Tag Archives: Belle Books

Professional Wednesday: Down Time Is Not Wasted Time — A Guest Post From JD Blackrose

My friend JD Blackrose has a new book coming out — Demon Kissed, a novel I was happy to blurb. Today she drops some writing wisdom on us. Read on!


JD BlackroseYou won’t get your best ideas sitting at your desk. You’ll get them in the shower. Or, when you’re driving your car, or taking a walk on a snowy day.

Unfortunately, the only things these three scenarios have in common is that you usually can’t write anything down. I’m willing to guess that authors lose more ideas to a lack of pen and paper than to anything else.

In an article on the website for the meditation app, Headspace, author Christine Yu reports that her cousin once gave her a waterproof notepad and pencil so when she got her best idea in the shower, she had a place to write it down. (I didn’t know such a thing existed, but it does. Google “Aquanotes.”)

Or do what I do and carry your phone with you. Type a few quick words into the Notes section of your phone at a red light. If you are a sophisticate, leave yourself a voice memo. In the shower or while chopping veggies, when you can’t just stop mid-suds or slice, yell to your partner, “Remind me about the pig with the swizzle stick,” or ask Siri to take a memo. Just saying it out loud should be enough to get you through a quick wash or salad.

It’s all good, and it is all valuable, because you’ll need those notes of inspiration later. How many times have you been raring to go, ready to write, only to sit in front of your computer and find your ideas have dried up?

Demon Kissed, by JD BlackroseIt’s happened to all of us. It happened to me writing my new book, Demon Kissed, and the next two in The Summoner’s Mark trilogy, coming from Bell Bridge Books.

Luckily, I had notes for inspiration, and I used them to get a handle on the main character and her voice. If I hadn’t had those stolen thumb-typed crib sheets, I wouldn’t have gotten a foothold on the story at all, or maybe I would have, but it would have been much later and my chance to pitch the books might have passed me by.

Writer A.A. Milne is often quoted as saying, “Don’t underestimate the value of doing nothing.” This is accurate, but the full quote is, “Don’t underestimate the value of doing nothing, of just going along, listening to all the things you cannot hear, and not bothering.”

Very Winnie-the-Pooh.

As writers, we talk a lot about “butt-in-chair” practice. Get a certain number of words each day! Set aside one hour every single day! Write a story start to finish.

It’s all good advice, and yet, nonsense.

According to Yu’s article, problem solving through insight involves the right temporal lobe of the brain, while problem solving via a more active, analytical approach involves the frontal lobe. We literally are using our minds differently, and being in the shower, or exercising, or being in woods puts us in a state of rest and relaxation, ready to receive inspiration.

In other words, we need both. I do a lot of yoga and the title of this piece comes from an online yoga instructor who said, “Down time is not wasted time.” He’s absolutely correct, and though he was talking about yoga, it applies to our writing practice too. Spinning our wheels in front of the computer makes us cranky and defeated. It is the opposite of what we are trying to achieve, and when we do create words under those conditions, they are often stilted.

While I believe in creating a writing habit, something I’m going to write a book about soon, I also believe that writing time is not necessarily all about fingers on keyboard or pen in hand. You must pay attention to the other part of your brain and give it the space it needs to work.

Malcolm Gladwell, in his book, Blink: The Power of Thinking Without Thinking, talks about the “Four Horsemen: defensiveness, stonewalling, criticism, and contempt.” If this sounds like your inner voice, it is time to take a break and go for a stroll. Take notes or dictate into your phone, or dare to do nothing and not bother, like A.A. Milne. Come back to your writing later. The words might be there then.

*****

About JD Blackrose

JD Blackrose is the author of The Summoner’s Mark series from Bell Bridge Books, and The Soul Wars, The Devil’s Been Busy, and the Zombie Cosmetologist novellas from Falstaff Books, as well as numerous short stories, including “Welcome, Death” in the Jewish Book of Horror.

Demon Kissed is out February 28th.

Follow JD Blackrose on Twitter and Facebook
Visit the author’s website. Read an excerpt of Demon Kissed.
Purchase:  Indiebound | B&N | Amazon | Kobo

Monday Musings: About That Professional News I Mentioned Two Months Ago…

Screen shot of Facebook postNearly two months ago, early in the new year, I posted on social media that I had some exciting professional news I couldn’t share quite yet. I was thrilled, and wanted to let people know. But I also didn’t want to say anything before all the details had been settled. So I posted my little teaser, forgetting the one immutable rule of the publishing business: Things always happen slower than one thinks they will.

Well, I can finally make the announcement official. I have signed and sent the contracts, and they are (or soon will be) back in the hands of my publisher.

I have signed a contract for a new trilogy with Belle Books.

What kind of trilogy?

I’ll tell you, but first some brief background. (Sue me: I’m a writer, so I always build suspense, and I’m a historian, so I always fill in backstory . . .)

A little more than a decade ago, in the summer of 2011, I found myself with nothing to write. We (my agent and I) had sold the Thieftaker books to Tor, and had turned in the first volume, but was waiting on revision notes. The year before I’d finished my Blood of the Southlands series and had also published the Robin Hood novelization. We were shopping the Justis Fearsson series, but sensed that the first book needed more work. And, frankly, I was not yet in a state of mind to tackle another rewrite on that front.

