Algonkian Writer Conferences - Events, FAQ, Contracts

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page. ________________________

Get a Life, Chloe Brown RECOMMENDED: Get a Life, Chloe Brown by Talia Hibbert is $1.99! Kiki really loved this one and gave it an A: Get a Life, Chloe Brown saw my expectations’ proffered hand and kissed it gently, and then proceeded to charm their pants off. In a tent. With s’mores. (Not with s’mores, because s’mores apparently are not a thing in the UK.) This metaphor got away from me, but you get the idea. This book is outstanding. Talia Hibbert, one of contemporary romance’s brightest new stars, delivers a witty, hilarious romantic comedy about a woman who’s tired of being “boring” and recruits her mysterious, sexy neighbor to help her experience new things—perfect for fans of Sally Thorne, Jasmine Guillory, and Helen Hoang. Chloe Brown is a chronically ill computer geek with a goal, a plan, and a list. After almost—but not quite—dying, she’s come up with seven directives to help her “Get a Life”, and she’s already completed the first: finally moving out of her glamourous family’s mansion. The next items? Enjoy a drunken night out. Ride a motorcycle. Go camping. Have meaningless but thoroughly enjoyable sex. Travel the world with nothing but hand luggage. And…do something bad. But it’s not easy being bad, even when you’ve written step-by-step guidelines on how to do it correctly. What Chloe needs is a teacher, and she knows just the man for the job. Redford ‘Red’ Morgan is a handyman with tattoos, a motorcycle, and more sex appeal than ten-thousand Hollywood heartthrobs. He’s also an artist who paints at night and hides his work in the light of day, which Chloe knows because she spies on him occasionally. Just the teeniest, tiniest bit. But when she enlists Red in her mission to rebel, she learns things about him that no spy session could teach her. Like why he clearly resents Chloe’s wealthy background. And why he never shows his art to anyone. And what really lies beneath his rough exterior… Add to Goodreads To-Read List → You can find ordering info for this book here. The Witches Are Coming The Witches Are Coming by Lindy West is $2.99! A bunch of us were excited for this one on a previous Hide Your Wallet. While this nonfiction may be a cathartic read, it also might be a little heavy right now. The firebrand New York Times columnist and bestselling author of Shrill–soon to be a Hulu series starring Aidy Bryant–provides a brilliant and incisive look at how patriarchy, intolerance, and misogyny have conquered not just politics but American culture itself. What do Adam Sandler, Donald Trump, and South Park have in common? Why are myths like “reverse sexism” and “political correctness” so seductive? And why do movie classics of yore, from Sixteen Candles to Revenge of the Nerds, make rape look like so much silly fun? With Lindy West’s signature wit and in her uniquely incendiary voice, THE WITCHES ARE COMING lays out a grand theory of America that explains why Trump’s election was, in many ways, a foregone conclusion. As West reveals through fascinating journeys across the landscapes of pop culture, the lies that fostered the catastrophic resentment that boiled over in the 2016 presidential race did not spring from a vacuum. They have in fact been woven into America’s DNA, cultivated by generations of mediocre white men and fed to the masses with such fury that we have become unable to recognize them as lies at all. Whether it be the notion overheard since the earliest moments of the #MeToo movement that feminism has gone too far or the insistence that holding someone accountable for his actions amounts to a “witch hunt,” THE WITCHES ARE COMING exposes the lies that many have chosen to believe and the often unexpected figures who have furthered them. Along the way, it unravels the tightening link between culture and politics, identifying in the memes, music, and movies we’ve loved the seeds of the neoreactionary movement now surging through the nation. Sprawling, funny, scorching, and illuminating, THE WITCHES ARE COMING shows West at the top of her intellectual and comic powers. As much a celebration of America’s potential as a condemnation of our failures, some will call it a witch hunt. To which West would reply, so be it: “I’m a witch and I’m hunting you.” Add to Goodreads To-Read List → You can find ordering info for this book here. This Side of Murder RECOMMENDED: This Side of Murder by Anna Lee Huber is $1.99! Did you catch Huber on the podcast? Sarah has been a huge fan of Huber’s historical mysteries and had this to say: If you like smart, clever, extremely competent women sleuths with a handful of secrets and a crap ton of inner resilience this is a terrific start to a mystery series. Good for fans of Huber’s other series, and of historical mysteries. The Great War is over, but in this captivating new mystery from award-winning author Anna Lee Huber, one young widow discovers the real intrigue has only just begun . . . England, 1919. Verity Kent’s grief over the loss of her husband pierces anew when she receives a cryptic letter, suggesting her beloved Sidney may have committed treason before his untimely death. Determined to dull her pain with revelry, Verity’s first impulse is to dismiss the derogatory claim. But the mystery sender knows too much—including the fact that during the war, Verity worked for the Secret Service, something not even Sidney knew. Lured to Umbersea Island to attend the engagement party of one of Sidney’s fellow officers, Verity mingles among the men her husband once fought beside, and discovers dark secrets—along with a murder clearly meant to conceal them. Relying on little more than a coded letter, the help of a dashing stranger, and her own sharp instincts, Verity is forced down a path she never imagined—and comes face to face with the shattering possibility that her husband may not have been the man she thought he was. It’s a truth that could set her free—or draw her ever deeper into his deception . . . Add to Goodreads To-Read List → You can find ordering info for this book here. The Highland Fling The Highland Fling by Meghan Quinn is $1.99 at Amazon! This is a contemporary romance with a grumpy Scottish hero. I’ve always been curious about Quinn’s contemporary romances. Would you recommend them? In this steamy tale by USA Today bestselling author Meghan Quinn, an American searching for her purpose escapes to a Scottish town but finds more questions than answers when she meets a brooding yet handsome handyman. Freshly fired from her third job in a row, Bonnie St. James has lost her way. So when she and her best friend stumble upon a “help wanted” post to run a coffee shop in the Scottish Highlands, they apply on a whim. Who knows? Maybe traveling to a new place is just what she needs to figure out her next move. When the friends arrive in the tiny idyllic town of Corsekelly, they instantly fall for the gorgeous Highland landscape and friendly townspeople. But Bonnie finds a less-than-warm welcome in Rowan MacGregor, the rugged local handyman. Busy wrestling his own demons, Rowan’s in no mood to deal with the quirky American—even if she is a bonny lass. As Bonnie and Rowan’s paths inevitably cross, insults—and sparks—fly. Can the pair build on their similarities to help each other find purpose and direction…and maybe romance too? Or will their passionate tempers fling them apart? Add to Goodreads To-Read List → You can find ordering info for this book here. View the full article

Last year, when my mother moved apartments, I came into possession of a largeish Prada box full of my childhood diaries. They go from 1981—I was four, and dictated the diary to my aunt—up to the nineties. I still haven’t read most of them. (I think it was a handbag, and not a small one, that originally came in that Prada box.) It is hard work to feel love for one’s childhood and adolescent self. Reading this entry, for example, I feel ashamed at my eleven-year-old self’s American imperialistic attitude towards my grandparents, who hadn’t heard of a planetarium before but “liked it very much.” It’s interesting that I then apparently felt I had to explain the concept of a planetarium for the benefit of people “a million years from now.” The whole entry gives me a “dutiful” feeling, when I read it now. I think I used to feel like I had to be writing all this stuff down, maintaining a chatty, “delightful” style, explaining every last thing down to the speech patterns of my fifth-grade science teacher, and appealing to some kind of “universal” reader who would understand it all and give each detail its proper value (although apparently this person also wouldn’t know what a planetarium was). What even is a childhood diary—for whom do we keep it? Elif Batuman’s first novel, The Idiot, was a Pulitzer Prize finalist. Its sequel, Either/Or, will be published on May 24. View the full article

Haven't the online forums pretty much superceded the old study manual? I believe that's the case.

