Some Things Don’t Work

A while ago, when I had extra time to write between contracts, I decided to self-publish some supernatural mysteries because I enjoy writing them so much.  I knew it was a bit of a risk since urban fantasy is still pretty glutted, but I’d seen some paranormal witch mysteries that were doing well on Amazon and thought it was worth a try.  I had a lot of fun writing them, but I’ve given them a decent shot, and they’re still dead in the water.  I can’t get them off the ground.  So I came to a crossroads.  Do I keep writing them and hope the fifth or sixth one clicks, or do I admit defeat and try something new?

My agent loved the urban fantasies I wrote forever ago but got one rejection after another because no one was buying UF anymore.  I spent a lot of years trying to sell stories that no matter how well done, no one wanted to buy.  And I don’t want to do that again.  So this time, I’m throwing the towel in early.  Right or wrong, I’ve learned the hard way that some things are easier to sell than others.  So I felt sorry for myself, licked my wounded pride for a day, and then sat down and started to work on something different.  I don’t want to write a second cozy series.  I know a lot of writers juggle two or more of them, but I’d have too much trouble trying to keep track of which is which if they were that much alike.  I mean, cozies have some similarities.  If I’m going to do a second series, it has to be different enough from Jazzi to help me find balance between the two.

I’m sharing this, not to garner sympathy, but because when I like writing something, that’s what I want to write.  I don’t want to change or go in a different direction.  But I’ve found that I need to.  When my agent asked me to try to write a romance, I didn’t want to.  I’d never considered it.  Ever.  The plot points felt weird to me–hurt feelings and misunderstandings instead of attacks and battles.  The thing is, I learned a lot by writing the Mill Pond series.  I had to concentrate on character more than plot, and my tacklebox of writing tools grew richer for it.  I took some of those tools with me when my editor asked if I’d like to try my hand at a mystery.

This might sound crazy to you, but if you’re writing really well but your work won’t sell, maybe you should try something outside your comfort zone.  There’s so much to writing that we can’t control.  If editors decide a market is tight or dead, soon it will be, because they won’t buy anything in that genre.  If the market really is glutted, it’s even hard to find readers if you self-publish.  There are just too many things for them to choose from.  Markets come and go.  Literary fiction, I’m told, is a hard sell right now.  Sometimes, selling comes down to a current preference.  It’s harder to sell writing in present tense  now because there’s a bias against it.  Some editors prefer third person, single POV, over first person.  Some of that depends on what genre you write in, but I’ve read reviews where readers prefer third over first.  That doesn’t mean what you write won’t sell, but it means it will be harder.

For now, I’m going to try something new.  A straight mystery instead of a supernatural.  And I’m writing it in first person.  Then I’ll see what happens.  But it doesn’t hurt to flex your writing muscles and experiment a little.  You can start with something short and go from there.  Maybe try a one-hour read.  Play with a new genre, a different style.  But it’s hard to put your best into something, over and over again, know that it’s good (and I’m not just talking ego or confidence here, but comments from critique partners and editors or agents), and keep getting rejections.  When that happens, it might not have anything to do with how well you write, but a lot to do with what you write.  But let’s face it.  In writing, there’s no one right answer, and what works for one person doesn’t work for someone else.  But I’m ready to try to tilt the odds in my favor instead of against me.  So wish me luck.  And good luck to you and whatever you’re working on and Happy Writing!



I haven’t written a short story for a long time.  Short novels?  Yes.  Novellas?  Love ’em.  But a short story?  I haven’t tried any since C.S. Boyack got me in the mood to write a few when he posted his October Macabre Macaroni stories, one a week.  I used that month to post dark stories on my webpage–with mixed results.  Horror and dark fiction have never been my strong point, but that’s exactly why I wanted to try it.  Some people would advise me to do what I do well, or at least better.  But once in a while, I like to push the envelope, to see how far I can stretch.  And I learned that I’m not much better at horror or dark fiction than I was with my earlier stabs at it.  Oh, well.  Can’t win ’em all.

