Tag Archives: writing

Professional Wednesday: Planning For Next Year — Try Something New!

The Chalice War-Stone, by David B. CoeAs you know, early in 2023 I will be coming out with a new urban fantasy series that is steeped in Celtic mythology. Before working on this series, I hadn’t known much about Celtic lore. But I did my research, learned all I could, and then started to imagine ways in which I might blend those Celtic traditions with my vision for the stories I wanted to write. I tried to be respectful of traditions that are not my own, while also having fun and writing something I hoped would be fun for my readers.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)Two years ago at this time, I was revising Radiants and starting to organize my plans for Invasives, the second book in the sequence. I had never written a supernatural thriller before, but I had the idea and wanted to give it a go.

Two years before that I had just released the second Islevale book and was working on Time’s Demon, the second book in the trilogy. These were my first forays into writing time travel and while I knew there were tremendous pitfalls to writing in that particular subgenre, I wanted to give it a try. Plotting a time travel series is probably the most challenging thing I’ve ever attempted as a professional writer; I doubt I will ever try it again, but I’m glad I did it once.

TIME'S DEMON, by D.B. Jackson (Art by Jan Weßbecher)Around that same time, I was also reading submissions for the Temporally Deactivated anthology, my first co-editing venture. Last year I opened my freelance editing business, and a year ago at this time, I was editing a manuscript for a client.

Back in 2015-2016, again at this time of year, I was working on the Author’s Edit of the LonTobyn Chronicle, my first series. Up until then, I had never re-released any of my old work, but I had the rights back, and I knew I could improve the books with a deep edit of the original manuscripts.

Yes, there is a point to all of this.

Temporally Deactivated, edited by David B. Coe and Joshua B. PalmatierLast week, I wrote about planning out my professional activities for the coming year. This week, I want to discuss a different element of professional planning. My point in starting off with a list of those projects from past years is that just about every year, I try to take on a new challenge, something I’ve never attempted before. I didn’t start off doing this consciously — I didn’t say to myself, “I’m going to start doing something new each year, just to shake things up.” It just sort of happened.

Children of Amarid, by David B. Coe (jacket art by Romas Kukalis)As it turns out, these new challenges have brought me to a place where I can say, in all candor, that I have never been happier in my work than I am now. Each time I try something new, I reinvigorate myself as a creator. I force myself out of the tried-and-true, the comfortable. With each of the new projects I mentioned above I had a moment of doubt. I wondered if I was capable of accomplishing what I set out to do. Now, I’m a pretty confident guy when it comes to my writing chops and my ability to help others improve their writing, so those doubts didn’t last long. But they were there each time.

Indeed, part of the joy of taking on the projects lay in pushing myself, in overcoming the doubts and getting the work done. As I’ve written before, writing is hard in any number of ways. We help ourselves when we can self-define our successes, rather than relying on a fickle, difficult marketplace to define them for us. Each of the aforementioned projects boosted my sense of self worth.

The Loyalist Witch, by D.B. Jackson (Jacket art by Chris McGrath)But those new challenges did more than that. They kept my professional routine fresh. I am a creature of habit. I try to write/edit/work every day, so in a general sense, my work days and work weeks don’t change all that much. By varying the content of my job — by writing new kinds of stories and expanding my professional portfolio to include editing as well as writing — I made the routine feel new and shiny and exciting. And at the same time, these new projects made it possible to return to some old favorites, notably the Thieftaker series, with renewed enthusiasm.

I also made myself better at my craft and deepened my understanding of and appreciation for the nuances of storytelling. I learned a ton by revising my first books. I saw old mistakes that I was still making, and also gained a fresh appreciation for the ways I had improved as a writer. Writing time travel strengthened my plotting by forcing me to look for the loose ends that might have escaped my notice had my characters not possessed the ability to go back in time and undo my choices! Editing has taught me a ton about my own writing by showing me, in unfamiliar narrative contexts, what story elements work best (and worst).

My point is this: As you begin to plan your professional activities and ambitions for 2023, try to put in your calendar something new and different. It is fine to set as a goal the completion of that novel you’ve been working on for a long time, or the publication of a series you’ve had written for a little while now but haven’t yet sent out into the world. Those are laudable aims, and I wish you every success with them.

But maybe you’ve never tried writing short fiction, or you’ve written stories but never submitted any of them. Maybe you’ve written fantasy but never tried science fiction, or thrillers, or romance. Set as a goal for 2023 taking on one of those new tasks. Allow yourself to accomplish something unfamiliar. At the very least, doing so will force you to grow as an artist, which is always a good thing. And perhaps you will discover a previously unexplored talent and passion for something you hadn’t even considered trying.

Best of luck, and keep writing!

Monday Musings: A Tree and a Post — It’s Not About What You Think It Is, Or Is It?

#HoldOnToTheLightThis post probably isn’t about what you think it is.

Nancy and I are nearing the end of what has been an exhausting and at times terribly difficult year. I won’t catalogue our burdens because they are, frankly, no worse than those faced by many of you. We have things in our lives that mitigate the challenges, things for which we are incredibly grateful. But we’ve had a rough year — the third in a row, actually. Again, this doesn’t set us apart from others. There may be differences in the specifics, but there are far more similarities of kind. We have all faced struggles.

That’s not really what this post is about.

After Thanksgiving, as we were mapping out a very busy December, we made a decision not to have a Christmas tree this year. Mostly, I made the decision. I am the one who goes down into the valley to buy a tree. I’m the one who sets it up, who waters it daily, who takes it down at the end of the season. And I just didn’t feel like dealing with it this year.