“A Mami Wata’s essence is moonlight and desire melded to one. Nala knows this in her marrow, in her fins. Lasirèn, Yemanja, Oxum, Erzulie, Jine-Faro, Santa Marta. Their bloodline flowed through miles of sandy lagoons and tidal estuaries along Africa’s coast. In her homeland, Nala’s clanswomen are worshipped as goddesses till this day, queen of queens reigning on high in a pantheon of miengu, wanton water deities. They are the descendants of Mojili, a spirit-ruler hailing from a time before man, her name so powerful, so revered, it could not be uttered before small children lest they perish.” Nana Nkweti’s debut short story collection Walking on Cowrie Shells (2022) demonstrates the range of the Cameroonian-American writer’s remarkable fiction. Nkweti’s fiction gleefully crosses genre boundaries, mixing the fantastical and the bizarre with sharply observed character pieces. The stories cover a wide range, but are linked by Nkweti’s playful imagination, her deft characterisation, and her fascination with those who are caught between different cultures. Walking on Cowrie Shells is an engaging collection that marks the debut of a striking talent, a writer unafraid to engage with the speculative and the fantastic in inventive ways. Nkweti’s writing uses the fantastic, the speculative and even metafictional techniques to explore the difficulties, triumphs, contradictions and discrimination faced living across multiple characters, frequently drawing on her Cameroonian and American heritage. ‘The Living Infinite’ is perhaps the most fantastical story in the collection, and tells the moving story of Nala, a Mami Wata – an African water goddess – who renounces her powers so that she can live a mortal life with Byron, the New Orleans-born fisherman she falls in love with. The story is full of sensual magic, drawing on Cameroonian folklore to tell a love story between people in two different cultures, one of whom must give hers up to live with him. Nala finds herself a stranger in New Orleans, but also amongst her family of magical water spirits, who don’t quite understand this strange human man she has fallen for or the very different life she has chosen with him. The collection’s most speculative story is ‘It Just Kills You Inside’, a brutally cynical look at how Western media portrays Africa as a centre of poverty and disease, in which Connor, an embittered journalist, is hired to help cover up a zombie outbreak in Cameroon. The story expertly dissects neo-colonialist attitudes that are embedded into how Western culture perceives and talks about Africa, and feels particularly pertinent after both the Ebola outbreaks and the worldwide COVID pandemic. It is at once very darkly funny, an incredible work of characterisation, and remarkably thought-provoking. Other stories are less explicitly speculative or fantastic, but still engage with speculative or fantastic tropes. ‘Rain Check at MomoCon’ is a wonderful story about fandom. It’s the story of Astrid, a cosplaying teenager who writes comics with Young, her secret crush. Astrid has to navigate her fandom and her writing, which go against the expectations of her African family, who have a very different idea of what her future will look like than she does. It’s at once humorous and touching. Other stories touch on fantastical ideas without ever explicitly tipping over into the fantastic. ‘Night Becomes Us’ engages with the tropes of vampire fiction to tell a story about a woman who has moved to the USA to work in club bathrooms. ‘The Devil Is a Liar’ explores the contested role of religion between a mother and daughter undergoing a family crisis, and while nothing explicitly supernatural ever occurs, the story is built around ideas of faith, spirituality and how one might feel the hand of God in one’s life. Other stories engage more with ideas or tropes from thrillers. ‘It Takes A Village Some Say’ is a tightly constructed tale that switches between the perspectives of an adoptee child trafficked from Africa and her rich adopted parents, in which Zora the daughter manipulates her adopted family’s fortunes in a masterful heist to reclaim her own sense of agency. Like ‘It Just Kills You Inside’, it has many cutting and pertinent things to say about the West’s attitude towards Africa, and delivers them in a darkly humorous package. ‘The Statistician’s Wife’ explores violence between African women and their American spouses through a murder mystery. The remaining stories in the collection cannot be called speculative or fantastical in any way, but are arguably the most powerful and stylistically inventive stories present. ‘Schoolyard Cannibal’ exorcises years of institutionalised racism forced onto African and Black children via the school system, incorporating images from the Warner Brothers cartoon Jungle Jitters, artworks ‘If It Bleeds, It Ledes’ and ‘Africa Is Not a Country’ by Idongesit Daniel, and a photo of a Shaka Zulu Queen Mother in order to make its powerful rhetorical point. And the final story ‘Kinks’, a story structured around the changes in how its protagonist Jennifer arranges her hair based on how she is relating to her African heritage that day, uses its complex structure to critique patronising boyfriends who impose their interpretation of Africanness on their mixed heritage girlfriends. The story is again whipsmart in terms of its characterisation, and amongst its structural games includes a QR code that links to an in-universe blog read by one of the characters in the story. These stories show just how fearless and inventive Nkweti is as a writer. She is utterly unafraid to experiment with form to tell the kind of story she needs to tell. Walking on Cowrie Shells is a remarkable collection, full of inventive and boldly experimental writing. Nkweti is a fascinating writer who creates with admirable passion and intensity, as well as brilliantly drawing character and filling her stories with sharp humour. I look forward to seeing what she does next. The post WALKING ON COWRIE SHELLS by Nana Nkweti (BOOK REVIEW) appeared first on The Fantasy Hive. View the full article

tree wolf image by chic2view on 123RF.com Welcome to Fantastic Top Fives with Wyrd & Wonder! Every Monday throughout Wyrd and Wonder, we’re going to recommend a fantasy read in five words. This week, we’re celebrating shorter reads in fantasy – believe it or not, not every fantasy book out there is an absolute unit. So, let’s take a look at our favourite zines, anthologies, individual short stories, novelettes and/or novellas! Underlined book titles in bold contain links to reviews on this site. Beth Flame and the Flood by Shona Kinsella Magic-wielding emancipators face betrayal Nils A Mirror Mended by Alix E Harrow Wicked Witch finally gets agency Asha The Last Banquet of Temporal Confections by Tina Connolly Memory-infused pastries; delicious revenge Lucy The Doors of Eden by Adrian Tchaikovsky Parallel-worlds, talking Dinosaurs, Cryptozoology. CHAOS Julia Frozen Rage by Steve McHugh Wearbears, murder mystery, sweary fox! Theo Triggernometry by Stark Holborn Mathematical angles on Fantasy westerns No Other Troy by Mark Lawrence Active horse rewrites the myth . Next week will be the last post in this series! We’ll be thinking of fantasy subgenres, and our favourite titles in them. Since Last Time | Forest Fantasies | Mascots The post Fantastic Top Fives with Wyrd & Wonder – Single-Serve Fantasies appeared first on The Fantasy Hive. View the full article