BTW, C.S. Boyack wrote a short story that October I loved.  In case you’d like to try it:

Anyway, I digress.  Sometime last year, I got what seemed like a brilliant idea at the time.  If I could write a Jazzi and Ansel short story and get it into Alfred Hitchcock’s mystery magazine, it would be a great way to promote their series.  To say that I didn’t think this through enough would be an understatement.  But I’ve read quite a few novellas by favorite authors who use shorter fiction (66 – 100 Kindle pages) as teasers to keep readers happy during long pauses between their regular books.  And I’ve enjoyed all of them–Lynn Cahoon’s Tourist Trap holiday novellas, Jenna Bennett’s honeymoon and holiday novellas, and Anna Lee Huber’s pre-wedding novella for Keira and Gage.

I decided that to be successful these stories needed:

  •   The same tone and voice as the books
  •    To establish the characters and their relationships just like the books
  •    Great mysteries to solve like the books
  •    The same feeling/setting as the books

Mind you, each of these things takes a bit of time, some extraneous scenes not found in short stories but possible in novellas.  I tried to accomplish all of the above with a lot less words.  And once I got all of those words written, I sent the story off.

A truth about Alfred Hitchcock magazine:  they only accept online submissions.  Then they give you a code to check your story’s status.  Upfront, they tell you that they’re so bogged down with submissions, you won’t hear back from them for 6 to 7 months.  Make that more like a year, maybe a few days shy of that.  And then you don’t receive an e-mail.  You only know you’ve been rejected when you check your code and see REJECTED next to the story’s title.  Now, I wasn’t heart broken when that happened.  I was a tiny bit ticked that they treat writers so shabbily, but publishing’s changed over the years, so I got over that.  I pretty much knew that the way I’d written the story made its chances  slim.  I used to sell to Alfred Hitchcock, and I had more success with 2,000 to 3,000 word mysteries.  This heavy monstrosity was 8,500 words.  Only an author with a big name can get away with taking up that much magazine space.  But it was a Halloween story, and if no one else wrote one, I might get lucky.  And the story events happen during the events of book 3 in my series, so I had a year to wait anyway.  So why not try?

But once it was rejected, I gave it another look.  And I wasn’t happy with myself.  I’d tried to marry a short story with a novella and ended up with a mess.  A short story needs one, straightforward mystery with hardly any distractions or extras.  A novella has the length to play with different elements, but that’s why it takes more words.  So…

I spent last night and all day today reworking the story.  It’s 7,000 words now.  And I like it.  I’m going to put it up on the blog’s snippet page closer to when The Body in the Gravel comes out September 24th.  My learning curve reinforced something I already knew, but a rule I thought I might be able to bend.  A short story is…a SHORT story.  And I’m up for trying to write another one for Alfred Hitchcock sometime.  But not for a while.  Right now, all of my attention has to focus on writing Jazzi Book 5–The Body in the Past.  (At least, that’s the title for right now).  I’m hoping to write one chapter every weekday I can.

Another lesson I learned?  Failure isn’t the end of the world.  AND, if you want to break into a market, you have to give them what they WANT.  No tinkering with their tried and true playlist.  Ah, well, my short story adventure has to wait for another day.

For now, try to stay cool, and happy writing!




A nice compliment

I had Scribes last Wednesday.  One of our members brought in a newspaper article about Louisa May Alcott with a few lines highlighted to share.  I never realized how hard Alcott had to work to make ends meet.  “She taught school, went out in service, sewed, and most of all, wrote.  She read all the magazines, figured out their style, and gave them what they wanted.  She wrote thrillers and mysteries, sentimental romances, modern fairy tales, and Gothic horror.”  (from Sarah Young’s column).  And then Rachel smiled and asked the group, “Does this remind you of anyone?”