When I informed our daughters of this they were disappointed, to say the least. They don’t live with us anymore, but when they come home for the holidays, they like to have the house looking festive, the way it did when they were kids and Christmas was everything. I justified the decision to skip having a tree this year by assuring them this was not something permanent. We would surely have a tree again next year. But this year it felt like too much, everything was too fraught. We went back and forth, but eventually they accepted my decision, albeit reluctantly.

And then, this past week, on a rainy afternoon, I went down and bought a tree after all. Nothing had changed, of course. Nothing happened to make the past year suddenly, magically turn easy. The work of setting up and maintaining the tree remains. I changed my mind.

To be clear, this is not a post about the Christmas spirit suddenly moving me to want a tree, though in a way I suppose it did. It is not about the importance of doing something nice for my kids, although that is, of course, incredibly important, and it was gratifying to know how pleased they were by my/our change of heart.

Christmas Tree

In the end, my choice regarding the tree was about me, about what I needed, what I realized I had to do even though I didn’t really want to.

I have written a bit recently about my uncertainty regarding my next writing project. I have been unable to choose from among several possible projects, and I am starting to understand that my inability to make that choice is not about creative impulses, or marketing uncertainties, or even an inability to decide what possibility excites me the most.

I’m simply stuck. For reasons I haven’t sussed out quite yet, I can’t get myself to make that professional choice and move forward with it. And, I realized this week, the whole Christmas tree thing was sourced in a similar lack of motivation and momentum. I was stuck personally as well as professionally. Too many things going on, too much occupying my thoughts, too many emotional impulses pushing me one way and another. And my first reaction to all of this was to stop. The push-me/pull-you of life was more than I cared to address in any way, and so I simply dug in my heels. The tree, ridiculous as this now seems as I type it out, was the bridge-too-far, the thing I decided was too much.

What made me realize this I was doing this?

Honestly, I’m not sure. Maybe it was the reaction from my kids. Maybe it was the recognition that, despite knowing it meant a bit of effort and work, I actually wanted a tree, almost as much as my daughters did. I love having a tree. There’s a reason I’m the one who usually does the work required each year. I enjoy the smell, the lights, the ritual, the departure from routine, the sight of the tree with its lights on, glowing in the middle of the family room. Suddenly, denying myself that pleasure, denying Nancy and the girls that pleasure, didn’t make much sense to me.

And in the same way, I know I want to begin work on my next writing project, even though I feel stuck, even though none of the projects is really calling to me right now. I believe I need to do with my work what I did this past week with the tree. I need to get off my butt and start working on something, even if I’m not sure it’s THE project I should be writing now.

All of us find ourselves in circumstances like these now and again. Sometimes they manifest in the professional realm; sometimes they show up in our personal lives. For some of us, the inertia I’m describing works its way into everything. I have glibly written of my decision to “snap out of it” with respect to the tree. I don’t mean to make it sound easy. This week has been hard for me. I suffer from anxiety and panic disorders, and recently both have been troubling me more than usual. Breaking out of these patterns takes work. For some it takes enormous courage as well.

I see you. I understand and I sympathize. Perhaps that’s why I chose to share this story with you today. The holidays can be a struggle in all kinds of ways. These past few years have taken a toll. Maybe this post was about all of that after all.

I wish you peace and health and happiness.

Professional Wednesday: Preparing For the Coming Year

December has come to my little corner of the Cumberland Plateau. The trees are bare, days of gray skies and cold winds outnumber the blue, chickadees and nuthatches, titmice and woodpeckers and cardinals flock to my feeders. Yes, we still have nearly a month left in 2022, but already these remaining weeks feel foreshortened. The holidays will gobble up much of our time and energy in the closing days of the month, and we will be distracted by all the preparations for family get-togethers and the like.

Which is as it should be. The past two years have seen our holidays strained and, for some, ruined by the pandemic. We deserve a holiday season.

Already, though, my professional thinking has turned to 2023. In past years, I have written about my penchant for mapping out my professional year, trying to plan for the many projects I intend to take on in the months to come. I didn’t write a post of this sort last year, because of the uncertainty surrounding our daughter’s health, and the fresh memory of how so many of my plans were upended in 2020 and 2021 by the pandemic, by family issues, by emotional strain, etc. The fact is, my professional plans are always just that: plans, intentions, hopes even. Nothing more.

And so I approach the coming year with a bit more humility than I did in the years before Covid and before my family’s health crisis. Any work calendar I create will be written in pencil, not pen.

But I also understand that planning out my work calendar helps me, and I believe you might find it helpful to create a similar plan for your coming year.

Right now, I am struggling to decide what major writing project I will take on next. I have posted about this before, and have asked for input from followers of my work and this blog. Yet, still I haven’t been able to decide on a path forward. That’s fine for now. I have stories to read for the Artifice and Craft anthology. I have a story to write for the Dragonesque anthology. I have a couple of editing clients interested in engaging me for some work. In short, I have no shortage of things to keep me busy.

I’d be lying, though, if I said I wasn’t missing the allure of the new shiny. One of the things a work calendar does is keep me looking forward. Often a project supplies its own momentum. The desire to see it through to the end, to complete the damn thing, is usually enough to keep me on task. Now and then, though, I need the carrot of the next project to pull me through. “When I finish this, I get to work on X.”

Put another way, I don’t have to decide right now what major writing project to take on in 2023. I am certain, however, that if I can decide and hold that next project out as the prize I get for completing other things, it will make reading anthology slush a little easier.