My wife and I recently had dinner with another married couple—old friends whom we hadn’t seen since before the pandemic. We went through the usual greeting rituals and settled into our seats, me directly across from Burke, who seemed particularly ebullient. “What’s up?” I asked, sensing there was something. “What do you think of the audiobooks thing?” he all but burst in reply. It took me aback. “It’s huge,” I said. “And growing fast, by all accounts.” I’m sure all of you realize how true it is. In fact, according to a recent Publishing Perspectives piece by our own Porter Anderson, audiobooks have just completed their seventh straight year of double-digit growth, with worldwide sales of over $3 billion in 2020—on their way to a projected $15 billion by 2027. (The phenomenal performance of the category is likely not news to you, and learning more is only a google search away, so I won’t spend a lot of space on industry news.) Burke’s ebullience, and the fact that he broached the topic right out of the gate, indicated his genuine enthusiasm for the medium. Burke is a doctor who is beginning to shepherd his practice toward his own retirement. His zeal at our dinner was born of my being a fiction writer. But that was paired with the fact that, for decades, he read zero fiction. For years he read nonfiction almost exclusively. Due to his increasing free time, including more car trips to their summer cottage, Burke has discovered Audible. He went on to tell me that he’s read over 50 audiobooks in the last year, and he just can’t get enough. He’s been catching up on the classics, and on bestsellers and notable authors he’d missed out on over the years. It’s evident that he’s having a ball, which makes me glad. But I also found our conversation heartening. Mainly due to the fact that Burke pressed me about when my books would be available on Audible. The question sent the conversation on a tangent, about cost, voice talent, etc. Still, here’s a guy who I thought would never experience my story. Now he’s anxious to do so. That’s quite a reversal. All due to this particular medium. You might have noticed that my response to Burke’s initial query was a bit deflective. He asked how I feel about “the audiobooks thing,” and I wasn’t exactly forthcoming. That’s partly because I’m still figuring it out. How do you feel about it? Shall we explore this publishing phenomenon together? Heard Any Good Books Lately? Well, have you? I have! This particular instance provides the perfect example of how my audiobook journey is proceeding. The good book I’ve heard lately is Darling Girl, by WU’s own Liz Michalski (if you haven’t experienced this book yet, in whatever form, I highly recommend it). I actually started Darling Girl by reading the hardcover. An upcoming road trip had me adding a digital edition to my Kindle, for easy packing. But then it dawned on me that on this trip I would be driving alone. Since I was already so invested in the story, the solution was simple: download the audiobook as well, for the drive. It worked out wonderfully, and I ended up experiencing about half of the story via the audiobook and I loved every minute of it. This has been the pattern for me—downloading the audio version of my current read for extended car trips. Of course, with each experience I get more accustomed to switching back and forth. But it’s more than that. I’m also growing less resistant to the medium. What do I mean by resistant? It goes back to my automatic deflection when my friend asked me about audiobooks. I’ve got to admit to a bit of snobbishness when it comes to “listening” to a book rather than “actually reading.” My attitude is swiftly changing, and the realization has me feeling a little silly. I suppose I used to consider audiobooks as a bit of a cheat—like they weren’t rigorous enough to make them worthy of a “literary experience.” Keep in mind, this was before I actually tried them. But I didn’t think audiobooks could provide immersion or retention as well as reading a printed book. Those of you who’ve been reading my posts here for any length of time (if you have, thank you!) have likely gleaned my pique over the snobbishness that’s often aimed at the SFF genre by the literary world, so my own snobbish about audiobooks is slightly embarrassing to me now. Besides becoming more accustomed and less resistant to the medium, I’ve continued to grow more impressed. I’m beginning to see audiobooks not just as a viable part of my reading life, but one that has it’s own unique set of advantages. Things beyond the fact that sonic storytelling frees one from the requirement of paying attention visually. Advantages which I believe that we, as writers, ought to be aware of as we consider our publishing paths and options. Allow me to attempt to explain some of the additional pluses I’ve discovered. Sound Advantages *Audiobooks can provide relevant accents. Starting small here, but this is a plus I noticed during Darling Girl. The story primarily takes place in London, with a prominent secondary character having been raised in New York, and narrator Elizabeth Knowelden adeptly utilizes accents for the various characters in voicing their dialog. *Audiobooks can provide prosody. Speaking of accents, do you know the term? I didn’t. Prosody refers to the rhythmic and intonational aspect of language. Do you know how some people seem like natural-born storytellers, or are excellent at delivering a joke? Much of that has to do with prosody—using the right tone, inflection, and emphasis at the right time. A good audiobook narrator can provide this enhancement to storytelling. Action scenes can become more gripping, emotional scenes more tender, and so on. *Audiobooks remind me of the magic of being read to. We’ve all had someone read to us, if only when we were children, and it can be a magical thing. I remember my fourth grade teacher, Miss Paul, used to read to the class as a reward for good behavior. She was an excellent narrator. I fondly recall feeling all the feels during her renditions of The Wind in the Willows and Charlotte’s Web, to name a few. We would become so engrossed in whatever story Miss Paul was reading, if we were restless or acting up, she had but to remind us of the story she might withhold to get us to snap to. That’s a fifty-year-old memory, and you know what? Having a skilled narrator read to you is still pretty darn magical. *The voice talent for audiobooks is fantastic and getting better all of the time. Speaking of the magic of being read to by a skilled narrator, there are some extremely talented folks narrating audiobooks these days. I’ve often heard of audiobook fans seeking new titles via their favorite narrators. My goddaughter swears that a big part of her adoration of the character Jamie Fraser in the Outlander series is due to his portrayal by celebrated narrator Davina Porter. *Even famous actors are getting in on the audiobook trend. I’ve heard wonderful things about the ensemble cast of the audiobook of Daisy Jones and the Six, including Sara Arrington, Jennifer Beals, and Benjamin Bratt, among others. Some of today’s finest actors are using their talent to bring great books to life. You can have Claire Danes read you The Handmaid’s Tale, Tim Curry read Lemony Snicket, or Meryl Streep read Heartburn. Oh, and how could I leave out that you can have Andy Serkis read The Lord of the Rings to you? Talk about magic! I’d say that’s a pretty special advantage. The Ongoing Death of Literature I recently saw that a popular fantasy book reviewer was lamenting the corrosive effect on storytelling of BookTok, a popular segment of TikTok. He fretted that the books that skyrocket to popularity there are required to be faster, shorter, pithier, grabbier, and he senses that it’s only growing worse—that high concept and ever increasing pace will seize the publishing world, eventually banishing all other, slower, deeper, and more character-driven fantasy books from the marketplace. I clearly recall, during the explosion of YA fantasy titles a decade ago, that it seemed adult epic fantasy would be relegated to the bookish outskirts. Funny how trends come and go, isn’t it? I’m sure there is plenty of fret out there about audiobooks replacing actual books, too. Remember when e-readers where going to replace bound books? Or when TV would be the death of literature? No doubt it was radio before that. Heck, I’m sure there were those who thought that writing in bound books rather than on scrolls would be the death of the quality reading experience. Anyone who fears for the death of bound books has only to look at the flourishing specialty book market in the SFF communities. Younger epic fantasy fans and collectors in particular are paying top dollar for artfully bound, illustrated, and signed editions of popular series. Physical books are all the rage, and it seems there’s no end in sight to that very old trend. Seriously, I think they’re a more durable bet than vinyl LPs. Aspiring To Embrace Opportunity I’m currently an aspiring self-publisher. The audiobook trend is one that deserves my attention and consideration. Yes, it can be expensive to produce your books as audiobooks. But I have to consider the potential of gaining readers like Burke, who, in spite of our long friendship, would likely have never purchased or read a bound version of my book, but who’s anxious to give it a try via Audible. I also have to consider hiring a sought-after narrator when I factor in the number of audiobook readers I know who seek new titles via their favorite voice talent. I may not have an audiobook version available on the day I release my debut this coming fall, but that doesn’t mean I’m not pursuing having them in the future. I sense an opportunity here. Besides, since I’ve abandoned my snobbishness, and have experienced the flexibility and additional advantages audiobooks can provide to readers, why wouldn’t I want to offer those things to my own readers? Let me hear you, WU! Are you willing to sound off about “the audiobook thing”? Ever been an audiobook snob, like me? Are you interested in embracing the opportunity? Or have you already had your own audiobook? How’d it go? Please, voice your opinion! About Vaughn RoycroftVaughn Roycroft's (he/him) teacher gave him a copy of The Hobbit in the 6th grade, sparking a lifelong passion for reading and history. After college, life intervened, and Vaughn spent twenty years building a successful business. During those years, he and his wife built a getaway cottage near their favorite shoreline, in a fashion that would make the elves of Rivendell proud. After many milestone achievements, and with the mantra ‘life’s too short,’ they left their hectic lives in the business world, moved to their little cottage, and Vaughn finally returned to writing. Now he spends his days polishing his epic fantasy trilogy. Web | Twitter | Facebook | More Posts http://feeds.feedburner.com/~ff/WriterUnboxed?d=yIl2AUoC8zA http://feeds.feedburner.com/~ff/WriterUnboxed?d=qj6IDK7rITs http://feeds.feedburner.com/~ff/WriterUnboxed?i=rfNuWRlmTjM:HHH-WGOb9Fs:gIN9vFwOqvQ http://feeds.feedburner.com/~ff/WriterUnboxed?i=rfNuWRlmTjM:HHH-WGOb9Fs:D7DqB2pKExk [url={url}]View the full article[/url]

Another week, another batch of books for your TBR pile. Happy reading, folks. * James Lee Burke, Every Cloak Rolled in Blood (Simon and Schuster) “Burke rolls together the driving themes that have dominated his work—the inescapable presence of evil, the restorative power of love, the desecration of the planet, humanity’s long slouch toward Armageddon—into an intensely, heartrendingly personal exploration of grief.” –Booklist, starred review Kiersten White, Hide (Del Rey) “The suspenseful plot combines elements of Thomas Tryon’s classic Harvest Home, Netflix’s Squid Game, and the social commentary of Jordan Peele’s film oeuvre and mixes these with a revelatory pacing reminiscent of Spielberg’s Jaws.” –Booklist Chris Pavone, Two Nights in Lisbon (MCD) “Two Nights in Lisbon is sensationally good—timely, important, layered with ticking suspense, driven by an ominous drumbeat that accelerates like a panicked heart. My thriller of the year so far.” –Lee Child David Yoon, City of Orange (GP Putnam’s Sons) “Much more compelling and heartfelt than the end of the world could ever be.” –Kirkus Reviews Hannah Mary McKinnon, Never Coming Home (MIRA) “Deliciously dark and deviously funny, Never Coming Home by Hannah Mary McKinnon is one hell of a ride. Lucas Forester might just be the most enjoyable, deceptive character I’ve ever met. Absolutely brilliant. McKinnon’s best book yet.” –Jennifer Hillier Tori Eldridge, Dance Among the Flames (Running Free) “Tautly written, mystical, and action-packed Dance Among the Flames will take you on a wild, thrilling ride through centuries and continents. Eldridge is at the top of her game, delivering an irresistibly sweeping adventure that will linger long after the gripping story ends. Don’t miss it!” –Lisa Unger Ulla Lenze (transl. Marshall Yarbrough), The Radio Operator (HarperVia) “Based on a true story, The Radio Operator is a marvelous period piece from a unique perspective.” –New York Journal of Books Nancy Dougherty, The Hangman and His Wife (Knopf) “The hollowed-out soul of one of Nazi Germany’s worst criminals is explored through his wife’s recollections in this searching biography . . . Dougherty vividly dissects the murderous intrigues roiling Nazi bureaucracies . . . A chilling, revelatory case study of the moral corruption of the Third Reich.” –Publishers Weekly, starred review Glenn Cooper, The Fourth Prophecy (Grand Central) “Smart and entertaining, every page is pitch perfect. A terrific story, terrifically told.” –Steve Berry Laura Griffin, Midnight Dunes (Berkley) “Griffin’s characters leap off the page, and she throws myriad twists, turns, and red herrings into her taut plot as it rockets to a heart-pounding finale. The result is a high-stakes romantic thriller that’s sure to please.” –Publishers Weekly View the full article