I’ve never sewn, but yes, I’ve written a lot of different kinds of fiction over time.  And I appreciated Rachel’s compliment.  I’ve written a short Christmas science fiction story for a newspaper tabloid, and they bought it, but accidentally published it under another author’s name.  I’ve had short horror fiction in two anthologies.  I’ve sold dark fantasy, urban fantasy, and short mysteries.  And romances.  I like playing with genres, but I’m glad to be working on a mystery again.

Since it’s been a while since I’ve written one, my hubby and I went to the bookstore to see what kinds of mysteries are out there.  I read my old favorites, but they aren’t very helpful for research.  They already have built-in audiences.  They can break the rules and still sell books.  I haven’t kept up with new writers in the field.  I wanted to see who’s selling today and what they do.  I asked my editor what mysteries he likes, and he sent me a stack of Kensington authors, most of whom he works with.   They were all “niche” mysteries. Every book had a protagonist with a specialty of some kind–one runs a bakery and includes recipes in her books, one writes “clambake” mysteries and includes New England type recipes, another entered poodles in dog shows and gave details about that, and yet another runs an organic farm and spa.

At the bookstore, to my surprise, I found the rows of mysteries all clumped under the “mystery” title, but the first half of the shelves were filled with “niche” mysteries in alphabetical order, and the second half was filled with “serious” mysteries.  The books were kept separate from one another.  I’m assuming that means that readers who buy the niche, cozy-style mysteries rarely buy the heavier ones, and vice versa.

I’m writing the niche style.  That’s what my editor likes.  And yes, like Louisa May Alcott, I’m going to try to give him what he wants.  That also means that my agent won’t have much luck if she ever tries to sell me to a bigger publisher.  They want books with higher stakes, bigger themes, more drama–page turners.  I’m okay with that.  I like the idea I thought of for mysteries, and I’m having fun writing it.

In the meantime, Kensington sent me an AWESOME book cover for my sixth romance, due out in November.  Thought I’d share, and whatever you’re working on, happy writing!



Switching genres

Remember that WAY back when I started this blog, I warned you to do what I say, NOT what I do?  Well, I should remind you of that, because I’m thinking of doing the UNsmart thing again.

It’s like this.  Way back when dinosaurs roamed the earth, I wrote short mysteries.  I even sold some to Alfred Hitchcock and Ellery Queen’s mystery magazines–not so easy to accomplish.  But cozy mysteries were dead in the water, so I decided to try writing urban fantasy.  It was a hot market at the time, but of course, by the time I finished mine, the market was glutted.  Which is why it’s tricky to follow trends.  But from someone who knows–because she’s learned the hard way–trying to sell a genre that editors have decided is passe’ is a hopeless task.  EVERYTHING’S stacked against you.

Which leads me to my unsmart move.  I seem to be drawn to write whatever isn’t popular at the time.  I didn’t give up on urban fantasy even when my agent said it was dead.  She let me try it as a self-published author on Amazon.  She hoped if I hit the right niche, I might get lucky, so I tried three different series.  I even tried novellas and novella bundles. And then she suggested I try to write a contemporary romance.  So I did.  But I went for smalltown romances with a cozy feel.  And guess what?  Kensington took them for their e-book line, but the market for them is limited.  Who knew?  I sure didn’t.  My editor liked them enough, though, that he asked if I’d ever be interested in writing a mystery for him.  Now, I really like writing mysteries.  BUT…the other thing I’ve learned on this journey, is that it almost always takes time for an author to build an audience, and you don’t build an audience when you keep changing genres.  BUT…I really like writing mysteries.  When I asked my agent about it, she recommended that I write what calls to me the most.  And she warned that cozy mysteries are still dead, but that my particular editor still likes them. So if I like working with him, which I do,  then I could give it a shot.

So…I’ve started work on a mystery.  And we’ll see what happens.  It’s still early on. Nothing’s nailed down yet.  BUT if you’ve paid attention, I’ve given you THREE genres you might want to avoid if you’re a new writer and want to sell to a big publisher:  urban fantasy, sweet romances, and cozy mysteries.

