Today’s the day! The Bloodstained Shade is officially out and in the world!
I’m so excited for y’all to read it. I’m incredibly proud of this book, not only for the determination it took to produce it, but also because… it’s really good, though I say it myself! I hope you find as much delight in reading The Bloodstained Shade as I did in writing it!
And yes, you’re reading that right — the book is available in both ebook and print format!
In case you missed the big announcement last week, the entire Aven Cycle (thus far) is back out in brand-new paperback editions, featuring their gorgeous new covers. The matched set is definitely lust-worthy.
And if you’ve already ordered — awesome! Now help me spread the word to readers who don’t yet know how much they love the Aven Cycle.
Readers sometimes ask me where’s the best place to buy my books, if I get any more money from one retailer or another. In general, the answer is that it doesn’t make a ton of difference. The retailers with lower royalty rates tend to have higher volume, so it evens out in the long run.
I will, however, always recommend asking your local indie bookstore to carry them, if possible. You can also request them at your local library! Or, use this Bookshop.org link — then I essentially get to double-dip, since Bookshop gives me a li’l somethin’ as an affiliate.
And, because I just can’t help myself, if you haven’t picked up the e-copies yet, I’m having a this-week-only sale on From Unseen Fire and Give Way to Night! Just $0.99 at all your favorite ebook retailers, for a limited time.
As I’ve been preparing for this release, I’ve been giving a peeks inside the process over on Patreon and Ko-Fi! Here’s a round-up of what I’ve been doing on those channels recently:
Sneak peek of the print cover From Unseen Fire
First pictures of the proof copies of the print editions
Book-bub ad testing and geeky data analysis
Mages of Aven microfiction — we’re up to 250 snippets!
A look at using AutoCrit to assist with editing
You can join on either Patreon or Ko-Fi and get access to the same member-exclusive content!
My wonderful supporters are, truly, what have enabled me to get The Bloodstained Shade into the world. Patreon and Ko-Fi funds allowed me to commission that wonderful cover art, to put the books into print, to hire my amazing editor, and to put effort into marketing and promotion. I truly could not be more grateful.
And other retailers should be coming along soon — it just takes some time for them to populate everywhere.
Now is an especially wonderful time to order from Barnes & Noble, as they’re currently (Jan 25-27) having a pre-order sale! You can get 25% off either the paperback or ebook of The Bloodstained Shade (or both!) — and enjoy it next week!
Today’s the day! It is Rome’s 2,774th birthday, and in honor of the Eternal City, today is the day that the new e-book editions of From Unseen Fire and Give Way to Night are released into the wild!
You can acquire them from your favorite purveyor of digital fiction* at the hot-hot price of just $2.99 each.
*The Kindle version may be slow to appear, because AMZ chooses to be difficult if you upload through a third party rather than through them, but it will be there soon if it isn’t at the moment you see this!
Why am I calling them “newly revised and improved”? Well, it’s mostly a joke. Early modern books would put that on the cover to sell second editions of their quartos. Sometimes the revisions really were substantial, as when Q1 Hamlet became the version most people know today. Sometimes… enh, not so much.
What’s the case for the Aven Cycle? Well, From Unseen Fire most definitely is amended, augmented, and, I think, improved! I trimmed over 6,000 words from the final draft! And… you won’t miss most of them. A lot of that was tightening verb forms — getting rid of extraneous “had/were/was” constructions — and trimming clutter. Amazing how much of that bloat there can be in a manuscript!
I would remiss not to mention the software that helped me do all of that, AutoCrit. It is genuinely such a helpful tool to help a writer think about choosing the best, strongest words. I’m really loving it, and I’m looking forward to using it on my books in the future!
I also did trim a few full paragraphs out of From Unseen Fire. Not many, but there were a couple of places where I bounced into the head of a character who I once thought might’ve had potential to grow, but who never ended up developing into a full POV, or where I foreshadowed something that will never come to fruition. It happens! And one of the advantages afforded to me by these strange circumstances is the chance to go back and tweak, which many authors never get a chance to do.
So, like I said, it’s probably not anything you’ll even notice if you read the first edition of From Unseen Fire and decide to revisit the story in the new e-book edition, but I hope it will make for a more satisfying experience, even if subconsciously. Give Way to Night, I pretty much left alone, as it was a tighter book to begin with. I learned a lot between 2011 and 2018, as it turns out!