In the early twenty-tens, I read Albert Camus’ The Plague. Due to its allegorical treatment of the French Resistance to Nazi occupation during WWII, it reminded me of the current gentrification resistance movements popping up all over Los Angeles. At the time, I lived in South Central, although urban planners and city leaders attempted to rebrand it as South Los Angeles in order to liberate it from the negative stigma it developed in the 80s and 90s in relation to: the crack epidemic, gangster rap, street gangs, graffiti, and social-realist urban films. But of course, a simple name change cannot delete a region’s past. Yet, in a city like Los Angeles, where culture is driven by constant reinvention, it is not unusual. Chinatown was once Sonoratown because of all the Mexicans who lived there, and Little Tokyo was once Bronzeville, to accommodate the Blacks, Native Americans and Mexicans that lived there during Japanese internment. It went back to being Little Tokyo when the Japanese community returned. I did not want to live in South Central, but I couldn’t afford a house in the LAX coastal region of Westchester, Playa Del Rey, or Culver City, places I considered home. I kept thinking of Camus’ coastal city of Oran, a Mediterranean location in Algeria, as the place for his plague battleground, and I assumed that the newly rebranded “Silicon Beach” ―the Westside of Los Angeles―along with its perennial Mediterranean comparisons, was the appropriate location for an end-of-the-century conflict. The media didn’t talk as much about the street gangs that plagued the region back in the 80s and 90s, which was the reality I lived through and participated in. These social ills were already considered “old school.” The new conversation was centered on urban renewal, open-space design, the tech industry, development, and displacement, and it was this phenomenon that directly led me to write The Displaced. Similar to Joseph Conrad’s The Secret Agent, I focused on place as a form of characterization. The Independent called Conrad’s ignored London location “a great city novel,” and I too attempted to give voice to an overlooked area―the Del Rey neighborhood and the Mar Vista Gardens Housing Projects. I wanted the community to resonate, before it becomes erased and white-washed by renovation. Moreover, I wanted to position the reader at the end of the millennium where fear of change, Y2K and lack of education contributed to a bleak point-of-view. A time when collective, doomsday apocalyptic stress took over rationality. All over America, people started militias, packed garages and basements with water and canned foods, armed themselves, and looked to God for answers. It is in this absurdist thinking―in the face of powerlessness―that the novel exists. Residents in disenfranchised neighborhoods could never have imagined the concept of gentrification. Even though our people have experienced drastic forms of social disorganization in this city; from redlining or being excluded from buying homes via housing covenants, to our streets being gutted for infrastructure projects, a return of the gentry was out of focus. White flight created a form of abandonment all over Los Angeles, as a result of suburbanization and freeway expansion of the 1950s, and my attempt was to draw out the marginalized Del Rey neighborhood and the projects, as a statistically significant sample, which can be used for gentrification comparisons. Today, homes near the Mar Vista Gardens Housing Projects sell for millions of dollars, which is clear that working-class people from the area can no longer afford a house where they grew up. Once considered one of the most poverty-stricken communities of the Westside, Del Rey is now a cool and hip zip code located in thriving Silicon Beach. Similar to Camus’ The Plague, I chose a reporter―someone who attempts objectivity to such a marvel―as a main character. It is a coming-of-age story, and his arc goes from student, to writer, to distinguished journalist. Mikey Bustamante is deeply rooted in the community of Del Rey, but he lives just outside the projects, home to the notorious Culver City 13 gang. While examining this character’s undertaking, I looked toward Black writers to help in my understanding of America’s larger race conversation. Chester Himes’ If He Hollers Let Him Go and Ralph Ellison’s Invisible Man were a source of inspiration. The bigger question was how to present Americanness, while also stressing Otherness. Is Mikey American enough? Can America see themselves in him? Will people of Mexican descent identify with his struggle? In the opening chapter, Mikey is called out on his dress style, appearance, and interests, and he is accused of being White-washed. Thus, Mikey Bustamante must learn to navigate the resistance while doing his job. He does not entirely fit into the larger Latinx community he is surrounded by, yet he is not at home with his White counterparts. This theme is presented throughout the novel as a way to abandon identity politics, yet still make it about identity. In Himes’ book, his main character is a fractured existentialist who is staunchly anti-White, while Ellison’s underground, or invisible man, exercises power through his opaqueness. In The Displaced, Mikey is neither opaque, nor invisible, nor anti-White. Unlike Ellison’s invisible narrator, or Himes’ overtly Black and angry protagonist, Mikey reflects the status-quo back to those who make up the new gentry. Mikey’s characterization is deliberate, in order to present a more nuanced approach to race, class, and conflict, which examines what Robert Wuthnow maintained: “A single work of art or literature that affects the social order must relate closely enough to its social environment to be recognizable, yet maintain relative autonomy from it.” The goal is for Mikey to be close enough to be affected by the problem, while also disengaging from it as a journalist. The Displaced is also an examination of the human condition. The characters in the novel must reconcile with universal themes like religion, myth, murder, betrayal, goodness, suffering, groupthink, and others. The struggle against urban renewal in the book mirrors today’s dialogue about whitewashing and cultural appropriation. More than ever, people of color are fighting back to reclaim what has been stolen from us. Museums, publishers, galleries, music studios, television series, and films, are under attack for their lack of diversity and authenticity. Historically in American literature, White writers often introduced lowly-developed, moronic, buffoon-like, exotic and folkish “other” characters. Sometimes they didn’t give the characters a name, and simply wrote things like the Jap, the Negro, or the Mexican. When writers of color, starting with the Harlem Renaissance, introduced characters that were complex and multi-dimensional, they began to give life, meaning, and understanding to the marginalized other. These writers claimed that American nationalism, identity, and culture cannot be examined without taking into consideration the contributions of “other.” Simply put, readers do not want to read about themselves through an outsider’s perspective. They do not want to read assumed voices for the sake of messaging, human understanding, solidarity, or whatever other justification they might claim. In The Displaced, a White novelist who is interested in writing about Mexican American gangs (because he thinks it’s cool and interesting) is murdered by the resistance for his audacity. On the streets, situations are handled differently. The goal is for readers to be aware of the serious repercussions caused by gentrification. For powerless people, community is all they have. In wealthy neighborhoods, housing associations and neighborhood council groups thwart development and radical zoning, but in working-class areas, this is often out of their control. I want to place the reader in their situation, as if they too were cornered and they had nothing else to lose. For people like my characters, home and the hood are everything, and if that is taken from them, people will respond in unexpected ways. The people in the novel are people you see and who surround you daily. They cook your food, wash your car, clean your house, and take care of your children. Simultaneously, they are your council members, police officers, assemblymen and women, professors, gang members, artists, lawyers, and architects. They are Los Angeles. I turned this novel in as my final thesis for my MFA program at Mount Saint Mary’s University. Two years later, I was still getting rejection letters from publishers and literary agents. However, at the beginning of the Covid-19 Pandemic, with the lockdowns, quarantines and riots, themes I had written about in The Displaced, it occurred to me that the novel might have more significance. Not surprisingly, Penguin Classics reported that Albert Camus’ The Plague became a bestseller in 2020. I decided to send my work out to the world again, and publishers and literary agents that had ignored me in the past, suddenly seemed interested. I signed on with the University of Houston’s Arte Publico Press because they showed more care and understanding of my work, formerly titled, The Plague @ Silicon Beach, as a nod to Camus. The whole world has changed now and we are still in the midst of the pandemic, and somehow these worldly plague themes are as relevant as ever. Yet, we are still powerless, and our absurdist thinking is the same, whether fact or fiction. On a final note, I no longer live in South Central Los Angeles. I moved to the affluent suburbs of the Palos Verdes Peninsula, and according to some elderly White neighbors, we are the new gentrifiers in the neighborhood―young, different and other. It occurred to me, for the first time, that the face of gentrification is not the same everywhere. *** View the full article