Since I apparently am no good at picking the right markets with appeal, I did a quick search and got this:

And from Kirkus Reviews:

Whatever you’re writing, good luck with it.  And enjoy the process!



Twitter:  @judypost


Nothing’s simple

You know, when I first started writing, it was a hobby.  I was serious about it, because I don’t seem to be able to do something half-ass that I care about, but I really didn’t expect much to come of it.  In the beginning–before God created computers and editing was a pain in the rear end–before you could move paragraphs and add and delete by hitting a button–I wrote short stories and writing was about having fun.  Writing is STILL fun for me.  Yes, it’s work.  Yes, it takes commitment.  But doggone, it’s fun to get inside other peoples’ heads and make their stories come to life.

I still love writing and writers.  But as soon as you go to your first writers’ conference, the rules change.  You don’t just think of a story you want to write, but now, you think about markets.  What are the odds that my story will sell to X market?   What are editors looking for?  I was horrible at marketing for a LONG time, because I wanted to write…what I wanted to write.  And guess what?  No one was buying it.  Did I care?  Not really.  Not until I got serious about getting a book in front of readers.

That’s when I got serious about what was selling.  And that’s when I learned that when I tried to write for the market, I was always a few years behind.  By the time I decided to switch from cozy mysteries to serial killers, that market was glutted.  I have to say, though, writing two books with really creepy villains was one heck of a lot of fun…and it taught me a lot.  Next, I tried a couple of mixed genre books, and that’s when I learned that those don’t have a prayer in the publishing world.  Publishers like books that can be stuck in an easily definable slot.  When they have to ask, “How would I market this–as mystery, supernatural, horror?”–kiss your sales goodbye.

About that time is when I met Anna Genoese at Tor, and she asked me for an urban fantasy novel.  It’s risky to write something when you’re not sure what it is.  But yes, you guessed it, it’s pretty damned much fun!  By the time I figured out what the market was, it was already glutted.  Windows of opportunity don’t stay open very long.  But FABRIC OF LIFE, my “sort of” urban fantasy, got me my agent–the wonderful Lauren Abramo.  And when we realized that writing urban fantasy was beating a dead horse, she suggested I try romance.  As you can tell, I’ve never shied away from trying something new, so the Mill Pond romances came into being.

There HAVE to be smarter, quicker ways to reach your goals, but I don’t know what they are.  I didn’t try them.  A lot of my friends didn’t either.  I belong to a writers’ club, and it pains me how much talent so many of our members have.  We’re so diverse, and so GOOD. But publishing is no easier than taking a bus to Hollywood and expecting to be a star.  It takes work and perseverance.  And you suffer lots of disappointment.  It’s HARD.  But if you’re doing what you love to do, it’s WORTH it!

I used to attend workshops where the SELLING writers would say, “If your work’s good enough, it will find a home.”  Bull pucky!  The odds are against you.  Know that.  Know the markets.  And you’ll do better if you know how to promote yourself.  Crappy writers can become bestsellers.  Great writers can be ignored.  So realize that writing is a business. The inventor of the hula hoop probably made more money than a lot of his fellow inventors. Part of selling is luck.  Part is providing what people want.  There are no guarantees.  So, if nothing else, enjoy yourself!  Love what you do.  And happy writing!



Writing: to market, to market…

I’m feeling pretty happy with myself. I finished the rewrites for Magicks Uncaged, my third book in the Wolf’s Bane series. Now, I’m waiting to see the cover, and then I’ll wait for it to be formatted and put online. But MY part’s done. At least, on the writing scene. The next “to do” on my list is marketing–not my strongest skill. And the sooner I start, the better.