I also find a work calendar helpful as I seek to manage my own professional expectations. It’s easy to look at a blank calendar and think, “I have all year to get X,Y, and Z finished.” As it happens, this is rarely the case. Already I know that I’ll be editing short stories for much of January and preparing for the releases of The Chalace War books starting in February and continuing through the spring. (Oh, and here’s the art for book I again, just because I love it so much . . . .) Plus, non-writing stuff is bound to impinge on my writing time. We need to do some work on our house, and that will also probably come in the spring. The work promises to be disruptive. There is no way I’ll be as productive as usual while it’s going on.The Chalice War-Stone, by David B. Coe

I need to take all of this into account while planning my schedule. Because even if some of my deadlines are self-imposed (rather than coming from a publisher) I know that missing them can disrupt the work to follow. It can also have an impact on my mood, on my self-confidence as an artist. We should always keep our expectations for ourselves realistic. The last thing we want to do is set ourselves up for repeated failures by expecting too much from ourselves and not taking into account time commitments we have to make to other parts of our lives. This is not to say that we should budget too much time for projects. There is a balance to be found. We want to push ourselves to accomplish tasks that matter to us, without expecting so much that we can’t help but fail. A work calendar helps me with that.

So as the year winds down, and as I sit in front of a fire, or in front of yet another World Cup soccer match, I will be working on my work calendar, mapping out a strategy for getting done all I hope to accomplish, and also for managing the inevitable disruptions that life — both professional and private — tends to throw in our path. It’s easy to do. I receive calendars in the mail all the time from the various charities we give to each year. I always reserve one of those calendars for this.

Best of luck with your 2023, whether or not you map it out ahead of time.

And, of course, keep writing.

Professional Wednesday: The Chalice War, Book I Cover Reveal!!

For some time now, I’ve been writing about and teasing my new Celtic urban fantasy, The Chalice War. The series is part thriller, part comedy, part myth, part urban fantasy, part mystery. It is set in our modern world — all over it, in fact: book I takes place in the U.S.; book II shifts the action to Australia, and book III is set in Ireland — but the series also draws heavily on Celtic lore. It is unlike anything I’ve written before. Each volume was a ton of fun to write, and will be, I hope, just as much fun to read. I love these books and I am incredibly excited about their upcoming release.

The first book, The Chalice War: Stone, should be out from Bell Bridge Books in February 2023. The second book, The Chalice War: Cauldron, will follow within a month or two, and the trilogy’s finale, The Chalice War: Sword, will drop not too long after that.

Today, I am delighted to share with you the incredible jacket art for book I, which was created by my brilliant editor and publisher, Debra Dixon. Drumroll please . . . .

The Chalice War-Stone, by David B. Coe

Wednesday Musings: Thanksgiving and Some People To Thank

The past couple of years, usually on the Monday of this calendar week, I have written about Thanksgiving — last year a catalogue of all the things for which I’m thankful (the list still holds), and the year before, ahead of the country’s first Covid Thanksgiving, a rambling remembrance of holidays past that still makes me laugh when I read it over. For obvious reasons, I didn’t feel like writing such a post for this past Monday. But with the holiday upon, I thought I would try again.

I don’t know how to approach a Thanksgiving post this year without repeating myself from those previous posts, and yet here I am making the attempt. And maybe repetition in this context isn’t the worst thing in the world. The things for which I am thankful year in and year out remain remarkably consistent — boring for a blog, but gratifying in every other way. My marriage, my children, my extended family and friends and fans, my career, and, of course, the good fortune of having a home, food in our pantry, health care access, and so many other blessings that too many people lack.

As I have said before, Thanksgiving is my favorite holiday, in part because it forces me to take stock, to set aside the petty grievances that too often cloud my mood, and recognize that in the important ways, despite real and serious problems in our lives, my loved ones and I are doing okay. We live, it often seems, at 75 mph, the world blurring past as we try to complete our work, take care of our chores, see to our obligations. Even when we are “on vacation” or taking a bit of time off, we try to squeeze in so much that the relaxed times feel rushed.

To me, Thanksgiving is a time to slow down, to focus on the now, on those things that matter most. It is a time to inhale deeply and say, “Right now, in this moment, I am grateful for _______.” The things we fret about, the things that inconvenience and nettle and worse — they’ll still be there the day after Thanksgiving (in fact, they’ll probably be on special…). They’re not going anywhere. So why not push them away for a while and accentuate the positive? This from a confirmed, life-long pessimist.

In any case, I will hop down off the soapbox now. And I will share with you a brief list of very important people, outside my circle of friends and family, who have made an enormous difference in my life this year. Their mention here is small thanks for all they have done for me and my family.

1. I am thankful for my therapist, a woman named Rebecca, who has been absolutely incredible to work with. She is insightful, gentle, funny. Best of all she gets me and understands when to push me and when to let me stumble into truths on my own. I have learned so much from our time working together, and feel better equipped than I have ever been to deal with the uncertainties of this crazy world.

2. I am thankful for my editor, the marvelous Debra Dixon, who has been an amazing creative partner, mentor, critic, and booster. She is terrific with artwork. She did the gorgeous covers for the Radiants books, and she has done a fabulous job with the first book of the The Chalice War, the Celtic urban fantasy about which I’ve told you all so much. You’ll see a reveal of the cover not too long from now.

3. My older daughter’s oncologist, who shall remain nameless so as to protect my daughter’s privacy, is just terrific. He is compassionate, honest, brilliant, devoted to our child and her battle with cancer, and willing to communicate with us whenever we have the need (so long as our daughter has given her okay, of course). We know he can’t perform miracles, but he has our daughter’s complete trust, respect, and affection, and that is all we can ask.

I wish these three a glorious Thanksgiving, and I wish the same to all of you. May your day be filled with laughter, joy, and the companionship of people you love. And may the year to come be filled with blessings large and small.

Happy Thanksgiving.

Professional Wednesday: What I Learned During a Recent Visit With Claude Monet

Last week, Nancy and I were traveling for her work, and we had the opportunity to spend a day and a half in New York City. We had dinners with our older daughter, we attended some university functions, Nancy had finance meetings, and I had part of a day to myself.