The age old conundrum of which came first, the chicken or the egg, can definitely be applied to author branding and the genres across which an author writes. While many authors establish a brand based on the books they write, others write books (especially non-fiction) inspired by an existing brand. Since what we want to write and who we are as people can evolve over time, it becomes hard to tell which came first or which is leading our literary evolution. We might ask ourselves… Do we write in a specific genre because it aligns with our interests, personality, and expertise? Do we limit ourselves to a specific genre because we have already established it as our brand? Do we adapt our brand to fit the stories we want to write? The farther an author strays out of a specific category, the more challenging we become to brand. Some authors address this challenge by creating pen names for different genres of work. I’m more interested in how we can unify works in multiple genres under one overarching brand. In order to accomplish this, we need a clear understanding about what this means. I define brand as a public identity used in marketing to help shape the perception and expectation of potential readers for an author’s literary work. Brands are intangible concepts that help to define and unify products from a singular source. Since a brand is a tool for marketing, an aspiring author does not need a brand in order to write. That said, if an aspiring author already has a brand, it can inspire what they write. It’s easy to comprehend branding when looking at a company like Nike. They have a clear—Just do it! —energy and a contemporary, urban athletic culture. It makes perfect sense for them to make and sell products in a variety of categories—clothes, shoes, gear—for different sports aimed at a broad target audience. No one would expect Nike to limit their categories or sports. No one would expect them to target their audience to only men, women, kids, hardcore athletes, sports enthusiasts, or couch potatoes who just like wearing great-looking comfortable clothes. Why can’t authors do this? Answer: We can! If we brand the author instead of the work. As authors we frequently create brands for ourselves according to a particular book, book series, or the category which covers our book or series. But if we write in multiple genres—and don’t use multiple names—we’ll need an overarching brand that covers us as an author and everything we write. In order to create a cohesive brand, we need to find the common themes between who we are as people and the literary works we create. Although a brand can be created before, during, or after publication, I’ve found it was most needed when I was marketing a new book or creating (and updating) my website. Although this frequently happens after an author lands their first book deal and has that all-important marketing conversation with their publisher, it could happen earlier or repeatedly throughout a career. No matter how different our literary works might seem, since they all come from us, commonalities will appear. The trick is to bypass the specifics and examine the core. The same can be said about empathy. We don’t need to be widowed to understand loss. We don’t need to have murdered to have experienced rage. We don’t need to share the same beliefs to feel passionate about our cause. In order to connect with a person or character who is very different from ourselves, we can relate to them on a universal level. Since our literary works comes from our own imagination, the chances are pretty good that we’ll find universal commonalities between what we write and who we are as people. The genres may vary, but certain core themes, emotions, or interests will find their way into our writing. Once we find the common elements between us and our work, we can have a lot more fun with social media—a source of stress for many authors. We all know we’re not supposed to promote our books 24/7, but what do we do in between? How do we reinforce our author brand without posting about our books? Since we tend to write about themes, issues, communities, hobbies, etc. that appeal to us as people, we’ll probably discover that most of what we want to post about can be framed, authentically, to reinforce our brand. For example: I write suspenseful and often action-packed novels and short stories that expand awareness and empower the spirit. Regardless of the genre I’m writing, most of my work involves diverse cultures, complex family dynamics, women of agency, and the struggle for empowerment and justice. These themes pop up in my Lily Wong mystery thriller series about a Chinese-Norwegian modern-day ninja from Los Angeles, most of my horror, fantasy, mystery, and thriller short stories, and my newly released Brazilian horror epic, Dance Among the Flames, about a desperate mother who rises from the slums of Brazil to become a fearsome wielder of Quimbanda magic. Since these themes also relate to me as a person, it feels natural to reinforce them through my social media presence. If you visit my website, Instagram, Facebook, and (to a lesser degree) Twitter, you’ll see an abundance of positive, empowering, family-oriented, culturally-diverse posts. From yoga handstands and multicultural recipes to ninja training videos and shots of my adorable Hapa-Hawaiian grandbaby in Shanghai, everything I post speaks to who I am as a person and how it fits into my multicultural and empowering author brand. That said, art—like life—can change. When pivoting or breaking out of a genre, it helps to control the narrative and lay a foundation for a shift in author brand. Expanding social media posts to introduce the new interest, speaking about the new genre and project while promoting a book, and updating profiles and website to make sure the branding reflects what is to come all guide public perception and facilitate a seamless transition. Most importantly for me, I allow room to evolve. I’ve explored many careers on my journey to writing novels: acting, singing, dancing, screenwriting, and martial arts. Even when I reached high levels in my craft, I always gave myself permission to pivot and grow. It’s led to interesting life twists. Some of them challenging. Some of them fun. Every new endeavor and career has led me to where I am and who I have become, not only as a person but as a writer with a point of view and a voice. *** View the full article