I would really love for these new editions to have a solid re-launch, so if you have $2.99 to spare, or even $5.98!, I would be thrilled and delighted if you bought a copy.
Thanks to everyone who’s been so supportive as I’ve careened my way through these rough waters!
Hey, everyone! So, I have some news that is big and a bit scary, but also holds in it, I hope, the seeds of new opportunities.
DAW Books and I are parting ways.
There are a lot of reasons for this, and while I can’t share everything, I do want to discuss what I can, to let my readers know what’s going on, to give a heads-up about what the future of the Aven Cycle will look like, and to provide a glimpse into the often-foggy path of publishing. This is a bit long, but there’s been a lot for me to process.
What’s going on?
DAW Books is an editorially independent publishing house, but they are distributed by Penguin Random House. This means that while DAW makes its own creative decisions, PRH controls a lot of purse strings. Recently, it seems they have been tightening those strings. I am not the only DAW author affected, and some others have publicized their own experiences, as it’s hit different authors in different ways.
It is good for authors to remember that publishers are businesses, not our friends. They make business decisions. A series of business decisions led to this point.
First, the business decision to release Give Way to Night in hardcover during the last week of 2020, promoted by a tweet and an Instagram post.
Next, the business decision, somewhere in the following weeks, to release Book 3 of the Aven Cycle in ebook format only. No print release. I have been told that Give Way to Night’s poor sales were the reason for this decision. I received this information in February of 2021, so the book had been out for about six weeks at that point.
In traditional publishing, marketing and publicity are part of a publisher’s job. Marketing tends to decide what books will sell well. I knew this as a bookseller before I knew it as an author, since I worked in an indie shop for a long time: you quickly notice a correlation between the books that do well and the books that publishers are pushing hard. It’s no guarantee, in either direction; a book with little marketing support can shock everyone by catching inexplicable fire, and some things that get pushed hard still flop. But, generally, more publisher-driven marketing = more sales. That’s part of a publisher’s job: using the tools at their disposal to move their products.
Nothing an author does in that regard moves the sales needle in a significant way — something of eternal frustration to authors, who still feel the pressure to try. But real movement comes from things authors quite literally cannot do: negotiate with Barnes & Noble for prime placement on tables, as just one example. It’s not only not an author’s job; it’s not within an author’s capability.
An author’s job is to write the best book they can. I did that. I love Give Way to Night. I think it’s exciting and shows my growth as a writer. I did my job.
It was not easy. There’s a lot under the “I can’t talk about it publicly” banner, some of it in my personal life and some of it not, that stalled the book’s development and release — and, of course, from March 2020 on, all of it was happening under the psychic weight of a global pandemic. But I gritted it out, I got through it, and I wrote a book I am so proud of.
But publishers look at numbers. And, six weeks after the book’s December 2020 release, the numbers were disappointing. They made a business decision.
Writers look at numbers, too. We’re creative professionals, but we are also our own businesses, and we also make business decisions. So, when my agent and I first got the news about Aven 3 being slated for e-only release, we tried to negotiate something that would be in my best interest.
I was still drafting the manuscript at the time. By spring of 2021, it was our understanding that my publisher had made the business decision to have Aven 3 go straight to paperback. This was perfectly fine with me. Hardcovers are more prestigious but also more expensive to produce and more difficult to sell; I get that. Plenty of series move to paperback after the first book or two. I’d rather have a better chance of selling more books than have the glitz of a hardcover. So, happy with that compromise, I went on writing.
I delivered the manuscript in September. A couple of weeks after that, we learned that Aven 3 was still slated for an ebook-only release.
Thus followed a lot of back and forth between my agent and my publisher. The end result is this: My agent and I no longer have confidence that DAW is the best place for me, so we have made the business decision to have the publishing rights for the Aven Cycle revert to me, and DAW has agreed.
So… what now?
Book 3 of the Aven Cycle, The Bloodstained Shade, will be self-published in ebook form. I suppose that will officially make me a hybrid author.
I will be frank: Self-publishing has never been a goal for me. This was never the path I wanted, but one of the things I have learned in my 36 years on this planet is that when you are faced with an untenable situation, it is healthier to choose a path you never intended to be on, even if it scares you, than to stay your course right into a ditch.