A long time ago, I did a post on marketing. I haven’t gotten more brilliant at it, but since I’m at that stage again, I thought I’d mention it. In my writers’ group, there’s a wide variety of approaches to promoting books. Some–the more serious, literary writers of our group–pen beautiful, wonderful fiction, try to find a market for it, and then do very little to promote it. I think they feel that it cheapens their talents to hawk their own products. But unless you have a publisher, famous friend, or agent who works his fanny off to sell you, you’d better come to terms with the fact that you need to do it yourself. Readers won’t know your work exists if you just put it out there and let it die. Even publishers expect authors to market their work these days. Some look at a writer’s blog, twitter followers, and social media before accepting his work. So…here are some thoughts.

In the group of authors I know, there are those who think they’ll only succeed if they market their work to find an agent and a publisher. If you’re looking for a big, New York publisher, you have to have an agent. None of the big publishers, except Harlequin, look at unsolicited submissions these days. Getting an agent is no easy task. Sometimes, you can get one because you know an author who’ll recommend you. Even then, you might get turned down. Agents are as subjective about what they like and don’t like as anyone else. They have specific things they’re looking for. Another way of finding an agent is to join twitter and participate in some “pitch” sessions. (Use the hashtag “pitchwars” or “nestpitch” and follow the leads). If you don’t want to go that route, go to a bookstore and look at the acknowledgements in books similar to yours to see if their agent is listed. Then look the agent up online. OR type “agent” in the search engine of your computer and follow the leads. And do your homework. Find out what clients the agent has and how well he’s sold them. Even with an agent, you might not be able to tempt a big publisher. That’s why some of my friends have turned to smaller publishers. And they’re happy with them. You don’t have to have an agent to submit to most small presses. And if none of those appeal to you, you can self-publish through smashwords or Amazon, etc. If you go the self-publishing route, though, you’re in charge of EVERYTHING. You need to write the best book you can write, make sure it’s clean of any errors, find a topnotch cover, format it, load it, and promote it. And remember. A book cover is usually the first thing a reader notices. It gives a “feel” of what the book’s about, but you don’t have to pay a fortune to get a good one.

No matter what you do, you need to be willing to promote yourself. You need a webpage, a blog (on your webpage or separate), and you should be on twitter and facebook. I have a friends’ facebook page separate from my author’s facebook page. And there are theories about the best way to use all of them. I’ve found #MondayBlogs useful on twitter, but there are more writer twitter hashtags. Paula Reed Nancarrow (whose blog I love for many different reasons) did a survey on twitter and blogging and wrote a few posts on the results. Here’s one of them:

Another blog I always recommend for marketing is Lindsay Buroker’s. Most of us won’t have the success she has (she knew marketing and blogs before she started writing), but she’s happy to share what works for her and what doesn’t. I’ve learned a lot from her blogs. Here’s another one of hers I found useful:

Can’t think of anything to blog about? Try Molly Greene’s link: But remember. When you blog, you’re trying to build an “author platform,” to “brand” yourself. Another blogger I recommend for marketing is Rachel Thompson: A second, good post on branding by her: She’s worth following.

Just to give you a checklist, these are good for marketing: twitter, facebook, a blog, and a webpage. Most experts suggest blogging at least once a week. Some authors use blog tours to promote their books before they come out. I’ve never done that, but I know authors who’ve had success with it and some who haven’t. If any of you have tried it, I’d be curious if you liked it. I can tell you that I’ve been happy with some of the paid advertisements I’ve used to promote my books and novella bundles. I can recommend kboards and Ereader News Today. They’ve worked for me anyway. And many of them aren’t that expensive. Most have a variety of packages. Anyway, I’ve run on enough for one post. Good luck with whatever you’re working on!

twitter: @judypost
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Writing: Learning As You Go

Earlier this year, I paid $25 to enter the Kindle Book Review awards contest for the top, indie books published from May 2012 to May 2014. I was hoping I might make the 20 top semi-finalists, but no such luck. Okay, I was disappointed, but not disheartened. In writing, you win some, you lose some. But I was curious what kinds of books won, because those are books I can learn from.