As I have mentioned here recently, I am trying to figure out where to go with my writing. (And allow me to take this opportunity to thank those of you who weighed in with opinions about what project I should take on next. Many of you want to see continuations of existing series — Thieftaker was the most popular request, followed by Fearsson and Radiants. Not surprisingly, the new project I mentioned as a possible choice received little love. The unknown is bound to attract less notice. But the most heartening element of the responses I received was the repeated assurance that you would welcome and read whatever I choose to tackle going forward. And for that, I am grateful beyond words.)

As I continue to grapple with this decision, I thought I might find inspiration in art, and so, on a bright, crisp Monday morning in New York City, I walked north along Fifth Avenue to 83rd Street and the grand entrance to the Metropolitan Museum of Art. I didn’t know precisely what I sought in the museum, but I trusted the instinct that drove me there. Much the way our bodies sometime crave certain types of food — salty snacks, or protein rich foods — so I believe our brains can crave input of a specific type. I felt a strong need to look at the beauty of creative endeavor.

Specifically, I wanted to see the work of the Impressionists and Post-Impressionists. Degas, Manet, Morisot, Cezanne, Pissarro, Cassatt, Van Gogh, Gauguin, and my favorite, Claude Monet. As a historian (and a camera bug), I find the development of Impressionism (in the latter third of the nineteenth century) fascinating. It coincided with the invention and popularization of photography. Suddenly, artists were freed from the need to create images that were accurate and lifelike. A photograph could do that. Instead, artists could begin to experiment with color, with light and shadow, with texture, with the self-conscious use of brushstroke and palette knife.

Claude Monet,  Rouen Cathedral: The Portal (Sunlight) 1894, Metropolitan Museum of Art, New York, New York
Claude Monet, Rouen Cathedral: The Portal (Sunlight) 1894, Metropolitan Museum of Art, New York, New York.

Monet was fascinated in particular with the way light and color changed from hour to hour, day to day, season to season. He painted series after series, experimenting with images of the same subject matter painted at dawn and dusk and midday. Haystacks on farms, poplar trees in the French countryside, water lilies, the Houses of Parliament and Charing Cross Bridge in London, and two of my favorite series: the façade of the Cathedral at Rouen, and the Japanese footbridge and pond at his home in Giverny.

Claude Monet,  Bridge over a Pond of Water Lilies 1899, Metropolitan Museum of Art, New York, New York
Claude Monet, Bridge over a Pond of Water Lilies 1899, Metropolitan Museum of Art, New York, New York.

Seeing these paintings last week filled me with joy, with a sense of calm and contentment. It was glorious. I lingered in the museum for hours longer than I had intended to.

But what does this have to do with writing? Why would it warrant discussion in a Professional Wednesday post?

Honestly, I am still trying to figure out the answers to those questions. But I think it comes down to this: Creativity demands that we reexamine those things we have taken for granted, the things we have accepted as routine. The daily dance of light across the front to a building, the shape and forms we see each day. But creativity also asks that, on occasion, we rethink everything about our art. Imagine having been trained as a classical artist in the mid-nineteenth century, only to have every assumption about visual art overturned by the invention of a light-capturing box.

In the course of my lifetime (and I’m not THAT old . . .), we have sent spacecraft beyond the pull of earth’s gravity and out to the edges of our solar system. We have created lenses capable of peering through space and time to the very beginnings of our universe. We have replaced the rotary phones that were wired into our homes with untethered devices that take pictures, monitor our finances, store our music, and handle computational tasks that used to challenge machines so big they needed to be housed in warehouse-sized spaces.

We have seen the impossible become consumer-ready, the fantastical turned mundane. And as storytellers, we have had to stretch to come up with ideas that will surprise and captivate and satisfy. That stretch doesn’t necessarily imply pursuit of the increasingly outlandish. Rather, I would argue, it has forced us to reconsider simplicity, to infuse the familiar with qualities that make us marvel or recoil.

And as I search for my next spark of inspiration, I find myself wondering what will be for me the literary equivalent of watching color and shadow transform a garden pond and the reflections of a footbridge. Once upon a time, I worried that I would run out of ideas for stories, that I would complete a series, only to discover that it was the last one, that my creative well had run dry. Now, as I approach the big Six-Oh, my fear is that I will run out of time before I have completed all the tales I wish to write. I’m don’t worry about failing to find a new idea; I worry about choosing the wrong one and wasting time on something I don’t love.

Late in his life, Monet began to lose his sight. And still he worked, learning to create images of power and beauty and drama despite seeing color and form with less clarity. Creativity finds a way. Inspiration carries us past obstacles both physical and emotional.

Maybe, ultimately, that was the reminder I needed when I stepped into the Met. I still don’t know what I’ll be writing next. I do know that the challenges in my life have not gone away and won’t anytime soon. But I am a creator, and I still crave inspiration. So, I will consider, and I will settle on a project, and I will share with you the stories that stir my passions.

And I wish you the same.

Keep writing, keep creating.

Professional Wednesday: Another Celtic Urban Fantasy Teaser!

This is a busy week and I have a lot going on. No time to sit still and write a Professional Wednesday post. And why should I when what you REALLY want is another teaser from my upcoming Celtic urban fantasy release. This, like the first one I shared with you several weeks back, is from The Chalice Wars: Stone, the first volume of the trilogy. It picks up sort of where that last teaser left off. Enjoy! And rest assured: normal Professional Wednesday posts will resume next week.

Keep writing! And read on!

*****

All of these suburban streets looked the same. Treeless yards, soulless cookie-cutter houses, paved driveways with new, expensive SUVs. It was enough to make Marti throw up. And it was likely to make her and her beat up Ford wagon stand out like mutts at a dog show.