Cassie Pérez: “You still think this is the best place in the world to live?” Detective Inspector Jimmy Pérez: “Yep. Of course I do. I mean to say, on a clear day, you can see Norway over that way.” Cassie Pérez: “There is that.” Detective Inspector Jimmy Pérez: “And . . . you can see Iceland over that way.” Cassie Pérez: “What about shops?” Detective Inspector Jimmy Pérez: “I forgot. We don’t have any of them. . . . We’ve got the sky and the sea, and razorbills and kittiwakes. What more do you want?” —From Shetland, Season 1, Episode 2 “Shetland has always been a place of sanctuary for me. I visited when I dropped out of university, and I just loved it from the minute I got there. It’s a bleak but very beautiful place.” —Ann Cleeves, author of the Shetland novels ______________________ Tim Maskell is the Director of Scottish Location Services. He began working in the film industry in 2006, and has worked as a location manager on many feature films and TV dramas, including Shetland (Series Four to Seven), The Nest, Guilt, Clique, and Agatha Christie: Ordeal by Innocence, The Estruscan Smile, and Only You. The Shetland Islands are an archipelago in the North Sea, 130 miles north of Scotland, with a population of 23,000. The Scottish crime drama Shetland, adapted from the novels of Ann Cleeves, is filmed on the islands and the Scottish mainland. The show, which has now completed seven seasons, follows the investigations of Detective Inspector Jimmy Pérez, played by Douglas Henshall, and his team of detectives. The stories of Shetland are impossible to imagine apart from their setting, steeped as they are in the islands’ brooding skies, barren landscape, and ever-present sea. I wanted to talk to Tim about the challenges and rewards of filming a crime series on a remote island. The following interview has been edited for conciseness and clarity. ______________________ Frederick: Shetland is very popular in the states. I think one reason is the unusual beauty of the location. My wife said I should tell you this story. We also watch another British mystery series called Vera. And when we watch reruns of that show, I often don’t remember the plot or who the killer is. But I do remember the locations. I remember specific houses or fields. So for me, locations are really important to stories. Tim: I agree. But you know location managers don’t get the recognition, actually. There are awards out there for all these other people, but locations get overlooked. Frederick: Are there any awards for location managers? Tim: Not really. I know the locations team for Game of Thrones got a couple of awards and recognition. But the usual big award ceremonies in the U.K., like the BAFTAs [British Academy of Film and Television Arts], don’t even have a location category. You’ve got designers, composers, and actors, but they don’t seem to recognize locations that much. Frederick: When did you work as location manager for Shetland? Which seasons? Tim: I’ve been location managing Shetland since Series Four. I started as a unit manager on Series Two. Series Six, which we shot earlier this year, was just shown here in the U.K. Due to COVID delays, it was shot back-to-back this year with Series Seven, which we just wrapped on the 17th of December. Frederick: Are there plans to do more? Tim: At the moment, I don’t believe so. It will probably come down to the ratings of these last couple of seasons. Obviously it’s doing very well. And I guess we’ll just see how it goes. But at the moment, there’re no further plans for any more seasons. Frederick: So how did you originally become a location manager? Tim: There’s a kind of ladder process. I started off as a location assistant, which is the lowest rung. You’re managing the set, the guy on the ground, who relays everything back to the location manager or the unit manager. How it happened for me was my mum ran an estate on the west coast of Scotland, just off Loch Fyne, called Ardkinglas Estate. In 2006, a film called The Water Horse was filming there. I was at university at the time, and it was my summer holidays. My mum called me and said they were looking for somebody to come and help out. I didn’t have a clue what that would entail. But I went down and spoke to them. The location team was looking for somebody young, local, and energetic who could be on the team. That was that. I basically just fell into the industry. I worked as a Locations Assistant for approximately four years, and the first job I did as a unit manager was a musical film called Sunshine on Leith, which starred a Scottish band called The Proclaimers. I started the film as an assistant, and then stepped up to be unit manager. I did unit managing for four years. Then one day I got a call from the film crew on a BBC thriller called Clique. They were looking for a location manager, and I jumped at it. The very next job was Shetland Four. Frederick: When you started Shetland, did you know the islands? Tim: No. I’d never been to the islands until I started unit managing the show. But you get to know places pretty quickly, especially as a unit manager. You’re responsible for making sure everybody gets to where they’re going. So you’re drawing up maps and doing things called “movement orders,” which tell people where they’re going. And then obviously you’re heavily involved with the location side of things as well in terms of setting things up and making sure you can get all your trucks there. I got to learn the place pretty quickly, to be honest. So when it came to location management, I had a fairly good idea of where to go for various things. But also, from day one, we’ve had a local fixer in Shetland named David Gardner. His knowledge is obviously invaluable to us. He actually does a lot of the scouting for us. Then I go up to look at what he’s found and do some additional scouting if necessary and whittle down the locations to what we need. Frederick: How do you choose locations for the show? Do you work with the director and the producer to figure out the kinds of places you want? Tim: Yeah, exactly. It’s basically the director, producer, and the designer. The first thing I do is go through the script and do a location breakdown based on what’s written in the script. The scripts have quite good descriptions of what they want. So that starts the process. Then it’s liaising with the director, producer, and designer to make sure you’re all thinking the same thing. It’s just a case of giving them options. Frederick: Were there times when you couldn’t use a location on Shetland? Were some locations off limits? Tim: Occasionally. But on Shetland, they’re actually much more open to filming almost anywhere, even sensitive locations, than on the mainland. The only place in Shetland that we haven’t ever been able to get anywhere near is the Sullum Voe Oil Terminal, which is a very large oil terminal and understandably under heavy guard. We’ve filmed on the road to it, but we’ve never been allowed anywhere near it with cameras. Generally they’re very open to everything up there. Frederick: Is that partly because they appreciate the show being filmed there? Is it because they know that it’s going to attract people to Shetland? Tim: Definitely. There’s been a shift as well from when we first started going up there to now. There was some apprehension in the first couple of series, just because the Shetlanders didn’t really know how they were going to be portrayed. They just didn’t know how film crews really work. You’ve got 60, 80, 100 people coming up from the mainland to take over the island for a few weeks, so there was apprehension. But after they realized what the show was about and how good the show was and how it portrayed the islands, it was fine. You’re rare to find someone up there now who doesn’t welcome you with open arms. There have been one or two places where people quite clearly don’t have televisions or watch the show. You’d knock on their door and they’d say, “No. This isn’t for me.” But that happened very rarely. The locals are all very welcoming. Frederick: What building is used for the police station? It’s a very distinctive-looking building. Tim: The exterior of the police station is the actual Lerwick Sheriff Court itself. And the police station is on the side of it. The main entrance and the doorway that we use is the Sheriff Court. Everything that you see inside the police station is a set built in a studio. Frederick: And is that set on the mainland somewhere? Tim: Yes. We’re based in Glasgow. Whenever we shoot, our production office and everything is based in Glasgow. Frederick: What’s the building that you use for Jimmy Pérez’s house? It’s right on the harbor. It looks like a really beautiful setting. Tim: Again, it’s exterior only. The interior is a set built. The exterior is in Lerwick, the main town of Shetland, just off Commercial Street, a little house called the Lodberrie. It’s a place that the crew found in Series One that they happened to like. And obviously, once you’ve filmed there, you’re not going to move it. It’s a lovely little house. The inside isn’t great in terms of filming capacity. It’s quite small in size, so it would never have worked to film the interior there, but obviously the exterior setting of it is fantastic, and that’s why it was chosen. Frederick: Are you using the same studio in Glasgow for the interiors of Pérez’s house and the police station? Tim: Yes. The only official set-builds are the interior police station, including the Fiscal’s office, and Pérez’s house. The interiors of those two things are in the studio. Pretty much everything else you see is on location. But we do split a lot of locations, which means filming exteriors up in Shetland and then we’ll find interiors back down on the mainland. Those split locations are real locations rather than set-builds. Frederick: In Series Four, there’s a character named Thomas Malone, who’s accused of killing a young woman named Lizzie Kilmuir. He lives in a very rural, rundown farmhouse. How did you find that? Tim: That’s not in Shetland. It’s in a place not far out of Glasgow called Loch Thom, and that area is the best “cheat” we’ve managed to find on the mainland that looks like Shetland. A lot of exterior stuff that we shoot on the mainland is done at Loch Thom. For that farmhouse, we actually shot both the exterior and interior at that house. There was a small bit of set-building inside the house to make the living room feel smaller. A neighboring location was used for the scene where Malone gets buried alive and he pulls himself out. Frederick: So Loch Thom looks enough like Shetland that you can pretend it’s Shetland? Tim: The thing is, there’re basically no trees. That’s what helps make it look like Shetland. And there’s a bit of water, so water always helps. You know, whenever we’re cheating stuff down on the mainland, we generally look for no trees and a bit of water, and that allows people to think it’s in Shetland. Frederick: And there’s also a scene in Season Four at a picturesque cemetery. Is that on Shetland? Tim: That’s the actual Lerwick Cemetery on Shetland. The cemetery sits on a little bit of headland looking out to sea. That’s where that shot was. Because it’s up on a hill, the camera can pan through the gravestones and show the sea and beyond. Frederick: Are there other locations that aren’t on Shetland itself? Tim: Yes. There will be in the upcoming Series Six and Seven. In Series Four, there were locations up in Norway for a couple of weeks. But in terms of the Shetland stuff. Detective Constable Sandy Wilson’s flat is a cheat in Glasgow. The exterior of Donna Killick’s house is actually in Hillswick Wildlife Sanctuary in Shetland. But the interior of her house is on the mainland. For the most part, when we go up to Shetland, we use the time to shoot as much of Shetland exteriors as we can. In Series Four, Kate Kilmuir is the sister of the murdered girl. Her house—interior and exterior—was on Shetland. Interior coffee shops and pubs and the interior of Lerwick Hospital are always shot on the mainland. Duncan and Mary’s house is on the mainland. The farmhouse of Jo Halley, the artist, was up on Shetland, and was quite a nice one. Frederick: Are there challenges that are unique to Shetland as a location manager? How is it different from shooting other shows? Tim: The main thing is that obviously you’re on an island, for starters. And you’re on an island that’s not close to the mainland, so you might as well be filming in a different country. To get there, you’re either taking a 12-hour overnight ferry, or you’re flying up and down. So I’m flying up and down every couple of weeks for tactical scouting, to look at places, to meet with the council and the police, or do whatever I need to do. The other challenge is the weather. Shetland is quite a barren landscape. There are not even very many hills. The tallest hill is only about 300 meters [1,000 feet]. It’s a flat landscape, and the wind just whips right in off the North Sea. Because we’re predominantly shooting exteriors, you don’t have anywhere to hide. You just have to go out and get it done—get your waterproofs on and make sure you’ve got a change of clothes. That is definitely the biggest challenge, because they’re so receptive up there to us filming now, that there aren’t really many challenges in terms of finding locations. The weather is probably the biggest thing. Frederick: Do you try to shoot during a certain season? Is it the summer? Tim: Yeah, we’ve always tried to, but it doesn’t always work out like that. Series Four was shot May through June, which are generally the best months up there. The driest months tend to be May and September, but obviously by September, you’re starting to lose the light again. It doesn’t always work to film in the summer because the crew isn’t available. Or this year, we had to do two series back to back. We were shooting up there up until October. By which point, you really start getting battered by the winds and rain. When we were shooting Series Two, it was just foggy. The whole time it was like shooting in a Tupperware box. You couldn’t see two feet in front of you. So you’ve gone up to Shetland to shoot all these amazing landscapes and you couldn’t see anything. Frederick: I saw a news story that said for this latest series you even had snow. Tim: We did, actually. Our first block of filming for Season Six was in March, and the day we arrived, we had snow. What can you do? Obviously continuity is a big thing. It doesn’t really matter so much with the rain, because unless it’s absolutely pouring down, you can get away with it. But the snow definitely produced a few more problems. Again, we just have to get on with it. You really don’t have a choice. When you’re shooting on the mainland, generally you try to have some weather cover. So if the weather’s bad, you’ll think: where can we go? But up there, you don’t have room to maneuver. Some scenes were moved—scenes that were meant to be played outside on a beach were put into a house. When you watch Series Six, you’ll see all of a sudden there’s snow on the ground, and then the next thing, there’s not snow on the ground. But again, these things just happen. You have to get on with it. Frederick: It also seems like daylight can be an issue, too. Is that right? If you’re up there in the early spring or the late fall, you’re going to start hitting darkness. Tim: Absolutely. In the summer solstice, you get about an hour of darkness. And even then, it’s not real darkness. Shetland actually has a golf tournament that tees off at midnight on June 21st because players can pretty much see to play on the course. Then, in the winter solstice, you’ll be lucky if it’s light between half nine [9:30 a.m.] and half three [3:30 p.m.]. You’re really only talking about six hours of daylight. And even then, it can be very dull. If it’s overcast, sometimes the streetlights don’t turn off during the day. We filmed there right up until October this year, and you have to schedule around that basically. You start at half seven in the morning, knowing it’ll be daylight by the time you start shooting. And then by four o’clock, you have to be in a location where you can light it night-for-day to pretend that it’s still daylight. You have to split your day up to make sure you’re getting the best out of the day. Frederick: Are there any challenges in working with the local people? Tim: In all honesty, there aren’t. We take on a lot of local labor—for traffic management or extra labor for the day. The local council is always very open to us and has allowed us to do stuff that we wouldn’t have got away with on the mainland. They’re so open, and they like to be involved. Frederick: And eventually, once they saw what the show was like and how it was, they seemed to welcome you? Tim: Yeah, absolutely. The funny thing was, in the first couple of seasons, the Shetlanders couldn’t get their head around the TV magic of it. For example, we’d shoot an exterior house in Lerwick. Then Jimmy walks around the corner, and all of a sudden he’s in a different part of the island. Then we’d get Shetlanders messaging on Facebook that what we showed is impossible because that bit of the island is a 40-minute drive away. Or they’d know we were shooting something in Glasgow that was supposed to be on Shetland. It took them a while to get their heads around that. But I think once they got that, they were all right with it. Frederick: What effect have the locations had on the show’s popularity? Tim: I think it’s massive. The show is a kind of Scandinavian noir genre. The landscape and the locations really lend themselves to that. If you’d written the same show, and it was just filmed in Glasgow, it wouldn’t have nearly the same appeal. Obviously a lot of people watch it to see those landscapes and those locations, and that’s why they love the show because it’s showcasing an amazing place. So I think it’s got a lot to do with it. Frederick: When I was doing a similar interview about the show Lewis that’s filmed in Oxford, the location manager told me that, after that show became popular, companies started doing tours of Oxford just to show the locations featured in the series. Do people come to Shetland just because the show is filmed there? Tim: Absolutely. The show has done so much for the tourist industry up there. Shetland is basically run on oil, and over the last few years, that industry has taken quite a hit. But the tourism industry was boosted from the show. It happened at the right time for them and brought in a lot of revenue. The number of cruise ships stopping in Lerwick every year has probably doubled in the last four or five years. And a lot of that is to do with the show. David Gardner, our local fixer, also works for Radio Shetland. The station tasked him one day with meeting people coming off a cruise ship and asking them why they came to Shetland. Something like 60 to 70 percent said, I’m here to see Pérez’s house. The bus operators had to organize tours to see locations from the show. These are people from all over the world. They love the show in Australia. A couple years ago, we had people who flew to Shetland from Australia just so they could be extras on the show. Frederick: What do you enjoy about working on the show? Tim: I’m a bit of a country bumpkin at heart. I grew up on the west coast of Scotland and in the countryside. I just love Shetland. I love the people. I love the landscape. To the point where, before my wife and I moved to the house where we live now, I was actually looking at buying a house on Shetland. I don’t think I’d ever have convinced my wife to do it. I like the show as well. I like the premise, the genre. It’s the show that I’ve location-managed more than any other in my career. It’s got a big place in my heart. Frederick: Did you have interactions with the actors? Tim: More so when I was unit managing because I was on set. With location management, I’m more in the background. But obviously, since I’ve been on the show so long, we know each other very well. For example, the other day when we were filming in Loch Thom, Alison O’Donnell, who plays Tosh, came by and said hello. Dougie Henshaw, who plays Jimmy Pérez, had a daughter who’s a similar age to my youngest. So there was a bit of a bond with that. There’s obviously a lot of socializing after hours. But most of the time you’re just filming the show. You’re up there with a group of people you know and get on with and enjoy doing the job. Frederick: Does the author ever come on set? Tim: Yes, she has occasionally. She’s always consulted on the storyline because the script is obviously not written by her. But she’s consulted to make sure that she’s happy with what we’re portraying. Frederick: All right. Thanks, Tim, for taking the time to talk to me. Tim: Okay. No worries. It was a pleasure. Nice to speak to you. Cheers. * This interview is a companion piece to Frederick’s earlier CrimeReads interview with Ian Pearce, location manager for the British crime drama Lewis, which you can read here. View the full article