The whole judging process started with what readers look at when deciding to buy or not buy your book: the cover, the blurb, and the opening, sample pages. If those hooked the first readers, then they passed the book on to people who’d read the entire book. I have no idea how many books made it past the first readings, but I know it’s no easy feat. When I wrote mystery short stories and sent manuscripts into Ellery Queen and Alfred Hitchcock mystery magazines, slush pile readers would scoop up manuscripts by unknown writers to take home and look at. If a writer didn’t hook them in the first paragraph or two, that story got put on the “forget about it” pile. Only a tiny, tiny few stories passed the slush pile to be given to first readers. If the first readers like the stories, they’d pass them on to the editors. Once an editor bought one of your stories, your writing went straight to her desk when you submitted a new one. But you had to earn that right. Writers compete with thousands of other writers. But the truth is, once you make it out of the slush pile, then you’re competing with professional writers. And they know their stuff.

Study your competition when you start writing. And learn by studying the best. I’m glad I entered this contest, because I’m lazy, and I wouldn’t have followed through if I didn’t have something invested in it. When I got the list of the writers who DID make the 20 semi-finalists, I looked them up and did what the judges would have done. I looked at their covers. What made them stand out? I read their book blurbs. What made them better than mine? And I read the free, sample pages.

I write urban fantasy, so my take on what worked and what didn’t might not ring true for literary fiction or mysteries, etc. But every sample I read started with a sense of immediacy, plunging the protagonist in danger from page one. That’s where I made a mistake. I only put two new books online from May 2012 to May 2014, and both were second books in a series. I started the book I chose to submit, Blood Battles, emphasizing Enoch’s relationship with Voronika, because–to me–that’s the theme that would continue throughout the entire series. The antagonist and book’s big problem didn’t come until AFTER I caught the reader up with the fallen angel and his vampire. Maybe not the best strategy. And since I’ve read the beginnings of quite a few of these books (I intend to work my way through all of them), I’ll rethink the opening pages of my novels.

My advice to you? I’m including the link for the writers who’ve won a slot in the top 20 for each genre. I’d go to Amazon or Barnes & Noble or smashwords and look the writers up. I’d study the book covers and blurbs for their novels. I’d read their free, sample pages. And I’d ask myself, How do these compare to mine? Learn from what they’ve done right. Grammar and spelling aren’t enough. Know your craft. Still be yourself, but know what’s out there now. And make your decisions based on that.

If you have any views, opinions, or questions on writing, let me know!

Writing: What do you HAVE to get right?

My friends and I were talking about some of our all-time favorite books.  What I found interesting was how much we disagreed.  An author one of us loved, another person might not bother to finish.   And the very thing that elevated a book for one of us was the same thing someone else considered a flaw.  That made me wonder.  What are the essentials for a good book?

At my writers’ club, I used to cringe when a person said, “This isn’t really something I read, so I’m not sure how to critique it.”  The qualifier used to bother me, but not any more.  I’ve learned to take very seriously what type of book a person’s writing.  Because, let’s face it, each genre offers an implicit promise to deliver certain things to its readers.

One of my friends writes Regency historicals and another writes historical romances, and a lot of times when they read at Scribes, they get the comment, “There’s so much description.  Does it really matter if her gloves have buttons on them or if her gown is silk?”  And the answer is yes.  Historicals aren’t just about characters and plot, they’re about a time period.  Readers want to be transported to that part of history with its mannerisms and social nuances.  Part of why I enjoyed Pamela West’s Yours Truly, Jack the Ripper was due to the realistic view of how miserable life was for the lower classes during Queen Victoria’s rule.  Caleb Carr achieved the same gritty feeling in The Alienist–showing the beginning of psychology in detective work.   And Barbara Hambly’s Fever Season depicts a New Orleans riddled with diseases during flood seasons and a social stratum that teeters in a delicate balance between whites, slaves, and freed blacks.  I read those books because of great story lines and wonderful characters, along with eloquent writing, but the historical settings added to my reading pleasure.  And yes, details matter.  They whisk me from my living room to a past that, in those books, I’m glad isn’t mine.