If she ever found her house. As far as she could tell Fairlea Lane didn’t exist, though that could have been her fault. She had no sense of direction. None at all. Lots of Sidhe had the same problem. At least Alistar said so. But she had never met anyone who was as bad with a map as she was. She could get lost on a one lane desert highway. She had, in fact.

She wasn’t good with cars, either. Especially new ones with computers in them. She didn’t drive this old junker because she wanted to. She would have loved a sleek new roadster, something shiny and fast. But magic and tech didn’t always mix well.

Reaching an intersection, she stopped and read the street signs. Classic rock blared on her lousy little radio—she hadn’t been able to find any indie stations, and she wasn’t going to listen to country unless she had no other choice. She turned down the music and looked around. She had been here twice already. She was driving in freaking circles. The directions from the real estate agent had sounded so easy. Directions always did.

She leaned out the open window—needless to say, she didn’t have AC in this thing—and called to a cluster of kids playing with sidewalk chalk in a nearby driveway. They stared back at her like she was the monster living under their beds, until one of them got up and ran into the house, probably to tell her mother some crazy woman in a car from Colonial times was trying to kidnap her. Marti thought about driving away, but figured that would freak out the kids and their mom even more. The last thing she wanted was for her first day in the new neighborhood to end with a 911 call.

A woman emerged from the house a few moments later, the little girl peering out from behind her.

The woman halted at the end of her driveway. “Can I help you?” she asked in a clipped southern drawl. She gave the car a quick once over and then fixed her glare on Marti again.

“I hope so,” Marti said, hoping she sounded friendly and helpless, or at the very least sane. “Can you tell me how to get to Fairlea Lane?”

“You here to clean someone’s house?”

No, I’m here to steal your television.

“Actually, I’m moving in.”

For just an instant, Marti expected the woman to call her a liar. She saw the thought flicker in the woman’s eyes. But then she ventured out into the street, closing the distance between herself and Marti’s car.

“You buy the Herrera place?”

Marti shrugged. “I don’t know. The address is 16 Fairlea.”

“Mm hmm,” she said with a nod, “that’s probably the Herrera’s house. They couldn’t make their payments.” I wouldn’t be surprised if the same thing happens to you.

The woman didn’t say it, but Marti could tell she was thinking it as she checked out the car again. Marti hadn’t been here ten minutes and already she hated the place.

“So,” Marti said after an uncomfortable silence, “how do I get there?”

“It’s right over there,” the woman said, pointing toward a line of houses that backed up against hers and her neighbors’. “I’m not sure how you missed Fairlea. You come in from town?”

Marti checked the printed directions lying on the passenger seat. “I turned left from Foster Boulevard onto Sawyer. Is that coming from town?”

The woman nodded again. “Mm hmm. Like I said, I don’t know how you missed it.”

“I’m talented that way.”

She smiled. The woman didn’t.

She pointed to the street in front of them, the one intersecting the lane Marti was on. “This is Greenvale. Follow it around this way.” She pointed to the right. “You’ll pass the playground on your left. Fairlea will be on your right. Once you’re on Fairlea, your house will be three or four houses down, on the left.”

“Thank you.”

Marti pulled forward into the intersection, made a right. She could feel the woman and those kids watching her, but she kept her gaze on the road. Already most of what the woman said was a garbled mess in her head. But there would be a playground, and then Fairlea, and she’d figure out the rest. Or she’d find someone else to scare.

The houses here might have been identical to one another, sitting on barren plots of grass, shrubs, and concrete, but they were good sized. No doubt hers was way too big for one person. She had made it clear to the agent that she needed a home right away—any home. Money, she’d told her, was not an issue.

The account in New York had been Alistar’s idea. He’d even seeded it for her—transferring eight hundred thousand dollars from his own accounts into hers, back when that was some serious money. “Magic is great,” he told her at the time. “But in this world, there’s no substitute for wealth.”

The balances in his accounts were proof that living for two hundred years and having access to divination magic, could make a man very rich. And over the forty-plus years Marti had been squirreling money away in her account, it had grown into a pretty impressive nest egg—mid-seven figures. Alistar’s account was worth more than ten times as much. The manager on their accounts, Michael Craig, was also Sidhe, and had helped them with whatever paperwork and bureaucratic hassles came up over the years. Marti had opened her account under her real name—Diana Taylor—and had transferred it several years back to a new name—Carolyn Taylor, claiming that she was Diana’s daughter.

Michael’s colleagues at the bank were more than willing to believe her; Diana was born in the 1940s and couldn’t possibly have looked as young as Marti did. Getting the necessary documents proved easy. Marti had at least half a dozen birth certificates and social security cards stashed away, as did Alistar, just in case. Just in case: That had been their mantra. The hardest part had been keeping up with who they were, seeing to it that each of their various aliases listed a different alias as his or her spouse. The last thing they needed was for all their meticulous planning to be undone by a careless foray into polygamy.

The point was, Marti could have held out for something nicer, even if it cost her twice as much. But she was more interested in quick than nice. She needed a home, for herself and for Alistar’s stone. And in this case, quick also meant cheap—foreclosed, the construction not quite complete. She’d been able to buy it outright, with a bank check. No waiting, no mortgage papers to sign. She didn’t know how long she would stay. If history was any guide, she’d be moving again within a year or two; maybe sooner. But she owned the paper on the house, and so could do with it as she pleased.

She rolled past the playground on her left, and saw the intersection with Fairlea coming up on the right. Another group of kids played kickball on Fairlea, and they scampered to the sidewalks when they saw her turn, then gaped at her as she crept by.