This is no disrespect to self-publishing, by the way. I know it works wonderfully for many people. But it’s a lot of work, and I already have three jobs. There are a lot of up-front costs and responsibilities that I’m anxious about shouldering. It will be challenging, but I very much want to see this story and these characters through to the end of their arc, so, I will take on those challenges.
And I am looking forward to some of the opportunities that this will afford me. Self-publishing does have its advantages, like being able to set my own prices and offer flash sales. (Keep an eye on BookBub!)
This will also allow me to continue the story of Aven past what I was contracted for with DAW. Once you read The Bloodstained Shade, you’ll see that, while some arcs wrap up, others have open ends. Self-publishing means I’ll have the freedom to chase those down at some point in the future. I don’t know when, because I do still want to pursue traditional publishing for the new projects I’m working on. But it will be an opportunity afforded to me.
I am, in all honesty, trying to make the best of an unfortunate situation. The vagaries of the publishing world are many. Lots of authors have very bumpy paths. I can know that, intellectually, and still be Feeling Some Feels about it all. It’s a difficult thing to face, feeling like, after getting through those hurdles and gates to launch a writing career, I have to start over again.
But I must remind myself that I am not starting from scratch. I have a Hugo nomination to my name, which is no small thing. From Unseen Fire earned out its advance in quite respectable time. Give Way to Night has chugged along with surprising tenacity, despite its unceremonious entry to the world. I have grown as a writer, and that is something to be proud of. I believe my agent will be able to find a good home for my next manuscript. I am not starting from zero.
What does this mean for readers?
From Unseen Fire and Give Way to Night: Get ‘em while they’re hot!
The current ebook version of From Unseen Fire or Give Way to Night will cease to be available. I’m not certain when, but at some point, those will get pulled from ebook retailers.
I will be re-releasing both books in ebook form soon. How soon depends on, well, how fast I figure out how this works! I am beginning the somewhat intimidating process of figuring out formatting, cover design, and all those other elements of self-publishing, but it is certainly my hope and intention for there to be as little of a gap in availability as possible.
Later, The Bloodstained Shade will be out in ebook form.
I hope that it will be within 2022. There’s still a lot of work to be done: it needs editing and cover art and all of that, on top of figuring out the formatting and distribution. I will publicize a firmer release date as soon as I have one.
The Bloodstained Shade will still have an audiobook edition!
My Audible contract is separate from my DAW contract, so there will still be an audio edition of The Bloodstained Shade. I don’t know when; that depends on both when I feel the manuscript is in decent enough shape to send to a narrator and what Audible’s production schedule looks like. Again, I’ll let you know as soon as I have something firm to share.
It’s a great time to join Patreon or Ko-Fi!
If you’re not already a member of my Patreon community, this would be a truly wonderful time to join up, either there or on Ko-Fi! It would benefit us both. As I mentioned above, self-publishing comes with a lot of up-front costs; having more steady membership income will better enable me to shoulder those costs.
For members, I’ll be chronicling this new, wild journey! You’ll get sneak peeks of the book and of all the various steps along the way. If you like me and want to see me succeed, joining Patreon or Ko-Fi will give you the inside view. (And hey, if you don’t like me and are only reading this post to revel in my strife, I’m reasonably certain there will be some missteps along the way, so you’ll have a front-row seat for those!)
Patreon and Ko-Fi will also be where I’ll explore my options for continuing Aven after The Bloodstained Shade is out in the world. I may do some experimenting! Vatinius Obir and Merula might get a serialized spinoff where they solve crimes. Or cause them. Who knows? Whatever Aven-related novels, novellas, novelettes, or short stories follow, I’ll likely take them to Patreon and Ko-Fi first, so if you’re interested in the ongoing story, that’s the place to be.
Okay. I think that’s all the pertinent information for now.
I really want to thank everyone who has supported me on this journey so far. I am grateful to all my readers, and double to those who have taken a moment to recommend From Unseen Fire and Give Way to Night to others. Y’all are why I am determined to see the story out.
I am grateful, too, to know so many wonderful writers. Since beginning my publishing journey, I have found a community and made some truly amazing friends. I will weather this change with their support and by their excellent examples.
As I write when I sign books, audaces Fortuna iuvat — Fortune favors the bold — and so it is with boldness and perseverance that I will go on!
Back in November, I had the great joy of getting to “visit” (via video chat) a creative writing class at Clover Hill High School in Chesterfield County, VA — just south of where I grew up and currently live! They were participating in NaNoWriMo, and their teacher asked if I’d come speak as someone who had done Nano for a lot of years and was now living the writerly life. I was delighted to oblige.