Writers–myself included–often bemoan novels being lumped into genres, and heaven help you if you cross one or two.  But the truth is, when a reader picks up a contemporary romance, that’s what he wants.  He wants boy meets girl, obstacles keep them apart, and then boy wins girl.  He wants a happy ending.  My friend Ann writes women’s fiction/romance, and that’s why she chose it.  She wants to feel good when she finishes a book–the one she’s writing or the one she’s reading.

To me, every genre, even literary, comes with certain expectations.  And a writer strives to meet them.  So…what is the essential for a good book?  I think part of it depends on what kind of novel/genre you’re writing.  Every book needs a great story line: a hook, a problem, and a goal to fix it.  It needs characters we care about.  We don’t have to like them, but they have to hold our attention.  A novel needs clarity, so that we don’t stumble and jerk our way through the plot, and it needs a voice that we want to hear.  It needs tension and pacing with no sags that lose our interest.  But I’ve read novels with plot holes that a truck could drive through, characters that I’d like to knock on the side of the head, and pacing that stops and starts in fits, and I still liked the books.  Why?  Each novel delivered what I picked up that book to find.

I’m a Martha Grimes fan, but one of her books–I can’t remember which one–had a roundabout plot that made me too dizzy to even try to follow along.  Usually, in a mystery, that would make me put it on a shelf and move on.  But the characters were so eccentric, the clues so bizarre, I kept turning the pages.  And if it’s true, that the end of a book makes you go out and buy the next one, Grimes did something right, because I did just that.  Still, a mystery has to have something to solve, a few clues to add up, some kind of detective–be it amateur or pro–or I might as well read some other genre.  There are all kinds of mysteries, and each comes with its own special spin.  P.I.s have a certain attitude, a flavor that’s completely different from a cozy.  Thrillers have the “ticking clock,” and women in jeopardy have…well, women pitted against some evil foe.  I have to admit, I can be had by a good woman in jeopardy book as long as the woman doesn’t do contrived, stupid things to up the tension.  When I have to yell, “Don’t go in the basement,” the author’s lost me.

Horror has to scare you or make you squirm.  Fantasy has to whisk you to some new setting with different rules than we have now.  The author has to make that world come alive and establish rules that are consistent with what she’s created.   Dystopian plops us in a future world after a disaster has changed mankind or society or both.

Anyway, reading and writing are subjective.  When I pick up a book, I want to like it.  I think most readers feel the same.  When I love it, I consider it a bonus.  But when I choose a novel, I’m looking for something specific–humor, a puzzle, a scare, or a happy ever after, and I feel gypped if the writer doesn’t deliver.

What stops you when you’re reading  a book or disappoints you?

By the way, if you like serdoms and myths, I have a new novella (short, 40 page read) online now:)







Writing: You Can’t Win ’em All

I’ve been writing a series of novellas that I really enjoy.  I don’t know if I chose the wrong covers for them or if I’m marketing them wrong, but they just aren’t catching on.  If you have ideas, I’d be happy to hear them.  If you don’t, that’s fine, too, because I’m guessing that mixing medieval times with supernaturals wasn’t my best idea.  But it’s possible that I don’t care.

Short fiction, in general, isn’t as popular as novels.  Most of my novellas go up in the rankings for a while, and then fall for a while, bouncing up and down.  Not wonderful, but something I can live with.

I’ve learned from experience.  I intend to spend more time concentrating on novels and less time churning out novellas.  But novellas, for me, are like a piece of chocolate.  Instant gratification.  In a week or less, I have a finished product that I like.   Michael creates a wonderful cover for my 40 pages, and I’m a happy girl.  It’s like opening a small box that you know will have something wonderful inside.