Aside from them, and a pair of lawnmower-wielding gardeners a few lots down, the street was deserted. Four in the afternoon on a Friday, and there was no one here at all. A couple of bicycles lay abandoned in driveways, and in the distance a sprinkler twirled lazily in the middle of an unnaturally perfect lawn. Dogs barked; a mockingbird perched atop a telephone pole went through its repertoire, mimicking a jay, a robin, a goldfinch.

Number sixteen was the fourth house on the left, just as the woman had told her. There was little to distinguish it from the homes on either side of it. Beige vinyl siding, black shutters flanking the windows, a brick walkway leading to the front landing, a door of polished wood, with narrow etched glass windows on either side of it, and a half moon of triangular glass panes above. Marti couldn’t decide if it all struck her as tasteful or tacky. Either way, Alistar would have hated it, if for no other reason than the siding.

“I will not live in a plastic house!” he’d once told her, when they were working out the logistics of one of their many moves. “If that’s my choice, the Fomhoire can kill me now.”

She remembered laughing at this at the time; both of them had. It wasn’t funny anymore.

Marti pulled into the driveway and shut off the engine. But she didn’t get out. She stared at the house, at the yard, at the houses around hers.

Her lawn had been cut within the last few days, apparently for the first time in ages. Long strands of dried grass littered the walkway. Even groomed, though, the yard didn’t look healthy. Large patches of brown, dead grass covered much of the lot, and the flower beds—if that’s what they were meant to be—were filled with wilted shrubs and dried leaves from the one tree, an oak, shading the front of the house. She had little hope the backyard would be in better shape.

“Not exactly the garden we left behind, old man.”

She hoped she’d find a place in back where she could put the stone without it being conspicuous.

She opened the door, the creak of metal loud and harsh, and climbed out of the car.

As soon as her feet touched the driveway, she felt it. It was as obvious as the breeze cooling her sweat-soaked back, as pervasive as the twined scents of gasoline and freshly-cut grass.

Power.

It hummed in the cement like an electric current, raising the skin on her legs, pulsing through her entire body. It frightened her, enticed her, aroused her even. She hungered for it. But feeling it here, now, after all that had happened, all she had lost . . . .

“Crap,” she breathed knowing a moment of panic.

She had no conduit, and so no access to her magic. A sachet of wolf’s bane, bay, dill, and anise—an odd-smelling but powerful combination of protective herbs—lay in her glove box, along with raw pieces of onyx and jasper. Those might have been enough to let her escape an attack if one had been imminent. They would have had to be. Her other herbs, crystals, and oils were packed away in the back of the car.

But she hadn’t sensed magic. This was power, which was different. Sidhe and Fomhoire possessed magic. Sluagh were creatures of magic. Power came from conduits, and allowed Sidhe and Fomhoire to access their spellcasting abilities.

She held herself motionless, closed her eyes, and tested what she sensed, her awareness flicking out like a snake’s tongue tasting the air for predators or prey. No doubt about it: power. Potentially a conduit. Strong, but not dark, not malevolent. Neutral. Unclaimed. This wasn’t Fomhoire or Sidhe. Not yet, at least. It could go either way.

Still, she couldn’t keep herself from opening her eyes and scanning above for winged demons. The sky was hazy, a faint shade of blue, and, for now, empty of Sluagh.

Relief eased through her, loosening tensed muscles, slowing her pulse. Mostly.

She had come here to get away. While on the road, she had managed to call one of the other Sidhe, to tell them of Alistar’s murder, to let them know she was without a conduit, that her part of the protective magical web—hers and Alistar’s—had been breached and would be out of commission for a while. Responsibility to her fellow sorcerers demanded no less. Beyond these warnings, though, she owed nothing more. She needed time—time to rest, time to grieve, time to find a new conduit.

This power she felt might allow her to bind again, but it didn’t promise rest or time. If she sensed it, someone else would, too. Fomhoire, Sluagh, others she didn’t wish to consider. It wasn’t a question of if they would find it—and her—only of when.

And yet, that wasn’t what bothered her most.

Marti didn’t believe in happenstance. The old gods didn’t simply allow things like this to happen; what others called coincidence a Sidhe knew for the machinations of the ancient ones. They delighted in bringing power to magic, power to power, magic to magic, for good or for ill. Which meant she was here because of this . . . presence. It had been waiting for her.

Professional Wednesday: Special Guest Joelle Presby

Joelle PresbyI first met Joelle Presby several years back at a convention, and I was struck straight off by a number of things. 1) She’s just plain nice. That’s certainly not unheard of in the publishing world, but it’s also not routine. Many people are in the game for themselves. Others pretend to me something other than what they are. Not Joelle. She is genuine, kind, funny. 2) She is also crazy smart. Read her bio. Read her post. She is SMART. And 3) Everyone I talked to at that convention who  was familiar with her work had come to the same conclusion: She was a rising star. A few years later, she continues to dazzle with the release of her first solo novel.

Please welcome to the blog Joelle Presby. [Cue wild applause.]

*****

Professional Wednesday: On Hope

By Joelle Presby

There are a number of ways storytellers transition from folks who write because they have to into folks who write because they have to and also have deadlines and readers buying their work. Like many writers, I think of my transition as special and unique.

I was solidly on the path to never being published, when I stumbled into an opportunity. I was writing my seventh rough draft novel with every intention of finishing it and immediately setting it aside to begin an eighth never-to-be-revised novel. Editing is a lot of work. And I’d let my hopes shrivel too much to sustain me through the grind of reviewing an entire novel’s flaws with a clear eye and rewriting it to make the words on the page fully match the story in my mind.

The re-birth of hope was all my husband Andy’s fault.