Their questions were fantastic and thoughtful, and I really enjoyed chatting with them! With their teacher’s permission, I wanted to share some of those astute questions and my answers more publicly:
Did you start writing for fun or was this something you always wanted?
I’ve always been a storyteller, but when I was 11, I decided I wanted to be a novelist. Since then, there’s really been no stopping me. I don’t see writing for fun and writing professionally as mutually exclusive, though! I love the things I write professionally, but I also still write occasional fanfiction purely for my own pleasure.
Was there a particular teacher or friend or another person you knew personally that influenced you to become a writer?
I had several teachers who did a lot to boost my confidence. Bear O’Bryan, to whom From Unseen Fire is dedicated, was my creative writing teacher in high school. He was the first one to tell me that I could really, really do this. Actually, what he said was, “We’ll be studying you someday,” which I think is over-optimistic when it comes to literature classes’ general engagement with fantasy books, but! it was incredibly affirming to hear.
Do your parents support your writing? And if so, does that make things easier or harder on you?
This is an incredibly astute question from someone whom I am guessing has parents a lot like mine! Yes, my parents are incredibly supportive. They are my biggest fans and loudest cheerleaders. I am so, so grateful that for 24 years, they have believed in me and in my ability to do this. But it can be a weird sort of stressful, too! They love me so much that they can’t always understand why the rest of the world hasn’t caught on. I have to temper their expectations sometimes, which is hard when I also want to make them proud!
How do you get over writer’s block?
First, by not believing in it.
It’s like the Fae. If you name it, you give it power. If I’m having trouble focusing on writing, it usually means one of two things is going on: there’s something wrong with the story or there’s something wrong with me. If there’s something wrong with me — if I’m having a high anxiety day or a depressive fit, or if there’s something external with family or friends or work putting pressure on me, then I need to give myself room for that. Some days, the juice is just plain not there, and I can’t force it. If there’s something wrong with the story, then I need to figure out what that is. What pieces aren’t fitting together? What character is being railroaded into an action that isn’t right for them? Where am I going through contortions trying to justify a plot element?
So the better question is: How do I generate new words when I’m struggling and it isn’t a moment when I need to grant myself grace? When I need to buckle down but am having trouble doing so? There are a few things I try:
Change the scene: Sometimes I just need to jump to a new place in the narrative in order to reinvigorate my attention span.
Change the POV: Sometimes I’m trying to write a scene from the wrong character’s perspective — or I might have put them into a situation that’s wrong for them, an action that goes against the grain of their character.
Sprinting: This works particularly well during NaNo seasons, when there are word sprints on Twitter, but I can force myself to do it on my own using a good timing app.
How do you generate new ideas for writing?
Too few ideas has never been my problem. Too many is. I have to figure out what ideas are workable. That’s where the heavy lifting of being a writer comes in.
Where do I find inspiration? History and art. History is full of so many interesting stories, but what I really love is social history, how people have lived their lives throughout time. Art reflects that through a lot of lenses, cultural and aesthetic and political. I love looking at paintings and statues to see how artists represent themselves and the past, figuring out whether they’re presenting something realistic or idealized.
Does writing energize or exhaust you?
How much do you write in a day?
Utterly depends on the day and the kind of work I’m doing. During NaNoWriMo, the goal is 1667, and I usually do a pretty good job with that. Some days, I can go way past that, when I get into a really good flow. Other times, I might struggle to hit 200 in a day.
Editing is a different kind of work where the word count isn’t what’s important. I might be restructuring scenes, I might be condensing bloated scenes or plotlines, I might be staring at the screen trying to figure out what mystical ingredient I’m still missing that makes this perfect. That’s all work, too.
It’s important to remember, too, that “more words” does not always equal “better words”. A 2500 word day is not superior to a 200 word day if those 2500 words are self-indulgent padding or a pointless digression that I’ll end up cutting later on. The challenge is always finding the right words. I track my progress each day for the sake of accountability, to make sure I’m at my desk and focusing, but that can’t be the only measure I validate myself by.
Do you ever feel tired of writing?
I don’t think “tired of” is the right phrasing. I get frustrated with it, when I can’t figure out the solution to a plot problem. I get aggravated when the pieces aren’t coming together as well or as quickly as I’d like. And there’s a lot in the publishing realm that’s mentally and emotionally challenging in a whole different way, separate from the writing work itself.