I wrote short stories for AGES.  They’re my first love, but when markets started drying up for them, I had to concede that longer was the rule of the literary land.  One of my friends–whose writing I deeply admire–Ed Bryant, wasn’t so happy when I devoted my time to novels over short fiction.  He’s made a distinguished career with short fiction, but let’s face it.  I’m no Ed Bryant.  And markets aren’t the same as they used to be.  So now, when I write short, it’s almost an indulgence, paying homage to an art form I love.  (And boy, was I happy when Canadian writer, Alice Munro–a short story writer–won the 2013 Nobel Prize for literature–a short story writer!!!  Hooray!)

Anyway, some of my novellas do better than others.  But my Christian/Brina series is doing dismally.  So you’d think I’d write a wrap-up novella, bundle the stories, and call it a day, wouldn’t you?  And I intended to.  Until I found a cover for a story that I thought would work perfectly in that series.  And then, wouldn’t you know it?  I found another cover for Christian and Brina that I liked.  So I’m torn.  And I kind of think Christian and Brina are going to stay as part of my mental landscape when story ideas dart through my brain.

For one thing, I’ve been grown-up for a long, long time, but I still fantasize about castles.  Not real castles, mind you.  Those can be cold and drafty…and smelly, too.  But FICTION castles.  And my stories are only as factual as my story ideas want to make them.  And then, I have a thing for magic and Merlin.  And Harry Potter.  So witches had to populate my fictitious serfdom–because that made me happy.  And then the witches had to battle something–so why not choose all of the leftover mythological creatures that I haven’t used before?  A match made in my idea of writing heaven.  Castles, witches, vampires, evil lords, and a Greek mythological creature or two.

I doubt my rankings will ever soar on this series.  But maybe for this series, I don’t care.  Maybe this series is for ME.  So there’ll be a new Christian/Brina novella out later in November.  And I might even lose money on it.  But once in a while, I write for myself.   cover_9_thumbcover_13_thumbcover_21_thumb


Writing–& Mood Swings

cover_mockup_25_thumb  (coming this week)

I don’t talk about marketing very often.  There are plenty of blogs out there, written by people a lot smarter and savvier than I am when it comes to promoting their work.  I respect and admire them…and appreciate how much they share about what’s worked for them and what hasn’t.   One of my favorites is Lindsay Buroker’s blog.  She’s worth looking at.

After I read one of her past posts, I offered my novel, Fallen Angels, for free for 4 days on Kindle Select when I put up the 2nd novel in the series–Blood Bound.  I’ve never done that before, and it was a wonderful experience.  I paid to advertise on Book Bub (which was worth every penny), and over 18,000 people downloaded Fallen Angels.  Remember.  It was free, so I made no money on those downloads, but my reviews went from 11 to 38, (all but one good), and some people went on to buy the second Enoch book.

One or two reviews came in a day for a while.  It became a habit to start my computer every morning and check my amazon page before I started writing.  Each good review gave me a big push to start work for the day.   And guess what?  In the  middle of the novella I was working on at the time, even with all the good feedback, I could think of all the things I might do wrong.

The promotion was from May 19 to 22, and the fun times are finally beginning to dim.  My numbers are starting to sink, but I learned something important from the experience.  Writers ALWAYS worry about their work.

What is it about writing?  No matter what happens, no matter how good the news, each new story is a challenge.  Did I get the characters right?  Is there a story arc?  Is it a good one?  I’m not the only writer who does this.  I read a blog recently that made me feel a lot better.  According to Karen Woodward, almost EVERY writer hits a point where he looks at the manuscript he’s working on and wonders what the heck he was thinking.

I’ve written long enough to know that when I start a story,  in my mind, I’m a wonderful writer.  When I finish it, I’m not so good.  But when I think of the next idea, I’m brilliant.  There seems to be no middle ground.  And I think that’s the way it’s supposed to be.  Because if you agonize over each scene, each character, it makes you push yourself harder.

Sometime next week, I’m putting up a bundle of 4 Death & Loralei novellas.  Three have previously been published.  The fourth and last one in that series is new.  I liked SPIRIT BOUND when I finished it.  It turned out better than I expected.  Will readers like it?  I can never tell.  And I always worry.  But then, that’s part of writing, isn’t it?