A- 40-Love by Olivia Dade June 18, 2020 · Hussies & Harpies Press Romance 40-Love is part of the Marysburg series by Olivia Dade. Shana and I both enjoyed this romance between a tennis player in his twenties and a forty-year-old high school assistant principal on vacation. The book glories in having a fat heroine and addresses issues including chronic pain, the challenge of reinventing oneself, inequities in the American school system, and navigating romance across an age gap. Despite all these topics, however, the book remains light and lovely, providing “I’m on vacation” fantasy to go along with the romance. Behold the plot: Forty-year-old Tess is at a vacation resort. Her ocean swim is interrupted when she loses her bikini top. Luckily, twenty-six year old Lucas, a tennis instructor at the resort, comes to her aid. Will Tess and Lucas manage to overcome an age difference, Lucas’ traumatic past, and Tess’s self-esteem issues in the short time that they have before Tess’ vacation ends? Guess. Shana: I know nothing about tennis. But with that caveat, this is my favorite tennis romance. Carrie: This is my only tennis romance, so yes, my favorite for sure! There is so little about this book that I didn’t like that I want to get that stuff out of the way so I can relax and swoon about it for the rest of the review. I thought the timeline was much too short for the amount of emotional intimacy that the characters want and arrive at, especially when this was held up as a reason for conflict. Tess is concerned that Lucas won’t open up to her? He’s known you for four days, woman! He shouldn’t open up to you yet! Boundaries are good for you! Also, I thought Lucas was a bit too perfect, especially since his Big Flaw is supposed to be that he’s closed off, which, as I just mentioned, is ridiculous coming from Tess, who levels this concern after what, five minutes of acquaintance? This would have been a stronger story if Lucas had had more of his own arc instead of so very often serving as sort of an ideal man to fantasize about. On the other hand, if you read romance because you want to escape with a perfect being into a perfect place, then the bug becomes a feature, because Lucas is both pretty and perfect and the resort seems just about perfect too. Shana: You’re right, although I have to admit that when I was reading the book I had the opposite reaction: Lucas yay, resort boo. I was relieved that Lucas had at least one flaw, because I read 40-Love right after finishing a different novel with a sickening perfect hero. That, plus my soft spot for celebrity romances—Lucas is a former tennis star—may have warped my perspective. Lucas’ version of “closed off” is defaulting to vacuous flirting and charm, a common celebrity trope that I tend to enjoy. I thought he walked an interesting edge between being sex-positive and using his playboy persona to emotionally protect himself from clients who want to sleep with a famous person. Carrie: Oh, that’s a really good point. He definitely has to tread a line between “fun sex is fun” and “everybody wants something from me.” That’s part of why I don’t think him being closed off is a personality flaw – it makes sense as a strategy to be nice to everyone but not to jump instantly into vulnerability. Shana: On the other hand, I struggled with the resort as a site of luxury, because August in Florida’s humidity will make you long for the cooler breezes of hell. Satan’s tit, it sounded hot! Much of the courtship happens outside, and the book didn’t shy away from explaining how sweaty and uncomfortable Tess and Lucas were. Descriptors like “every breath felt like gargling soup” are used. Of course, all that sweat means lots of sexy shower time and refreshing beach dips, so I forgave the book for burning phrases like “Eau de sweaty balls” into my brain. Carrie: I liked that they both had chronic pain but different kinds and for different reasons – she’s middle-aged and has arthritis in her knee, and he’s a young, fit athlete who has sports-related problems with his wrists. Shana, you got me to read this book by telling me about the scene in which Tess has to decide whether or not she can climb up, and, worse, down, a shit-ton of stairs and you were not wrong – it was like looking into my own brain. Extra points for the understanding that with bad knees, down is usually worse than up. Shana: Isn’t the chronic pain rep in 40-Love stellar? Lucas and Tess are both proud and self-protective, and hate acknowledging their pain. I loved seeing them slowly learn to trust each other with their tender places, like when Tess teaches herself wrist massage, or when Mr Perfect Lucas chooses sex positions based on Tess’s neck and knee pain. Carrie: These are both lovable characters with believable personalities. Even though I thought the development of their romance happened super fast, I liked the steps that it hit along the way and how it resolved into a really mature, healthy relationship with a realistic sense of commitment balanced with an understanding that they still have to learn how well they get along post-vacation time. I especially loved how Tess’s period became an opportunity to demonstrate: period positivity: Tess’s period is miserable, but nobody gets all weird about it, because it’s a normal thing that happens. self care: Tess sets boundaries for what she wants to do, sexually and otherwise, during her period. caring for others: Lucas provides a hilarious yet perfect replacement for a heating pad, as well as chocolate, air conditioning, and a romantic comedy on TV. consent: everything they do, sexual and otherwise, is framed by mutual check ins on how they are both feeling and what works for them. Shana: I loved that too! I was happy that Tess had an unusually long two week vacation—by sad American standards—which gave the relationship a little more time to develop from Lucas reflexively flirting with a nonplussed Tess, to banter over tennis lessons, and finally to deeper intimacy about fears and insecurities. A terrible academic ex is involved. Don’t we all have a terrible Academic at the root of our self-doubt? I was worried their tennis lessons would turn into a terrifying training montage, but Tess’s unapologetic disinterest in tennis technique squashed those fears. I was thrilled that Lucas loved tennis but accepted Tess’s unwillingness to run for the ball. And conversely, I was delighted that Tess got turned on by Lucas’s precision and skill, without feeling any pressure to be more than a disinterested novice herself. Very refreshing! I also adored that Lucas‘s “craggy” face was beautiful, but sun-damaged enough to make him read as older. That’s what happens when you train nonstop in the sun if you aren’t one of the Williams sisters! He handles his skin in the same way that Tess handles her body size, aware that other people see it as a flaw, but choosing to live life with no fucks to give. There’s a fun scene where he visits the resort spa for the aforementioned period supplies, and the spa staff are nearly too distracted trying to sell him face peels to help him properly. Both Tess and Lucas are passionate about their work. I could see 40-Love working for readers who love competence porn, non-creepy age-gap romances, and grumpy-sunshine pairings where the heroine is the grumpy older character. Carrie: Agreed! There was no power imbalance, a lot of fun tropes, terrific examples of consent and very sexy sex, and a good mix of fantasy and reality. These are two people who clearly love each other for the people they really are. I also loved their plan for what to do when vacation ends, and I won’t spoil it but the last scene is sweet, hilarious, and adorable. This was just a sweet, fun, sexy book that provided escapist fun while also demonstrating that you are the only person who gets to define what success means for you, and that love can come to all of us regardless of our tennis playing abilities. View the full article