There are times when I’m simply not in the right headspace to write. I have to acknowledge that and give myself room for it. When anxiety and depression are eating me, or when I have 80 papers to grade in a short span of time, or when, for instance, armed maniacs storm the Capitol and try to dismantle our republic, I have to give myself permission to have “off” days!
What’s the process for publishing a book and what’s necessary in order to get it ready for publication?
So, a caveat: This will look different for everyone. No one’s path is exactly the same as anyone else’s. I’ll also be talking about traditional publishing, which is different from the process for a hybrid author or a self-publishing author.
Write the book. Edit it. Get some beta readers — people who will read the book carefully and give you thoughtful commentary on it. (There are helpful guides online if you’re not sure what to ask them!) Edit it some more based on their feedback.
Query an agent. There’s a lot of advice out there on how to do this; broadly you want to make sure you’re choosing agents who are right for you and your book (ie, don’t query someone who doesn’t represent your genre) and you want to follow whatever guidelines are on their website. They may request either a partial or a full manuscript if they want to see more.
If you get signed, they may or may not take the book out “on sub” immediately. “On sub” means that your agent is submitting your book to editors at publishing houses. My agent, Connor, is an editorial agent; we did months’ worth of edits on From Unseen Fire before he took it out — and then we did some more when the first round of submissions didn’t land us a deal.
When an editor likes your book, they may still have to justify that to a board for approval. If the board says no, there’s still no deal. This happened to me; it happens to lots of authors. I mention it because it’s a part of the process that not many people talk about publicly, but it can be so nerve-wracking to wait for that news. I wish there were more resources preparing authors for being on sub the way there are so many resources for querying.
When an editor makes an offer, your agent will negotiate the contract. Connor got me a 3-book deal off of one manuscript and managed to hold onto audio and other rights so that we could sell those separately.
Then the editor has at it. You’ll generally have several rounds of editing, starting with developmental edits, which covers the big structural stuff — plotlines, character arcs, pacing, etc. There may be a lot or a little to work on there! From Unseen Fire still needed heavy lifting when it got acquired; Give Way to Night was already tighter by the time my editor saw it. Then, line edits, which addresses your word choice, sentence flow, the detailed stuff. Copy edits check for errors and consistency. Then, finally, proofreading makes sure the print copy is going to look exactly the way you want it to! (In theory; the occasional typo will still get through even if many eyes have been on it!)
Somewhere in there, you start talking about cover art, jacket copy, getting blurbs, and it’s all quite terrifying, because that’s when it starts to hit you that this is real and really happening and actual people are going to read it.
How long did it take you to write From Unseen Fire? How about Give Way to Night?
The drafting of FUF began in November 2011 (it was a Nano project!), and I finished it in June of the following year. Not every month was a heavy writing month — I feel like March and April I really slacked off because they were such busy months where I was working then. And then it took the rest of that year to edit into a shape that was ready for querying. Edits happened with both Connor and the DAW team, so it was almost six and a half years from initial drafting to on-the-shelf.
GWtN took longer to draft, even though the overall process was shorter. Some of that material was stuff that had been excised from FUF, so you’d think I’d have a head start — but so much of FUF changed during various rounds of editing that not much was useable as-is. I had to do a lot of alteration of that material to make it fit the new arcs. Then, I was also trying to write it during what was a very difficult year for me personally — and as a result, it took a long time to write what was not a very good book on the first try. The revision took about another six months, and that was much better, much stronger. I learned a lot through that whole process, with the result that I think Give Way to Night is an even better book than From Unseen Fire.
What’s the difference between writing the first book and then the second one?
Expectations. The first book, I wrote with a lot of hope, but with no one’s voice in my head but me. The second book, suddenly there are all these other voices. I was trying to make so many people happy — not just me, not even just my editor, but everyone who had read From Unseen Fire. I wanted to improve the things they thought were weak and give them more of what they thought were strong.
The problem, of course, is that not all readers agreed! I got really self-conscious about the things that readers criticized, but it was almost harder when there was, say, a character that some readers loved and others thought was pointless and boring. What do I do with that??The answer: Ignore it.
This is part of what took Give Way to Night so long to draft on the first go. I hadn’t yet learned how to tune out all that extra noise. I had to recommit myself to telling the story I wanted to tell.