Debare Snake Launcher, by Joelle PresbyDebare Snake Launcher, by Joelle Presby (back cover)We were both naval officers in the nuclear power pipeline, trained in engineering and managing complex technical projects, but my degrees were in math and his were in physics and spacecraft design. I got sick (nothing terminal) and had to accept a medical discharge. But my next job required fewer hours, so I could write more. And we could attend science fiction conventions and meet up with authors as long as I did the arranging and accepted that Andy might be at sea. Conventions were a lot more fun when Andy came too. Science fiction authors tend to be significantly more interested in chatting with folks who have space craft engineering backgrounds than talking to another would-be writer who happens to have only a math and engineering background.

But my hope was shriveled, not gone.

When Andy Presby had regular meetings with David Weber to provide Honorverse tech continuity support, I came along. Mostly, I sat in a corner working on a new first draft, but it was fun to eavesdrop on some of the detailed discussions around revising nearly-finished drafts with an eye to incorporating newly postulated science and also not breaking the story world. I began to think just a little about editing my own work. I did and it was hard. So, mostly I wrote first drafts again. But my hope was growing.

Andy and eight friends formed the company BuNine in order to sign a contract with Baen Books to produce a fictional nonfiction encyclopedia of the Honorverse to be released on the twentieth anniversary of the first publication of ON BASILISK’S STATION (Honorverse book 1). The group started strong with Andy agreeing to a leadership role and a primary technical role for the many planned space craft articles. Then the US Navy sent Andy to a new job. He had almost no time. The work wasn’t getting done. I started getting calls. I knew how to be a project manager and I could write. My husband and our friends had made this commitment. I didn’t want them to fail. I didn’t want them to fail David Weber or Baen Books. I wrote bad articles and good ones. I poked Andy to get from him the ship specifications we absolutely needed. I revised the drafts and took editorial correction and revised again. It was hard, but not that hard. I did a lot of nonfiction writing for work, and for a day job, you don’t get to only do rough drafts. Besides, I told myself, this didn’t count. It wasn’t real writing.

But my confidence, my hope, my willingness to dare and try grew anyway.

I heard that Toni Weisskopf was interested in a short story to be published on Baen.com during the month that our project, now titled HOUSE OF STEEL: THE HONORVERSE COMPANION, released. My hope wasn’t big enough to send anything to Baen, but it was enough for me to write a very small Honorverse short story, revise it, and share it with my husband. He gave it to our friends who, without asking me, gave it to Sharon Rice-Weber who, without asking me, gave it to David Weber who, without asking me, gave it to Toni Weisskopf who wanted to buy it if… I would revise it.

The Baen.com story was well received by Honorverse fans. It led to an invite to write for the BEGINNINGS (Worlds of Honor 6) anthology. That success led to having my first published novel be a collaboration with David Weber: THE ROAD TO HELL (Multiverse #3). And then Baen gave me a contract to write a solo novel, which I had to revise. A lot. And it was worth it.

The revised version of my ninth rough draft novel a.k.a. my first published solo novel, THE DABARE SNAKE LAUNCHER, comes out November 1, 2022.

I still go to science fiction conventions and talk to writers, and I’ve learned I’m not as unique as I first thought. If you want to stay on the path to never publishing, it’s dangerous to keep writing.

Though if anyone has access to a time machine, please tell younger me that there is joy in getting the revisions right, and the satisfaction of reaching the last page on the final polish far, far exceeds typing “The End” for a mere rough draft.

Beware. Opportunity might be just around the corner. May you have enough hope to make the attempt.

And, as David B. Coe says, keep writing.

*****

Joelle Presby is a former U.S. Navy nuclear engineering officer and recovering corporate consultant who grew up in West Africa. Her first reader husband works for NASA, but he has yet to build her a space elevator. She does not admit to arranging a book deal through a quid pro quo arrangement with Mami-Wata.
 
Joelle began her writing career publishing in David Weber’s Honorverse and joined him as a cowriter for the Multiverse series with the novel, The Road To Hell. Over a dozen short stories later, she is releasing her first solo novel, , in November 2022.
 
She lives in Ohio with her husband and two children.

Professional Wednesday: An Alternative to NaNoWriMo

First off, many thanks to those who offered feedback on last week’s post, in which I asked for input regarding what I might work on next. I appreciate your thoughts. The general consensus appears to be that there is no general consensus. Several people did express enthusiasm for more Thieftaker and more Justis Fearsson. A number were also interested in reading more in the Radiants supernatural thriller series, and a few fans from way back were excited to see an edited reissue of the Winds of the Forelands books. Others liked the idea of a new writing How-To as well as the space opera concept. Which is to say, there was at least some support for pretty much everything I’m currently considering, and that’s reassuring.

We are nearing the end of October, which means Halloween is almost here, elections are right around the corner, and NaNoWriMo is about to start. For those unfamiliar with the term, National Novel Writing Month began in November 1999 as a challenge to writers to write 50,000 words in thirty days. The challenge has grown in popularity each year, and now engages literally hundreds of thousands of writers, including kids, in creative writing. NaNoWriMo is also a non-profit that promotes literacy and creativity.

In many ways, NaNo is a positive force in our industry. It fosters community, by bringing together writers of different backgrounds and abilities in a simultaneous effort to be creative on demand. And as I have said in this space again and again, part of being a professional writer is learning how to produce on demand, without “waiting for the muse,” or some such. I have heard many stories of people finally being motivated to write by NaNo, by the communal aspect of the challenge. Knowing others are making the effort at the same time enables some people to write the story that has been burning inside them for so, so long. I think that’s great.

And yet . . . . From the time NaNo first began, I have had some qualms about the concept and the structure. I have written 50,000 words in a month; I’ve done it a couple of times. I know some professionals who write far more than that in 30 days. It can be done, no doubt. And if the challenge and group dynamics of NaNo get your creative juices flowing, more power to you.