The Silence of Bones RECOMMENDED: The Silence of Bones by June Hur is $2.99! Ellen reviewed this one in September and gave it an A: I thought this book was amazing. I loved the prose, the characters, the mystery, and the setting. From a craft perspective I found this book masterful, and it took me on an intense emotional journey. I think this is a literal must-read for historical mystery fans provided they do not mind some violence. June Hur’s elegant and haunting debut The Silence of Bones is a bloody YA historical mystery tale perfect for fans of Kerri Maniscalco and Renée Ahdieh. I have a mouth, but I mustn’t speak; Ears, but I mustn’t hear; Eyes, but I mustn’t see. 1800, Joseon (Korea). Homesick and orphaned sixteen-year-old Seol is living out the ancient curse: “May you live in interesting times.” Indentured to the police bureau, she’s been tasked with assisting a well-respected young inspector with the investigation into the politically charged murder of a noblewoman. As they delve deeper into the dead woman’s secrets, Seol forms an unlikely bond of friendship with the inspector. But her loyalty is tested when he becomes the prime suspect, and Seol may be the only one capable of discovering what truly happened on the night of the murder. But in a land where silence and obedience are valued above all else, curiosity can be deadly. Add to Goodreads To-Read List → You can find ordering info for this book here. The Hating Game RECOMMENDED: The Hating Game by Sally Thorne is $3.99! Not a huge fan of the movie tie-in cover. For those who watched, what did you think of the movie? Sarah really loved this one: If your reading catnip, like mine, includes a blend of dialogue that crackles with intensity and emotion, cranky, stoic heroes with hidden, squishy depths, and vivid, self-assured heroines who take exactly zero crap from said hero, you should find yourself a copy of this book. Debut author Sally Thorne bursts on the scene with a hilarious and sexy workplace comedy all about that thin, fine line between hate and love. Nemesis (n.) 1) An opponent or rival whom a person cannot best or overcome. 2) A person’s undoing 3) Joshua Templeman Lucy Hutton has always been certain that the nice girl can get the corner office. She’s charming and accommodating and prides herself on being loved by everyone at Bexley & Gamin. Everyone except for coldly efficient, impeccably attired, physically intimidating Joshua Templeman. And the feeling is mutual. Trapped in a shared office together 40 (OK, 50 or 60) hours a week, they’ve become entrenched in an addictive, ridiculous never-ending game of one-upmanship. There’s the Staring Game. The Mirror Game. The HR Game. Lucy can’t let Joshua beat her at anything—especially when a huge new promotion goes up for the taking. If Lucy wins this game, she’ll be Joshua’s boss. If she loses, she’ll resign. So why is she suddenly having steamy dreams about Joshua, and dressing for work like she’s got a hot date? After a perfectly innocent elevator ride ends with an earth shattering kiss, Lucy starts to wonder whether she’s got Joshua Templeman all wrong. Maybe Lucy Hutton doesn’t hate Joshua Templeman. And maybe, he doesn’t hate her either. Or maybe this is just another game. Add to Goodreads To-Read List → You can find ordering info for this book here. The Secret, Book & Scone Society The Secret, Book & Scone Society by Ellery Adams is $1.99! This is book one in a cozy mystery series of the same name. I will gripe that the inconsistent use of the Oxford comma in both the book description and series name, but not the title irks me. From New York Times bestselling author Ellery Adams comes the first in an intriguing new series set within a quirky small-town club where the key to happiness, friendship—or solving a murder—can all be found within the pages of the right book . . . Miracle Springs, North Carolina, is a place of healing. Strangers flock here hoping the natural hot springs, five-star cuisine, and renowned spa can cure their ills. If none of that works, they often find their way to Miracle Books, where, over a fresh-baked “comfort” scone from the Gingerbread House bakery, they exchange their stories with owner Nora Pennington in return for a carefully chosen book. That’s Nora’s special talent—prescribing the perfect novel to ease a person’s deepest pain and lighten their heaviest burden. When a visiting businessman reaches out to Nora for guidance, she knows exactly which novels will help. But before he can keep their appointment at Miracle Books, he’s found dead on the train tracks. Stunned, Nora forms the Secret, Book, and Scone Society, a group of damaged souls yearning to gain trust and earn redemption by helping others. To join the society, members must divulge their darkest secret—the terrible truth that brought each of them to Miracle Springs in the first place. Determined to uncover the truth behind the businessman’s demise, the women meet in Nora’s cramped and cozy bookstore to share stories and trade support. And as they untangle a web of corruption, they also discover their own courage, purpose, and a sisterhood that will carry them through every challenge—proving it’s never too late to turn the page and start over . . . Add to Goodreads To-Read List → You can find ordering info for this book here. Yes & I Love You Yes & I Love You by Roni Loren is $3.03 at Amazon and $3.99 elsewhere! This is a contemporary romance by one of my absolute favorite authors. I remember hearing Loren discuss this book at the last RWA that was held in New York. The heroine has Tourette’s Syndrome and social anxiety, and Loren also mentioned her (Loren’s, not the heroine) son has a tic disorder. Have you read this one? A beautifully emotional new contemporary romance from New York Times and USA Today bestseller Roni Loren. Everyone knows Miz Poppy, the vibrant reviewer whose commentary brightens the New Orleans nightlife. But no one knows Hollyn, the real face behind the media star…or the fear that keeps her isolated. When her boss tells her she needs to add video to her blog or lose her job, she’s forced to rely on an unexpected source to help her face her fears. When aspiring actor Jasper Deares finds out the shy woman who orders coffee every day is actually Miz Poppy, he realizes he has a golden opportunity to get the media attention his acting career needs. All he has to do is help Hollyn come out of her shell…and through their growing connection, finally find her voice. Add to Goodreads To-Read List → You can find ordering info for this book here. View the full article

NYC Pitch assignments JA.docx

NYC Pitch assignment WCU.docx