I also learned my lesson about reading reviews. I don’t do it anymore. I have someone I trust look at them for me occasionally and send me the best comments.
Is it scary putting writing out there in the world and waiting for people to respond to it?
Yes. Horrifying. That in-between place when it’s done and dusted but no one’s read it yet is an absolute nightmare, because at that point, it’s out of my control. All I can do is hope I wrote a strong book.
Worldbuilding is a really big task and can be as detailed as an author wants. Where do you typically start when building a world (setting, character, theme, etc.)?
I tend to begin with an aesthetic. I have a sense of what the world looks like. That’s typically influenced by history. For the Aven Cycle, it’s late Republic Rome. For other projects I currently have on the back burner, it’s late-medieval Byzantium and early modern London. Then I start putting together characters to move around inside that world. I may still be designing the world at the same time! But I sort of build the dollhouse and the dolls simultaneously. One informs the other so much that it’s difficult to pull apart.
Is it difficult to keep track of character development from one novel to another?
No. Not for me, at least. Other authors’ mileage may certainly vary. I know who my characters are. If I have one particular strength as a writer, I think that’s it. So I have a strong sense of who they are at any given point in time, how they respond to pressure points, how they developed as they grew older, what they’ll grow into in the future, all of that. I can manipulate the world around them and easily see how they’ll react.
Now — Keeping track of eye color, ages, things like that, yes, that can be rough, especially for the tertiary and functionary characters that I spend less time with. I have spreadsheets for that and I still screw it up.
How do you write about characters or worlds that you haven’t experienced yourself?
A lot of research. Never-ending research, really, because it’s not just research about one historical period or place; it’s research about people and how we live. I try to expose myself to new ideas and to stories outside of my own life experience, so that I get a broader view of what moves and shakes people. I read a lot, fiction and nonfiction. I listen to a lot of podcasts. I never want to stop learning.
Thanks again to the students of Clover Hill for such wonderful questions! I hope my answers were in some way helpful.
Did you know? My supporters on Patreon get early access to posts like this, as well as weekly microfiction, explorations of rhetoric, behind-the-page shop talk, sneak peeks, and much more! Join for just $3/month to get access to the full feed!
Big news! And it’s gone live on Goodreads and the buy links, so I am as safe as I can be in announcing that Give Way to Night: Book Two of the Aven Cycle will be released on November 10th, 2020!
This is all gods willing and the creek don’t rise, of course; the pandemic is already leading to a lot of shake-ups in spring and summer releases. It’s far too early to know if it will affect the fall — but right now, this is the plan!
Where to pre-order:
Your local indie store! Find ’em through IndieBound.
Barnes & Noble — which, at the moment, seems to have the hardcover on a discount!
Pre-orders are hugely important for authors, because they tell the sales people how much interest there is in a book, how many to order, what kind of placement to give it — and that can, in turn, affect publishers’ interest in an author’s next books. So give future!you a treat and make sure you’ll have Give Way to Night on its release day!
Trust me. I will not let you trip or lead you astray.
I know this path. I found it in the wilderness; I marked its stones and notched its trees.
Take my hand, and let me take you on a journey.
The road will wind and twist, and you may not be able to see around the curves. You may lose sight of the street we came from; you may not be sure what we walk towards. But take my hand, and look at the trees and the dappled sunlight. Hear the birdsong and the secrets whispered in the wind. Catch the scent of green life. Let your skin tingle. Step away from the world and out of yourself, or with yourself, or whatever you most need.
Take my hand, and take your time.
This is how it feels, putting a book out into the world. From Unseen Fire hits shelves today, and I’m asking readers to go along with me, and I know what sort of a journey I’m asking of them. It’s not the simplest, smoothest path. It requires some investment, and it begs some faith. By some measures, it’s a lot to ask.
My favorite books have always been those which ask this of a reader. The ones that lead me off the garden path and into the deeper woods. Books to savor, books to live in, books that release both their secrets and their hold on the reader’s heart more slowly.
American Gods. Kushiel’s Dart. The Name of the Wind. In the Night Garden. A Game of Thrones. Sandman. The Bear and the Nightingale. Daughter of the Forest. Watership Down. The Lord of the Rings.
Books that take the reader on a journey. And now it’s my turn, to tempt you off the path and into the wilds, to duck beneath the hanging branches, to slip between the hedges, to beckon you along with me, to some unknown adventure.