But what I remember about those occasional months during which I churned out 50,000 words is that I was unable to sustain the effort. Each time, during the month that followed, I struggled to write half as much. I was burnt out. I know some people have gone on to publish novels they began during a NaNo November. But I wonder how many NaNo participants still have novel fragments of 50,000 words (or 40,000, or 30,000) on their computers, gathering virtual dust. I wonder how many did NaNo only to find themselves unable to sustain the effort beyond the month in question.

As I said, professionals, myself included, can and do write half a novel in a month’s time, but most of us write slower than that. My brother is a visual artist, a painter. And he will occasionally engage in exercises that force him to paint quickly. There is something freeing about turning off the inner critic and just painting fast, to see how an image turns out. Just as there is something freeing about blocking out our inner editor and writing swiftly and in volume. Most of the time, though, my brother’s process looks nothing like that. And I can promise you my writing process — and that of most of my professional colleagues — bears little or no resemblance to NaNo.

Yes, NaNo can jumpstart the creative process for some people, but I would offer this: If instead of trying to write 50,000 words in thirty days, an aspiring writer were to try to write 500 words a day for 100 days, that writer would wind up with the same volume. Yes, it would take more time, but in the snail’s-pace world of publishing the difference between one month and three isn’t so great. Plus, I guarantee you, the 50,000 word manuscript produced over three months will be far, far cleaner than the NaNo manuscript and will require a good deal less editing, thus narrowing the time gap.

Most importantly, while NaNo will leave many writers exhausted and unprepared to follow up and finish the manuscript in question, the 500-word-a-day writer will have developed a habit, a creative routine that is both manageable and sustainable. More than likely, that writer will be able to increase their production over those three months and beyond.

I’m not looking for a fight here, and again, if NaNo works for you, go for it. Enjoy yourself. But if you have considered NaNo, wondering if you might finally kick off a writing career by trying it, I would encourage you to try the slow-and-steady approach instead. As a model, it is much closer to the professional experience than NaNo will ever be and, to my mind, it is more likely to produce a) clean prose, b) a coherent narrative, and c) a completed manuscript.

Whatever you decide, keep writing!

Professional Wednesday: In Which I Ask You, What Should I Write Next?

As I discussed at length in last week’s Professional Wednesday post, I have recently completed a first draft of the third book in my contemporary Celtic urban fantasy, The Chalice Wars. The novel needs to sit for a while before I can do a final revise-and-polish and send it off to my editor — six weeks or so, I would think. And since the first book has not yet been copyedited and proofed, since the second book still needs to go through a round of revisions and then the entire production process, and since the third book is still wet behind the ears, I have plenty of work left to do on this series.

Thanks to the successful Kickstarter campaign Zombies Need Brains ran late in the summer, I also have a new anthology, Artifice and Craft, to co-edit with my good friend Edmund Schubert. We already have more than 150 submissions for the anthology, so that work is bound to keep me busy through the end of the year and well into 2023. I also have a short story to write for one of the other anthologies, and I have editing clients in my free-lance business queue.

But beyond the short story, which should only take me a week or two to complete, I have no idea what I am going to write next. None.

Yes, I have ideas. Many.

What are they? Funny you should ask.

The Loyalist Witch, by D.B. Jackson (Jacket art by Chris McGrath)One idea is to write my next Thieftaker novel, either in the form of a trio of novellas, like I did with The Loyalist Witch, or as a simple novel. In the Thieftaker novel timeline, the Revolutionary War hasn’t even started yet. There is lots and lots more I can do with Ethan and Kannice and Sephira.

I have also considered going back to the Case Files of Justis Fearsson series, another contemporary urban fantasy that I began in the mid 2010s with Spell Blind, His Father’s Eyes, and Shadow’s Blade. I LOVE these books and have missed writing in Justis Fearsson’s world. I have several ideas brewing for that world.His Father's Eyes, by David B. Coe

I have long wanted to return to my five book Winds of the Forelands series and the Blood of the Southlands trilogy, to revise and re-release those eight novels. They are among my best stories, and they have been out of print for far too long. I envision an “Author’s Edit” re-issue, along the lines of what I did with the LonTobyn Chronicle back in 2016.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)I want to write at least one more Radiants book. Actually, I would like to write several more. Radiants and Invasives are, to my mind, the two best books I’ve written to date, and I still would love to see these books gain come commercial traction so that I can justify writing more of them.

And then there are the new ideas . . .

I have one idea for a space opera series (yes, you read that right), set on a pair of terraformed planets. The plot involves intrigue, mystery, romance, and vengeance, and it is actually based on the work of a well-known, much-beloved, and for-now-secret 19th century novelist. I’m excited about this one. (Actually, I’m excited about all these ideas, which is why I’m considering them in the first place.)

I have a middle grade novel that I first wrote back in 2010 or so, when my kids were much younger. The idea still sings to me, though I know the book needs a good deal of work. But I love the concept and I adore the characters. And I think I would enjoy writing for kids.

My good friend A.J. Hartley has been trying for years to get me to write a non-fantasy, non-supernatural, straight-ahead thriller. He thinks I’d enjoy it. He thinks I’d be good at it. And I will admit I have some ideas percolating along these lines as well. Of all the projects I’m thinking about, this one probably has the most commercial potential, which is not the only consideration, but I do this for a living, so . . . .

And finally, I have considered taking all the Professional Wednesday and Writing Wednesday posts I have written since 2020 and collecting the best of them in a new writing how-to book. I have more than enough material, and I think some people would like to see the advice I have offered gathered in a single, convenient volume.

So there we are. Those are the things I’m thinking about right now. (I should add that I can’t guarantee I won’t have five more ideas tomorrow.)

What ideas appeal to you? Feel free to Tweet at me, or to comment in my Facebook Group! I look forward to hearing your thoughts.

In the meantime, keep writing!