting" from people, which was a boost, because I wrote A Monstrous War with a mind on accessibility. I want to bring new readers into the genre.
I got off to a great start, and I owe it to C.J. Lyons. Thanks, C.J.
C.J. writes medical thrillers (my description of her work, not hers), a genre I don't read whatsoever. However, she was running a pitch clinic first thing Friday morning (see how smart Pennwriter's is, they put this where it did the most good) and I was keen to attend.
I have to say, C.J. is great. She knows her stuff, has incredible energy, and is genuinely concerned about other writers. She made a fan out of me.
Her session on pitching was invaluable. I went to the conference prepared (an entry for another time, fair reader), but she helped me sharpen my pitch and will let you know what is working and what is not. I am sure a lot of new writer's look at classes and wonder if they are worth it or not. Hers are.
After her talk, we had a chance to pitch our book in front of the class (a hundred people? more? I'm not good with counting crowds), and I took it.
It was a wise decision.
One: I got valuable practice. Two: It put me on everyone's radar. People came up to me, commented on my pitch, offered advice, etc. It was a great icebreaker.
I heard a lot of "I don't usually read those kind of books, but yours sounds interesting" from people, which was a boost, because I wrote A Monstrous War with a mind on accessibility. I want to bring new readers into the genre.
I got off to a great start, and I owe it to C.J. Lyons. Thanks, C.J.
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