With less than three months til From Unseen Fire‘s release, on a scale from “high-strung” to “nervous breakdown”, I’m currently approaching “basketcase” and accelerating. From Unseen Fire is starting to actually be read by other human beings. It’s up on NetGalley. There’s a Goodreads Giveaway going on. My publicity team is reaching out to reviewers and bloggers. And while they’re doing this, I’m working on page proofs and finding all of these teeny tiny errors that other people will see. Every error, I’m sure, will result in some hugely influential reviewer utterly trashing me because we didn’t catch that misplaced comma earlier in the process.
My fellow debuts are spinning in these same whirlpools of anxiety and shaken confidence. Those who came before me all warned me that page proofs would make me doubt that I’m even a native English speaker, and wow, they were not kidding. We’re all glued to Twitter and Instagram, seizing any opportunity to promotion. We’re Googling ourselves and our titles obsessively. Those who have reviews coming in on Goodreads and Amazon know better than to look at them but have difficulty prying their eyes away, convinced that a single one-star will forever incinerate their careers. Are we posting about our books enough? Too often? Are we engaging enough? Do we have enough “to-reads” on Goodreads? Are enough bloggers talking about us? Will we get a review from Kirkus or PW? If we do, what if it sucks? If we don’t, does that mean no one will ever know our names? Do our publishers still care about us? Are we asking them too many questions? Or not enough? We’re not supposed to compare ourselves to other authors and we know that, but why does her promo have more RTs??? Every single thing seems life-or-death, and we’re all flailing at each other for comfort, even though it doesn’t so much provide a balm as a momentary distraction from the feeling of impending doom.
And then a thought occurred to me that was oddly calming:
Writers are not normal people.
We’re just not. We do not live in a normal person’s world. Our heads are so deep in the industry that we no longer view books the way normal people do, the way that readers view them. The minutiae sending us into tailspins are possibly not things that a reader will ever be aware of. We freak out because it perhaps gives us a sense of control over an inchoate and unknowable process, but it leads to obsessing over what may turn out to be relative trivialities.
And so, I’m genuinely curious, and truly not for my own selfish promotional reasons, but rather to re-center myself and remind myself of what really matters —
What makes you, Dear Reader, pick up a book? An eye-catching cover? A recommendation from a friend? A good review? Where do you find out about new books and what convinces you to invest both time and money in them?
Enter now for your chance to win one of 10 Advanced Reading Copies. What does that mean? It means you could be one of the very first people to enter the world of Aven. Advanced Reading Copies, also known as ARCs and sometimes called galleys, are copies of the book that come out for review before the publication date. It’ll be paperback, rather than hardcover, and it may still have some typographical errors in it, as it’s an uncorrected proof. What it gives you is a chance to be one of my first readers!
Why are we giving out books for free? In the hopes that the lucky winners will post reviews, talk the book up, and get other people to buy it! Goodreads also automatically adds a book you enter a giveaway for onto your to-read list, which means you’ll get emails about the release and future giveaways.
Not on Goodreads and don’t want to be? No worries! DAW Books will be running their own giveaway soon, so there will be other opportunities to win an ARC of From Unseen Fire before April.
I’ve found myself thinking quite a bit lately about writing communities — and particularly about those which are composed entirely or primarily of women (and, in many cases, transgender individuals and enbies).
As someone who was supposed to debut in 2017 and is now debuting in 2018, I belong to a few different groups of debut authors. None of them have any kind of gender requirement for entry, but all are primarily composed of women. In these groups, a joyous spirit of mutual admiration and celebration dominates. The gender split seems largely true, as well, for the writing community in the Twitter-verse. I don’t think it’s quite as pronounced there — these particular FB groups seem to run about 90-10, whereas the participants on hashtag games, I’d probably put more at 70-30 — but it’s still extant. And, on the whole, in the Twitter writing community, women seem more likely to favorite and RT each other, more likely to turn a single tweet into a discussion. I’d be incredibly interested to see a sort of connection map to visualize that: I suspect that the womenfolk would have more connections and more extensively interconnected networks than the men.
Recently, a new member joined one of the FB groups — a member who happened to be male. Without ever having contributed to group discussion or helping to promote the other members, he began posting several items a day to promote himself. There was an air of assumption — and an obliviousness to how the group operates. Certainly there was no sense of contribution, no indication that he would be lifting others up as he expected to be lifted. It was… jarring. Didn’t he know how we behave? What would make him think that behavior was okay? Didn’t he realize how rude, ham-handed, presumptuous that was?
The thing of it is, though, I’ve just gotten used to the delightful nature of these particular groups. Some other groups I belong to but rarely spend time in are much larger and have a much higher percentage of male participants. These are places where promotion is a self-driven free-for-all, not a cooperative game. There is no expectation of mutual exchange. They tend to be un- or lightly-moderated.
I don’t spend as much time in they because the conversations tend to be unnecessarily combative. Threads get started that can only be described as “shit-stirring”, and a lot of time they’re retreading the same tired topics. (The one that really makes me want to light my hair on fire is “Do you really have to be a reader to be writer?”, which rolls around every few weeks. The answer is yes, and it’s not even a question in the groups that are populated with more pros than amateurs). Blanket assertions get made. A lot of opinions get stated as inviolable fact. Condescension rains down. As a result, these groups aren’t a lot of fun to be in; I confess, I’m really only in them out of a desire to make my name as Seen as possible pre-launch.
Is it always the male members starting trouble in these groups? No. But 9 times out of 10, yeah.
This is, of course, not to denigrate the guys I know who are lovely and supportive and generous. The smaller, cooperative FB groups have some excellent menfolk who have participated in conversations, organized promotions, and celebrated everyone’s successes. The Twitterverse has dudes who not only engage in conversations sensibly and respectfully, but who will step in when they see some other dude being a jerk and set their bros straight.
But then, they don’t need me to point that out. They know I’m not talking about them (don’t y’all?). Take the Sirens conference, for example. Last year I think there were all of three cis men there. Those guys were totally welcome, and the best part was, not a one of them abused that. They all understood that they place they were in was not for them. It was not designed with them in mind. Quite the opposite, in fact. They all understood that they were guests in a non-male-focused space, and they all behaved like polite guests ought to. They didn’t monopolize conversations. They didn’t mansplain. They listened. Sometimes they asked questions. But they never tried to assert themselves over others. And it was awesome. Towards the end of the con, several different women commented something to the effect of “Wow. I just realized I went four days without hearing the words ‘Well, actually’.” The relief was palpable.
Anyway — This recent incident got me thinking: Why do these female-dominated groups have such a tendency towards compassionate discourse, willing cooperation, and enthusiastic cross-promotion?
The one possible answer of “Women are naturally more sociable/compassionate/cooperative” would take a lot of unpacking, positing theories of evolutionary psychology against the massive weight of cultural norms and societal conditioning. A worthy exploration, perhaps, for someone with a more scientific brain than my own.
But I also think there’s an aspect of: Female authors behave like this because we have to.
What I’m talking about, really, isn’t the behavior of any individual man as much as the gender disparity in these groups. Far fewer men seem to feel the need to congregate in such a tight-knit fashion, where mutual advocacy is either an explicit or unspoken component of the group. Many, many women do, because we have to. Our publishing survival depends on it.
Male authors are still more likely than female authors to get the heavy marketing arm behind them. They’re more likely to land reviews from major publications. Male-heavy genres (“literary” fiction, thrillers, academic nonfiction) are treated, on the whole, as “worthier” than female-heavy genres (romance, historical fiction, creative nonfiction, the bulk of YA). I’ve talked about these pervasive schisms before. In SFF, despite how many women are writing in it — talented women, writing innovative and visionary novels — it’s still largely perceived as a male genre. Male authors are still the ones pointed to as the giants, the gold standard. Men still get the bulk of the attention.
Women don’t have the advantages that men — particularly straight white men — benefit from. So we band together. We aggressively affirm each other. We give each other the lift that the industry doesn’t always provide. Helping each other becomes sort of like herd immunity — we all become more visible by connecting with each other, and the more visible we are, the less easily we can be dismissed.
And we can feel safe with each other. We can vent. We can admit ignorance and ask questions. We can be self-deprecating! A vulnerability it’s straight-up dangerous to expose in most male-dominated writing groups. For this, if nothing else, I’m glad we can carve out these spaces for ourselves, decide which male colleagues get invited in, and decide who plays nice enough to stay.
I love these spaces. They’re cozy. But at the same time, part of me wishes they weren’t so necessary, and another part really hates the feeling of surfacing from them.