And so, with nothing else to do, I started something new. When I named the file folder on my computer desktop, I just called it “NewUF” (new urban fantasy). The book remained untitled for a long time.

The scene I first envisioned (not the first scene in the story) centered around a woman who wakes up from a night she can barely remember with a wound she feels but can’t see. She stumbles to the shower, but the pain only increases. At last she finds herself picking at skin that looks normal but feels rough and scarred. And suddenly blood is cascading down her side. She doesn’t know or remember why.

A little weird, right? Ideas come in all shapes and sizes. Some books take form clearly and sequentially. Some introduce themselves piecemeal, like a jigsaw puzzle. I didn’t know what to make of the scene I’d imagined, but working backward from it I filled out the character of this woman, I sculpted her world, which is basically our world with a magical twist, and I built other characters around her.

The result was a contemporary urban fantasy steeped in Celtic mythology: two women, a Sidhe sorcerer and her human conduit, fighting off shapeshifting Fomhoire demons and their allies from the Underrealm, with the fate of the world hanging in the balance.

It sounds grim, and it also sounds a bit like other books we’ve seen before. It’s neither. Yes, there is some serious shit going down throughout the book, but there is also humor and there are lots of unexpected twists in both the magical underpinnings of the story and the narrative itself.

I wrote the book in about three months. And then I set it aside. I had final edits to do on Thieftaker and I needed to get started on Thieves’ Quarry, the second book in that series. I loved this other book I’d written, but I knew it was part of a larger project, and I didn’t know yet what to do with the next books in the sequence.

Thieftaker and its sequel did well. We sold the Fearsson series. And abruptly, I had more than enough work to keep me busy for a few years. But I certainly never forgot about my Celtic series, and a few years later, when I pulled the book out of the proverbial drawer, I reworked it, taking into account my agent’s editorial comments from that first draft, and all that I had learned since while writing the Thieftaker and Fearsson books. A couple of years after that, I took it out again and edited it some more. And finding myself once more with a bit of time, I started work on the second volume.

This second book built on what I’d done in book one, but the plot stalled at the 2/3 mark (as books often do) and, with other work to get done — now on the Islevale series — I put it away again.

And on it went. I returned to these books again and again, polishing book one to a high shine, eventually completing and then polishing book two, and finally developing an idea for the third book in the trilogy. By then we’d reached the middle of 2021. I was working on the Radiants series with an incredible publisher and editor, and I decided it was finally time to bring these books out of the drawer they’d been in and present them for possible publication. Which brings us to this post.

We don’t always know what will happen with the stories and books we write. The first book in this new Celtic urban fantasy has, at this point, been through five or six iterations and countless edits. It wasn’t ready in 2011. Not even close. But I believed in the idea, and I knew that with work I could make it into a publishable novel.

Sure, I have other books and stories that have never gone anywhere and probably won’t. I also have ideas like this one that are still awaiting their time.

Never give up on a story you love. Maybe it’s not ready yet. Maybe you haven’t figured out how to end it or where to take subsequent volumes. Maybe you’re not sure what it needs, but you know it needs something. Stick with it. Work on other things as well. Sometimes we need to confront stubborn ideas and stories head on. Sometimes we need to set them aside and let them percolate while we write other characters in other worlds.

I don’t yet know what to call this new series. When I know, you’ll know. The first book is titled Stone Bound. I expect it will be out later in 2022 or early in 2023. The second book is called The Demon Cauldron.

Have a great week.

Professional Wednesday: Top Ten Reasons You Need INVASIVES!!

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)

In case the daily teasers and cover art reveals and previous blog posts all failed to tip you off, this is release week for Invasives, the second Radiants novel. It comes out on Friday, February 18! Yay!!

Release weeks are a big deal and we authors depend on early sales of new books to maintain series momentum and to get the new book front and center in the attention of the reading public.

And so, here are my top ten reasons why you need to buy INVASIVES!

10. I’m a good guy, and you want to help out my career!

9. Have you seen the jacket art?? I mean I know: book, cover, ixnay on the udgementjay. But this is a seriously cool cover, and, I have to say, it is quite representative of the story contained within.

RADIANTS, by David B. Coe (Jacket art by Belle Books)8. You read Radiants, right? Right? And so you know how good that book was. Why wouldn’t you want to read this one, too?

7. Along similar lines, I love this series, and I think if you give the books a chance, you’re going to love the series, too. And if the second book doesn’t sell, there won’t be a third. That is simple publishing industry arithmetic. Good sales mean a series continues. Bad sales not so much.

6. My lead characters are homeless teens living in the New York City subway tunnels. I’ve written about an entire underground culture and society — the Below — invisible to those of us in the Above. That alone should be pretty intriguing.

5. You’ve seen the teasers I’ve been putting up daily on social media. Tell me those haven’t whet your appetite for the story.

4. All kidding and promotional enthusiasm aside, this is the book I wrote during the time when I was first dealing with the news of my older daughter’s cancer diagnosis. Without this story, I’m not sure how I would have made it through those dark, difficult days. All my books mean a lot to me in one way or another. But this book in particular is one that I cherish and love, in part because the emotions of my journey as I wrote it come through in the narrative, the prose, the character arcs. This is, to my mind, a very special book.

3. As I mentioned in a recent post, the three lead characters came to me long, long ago — a decade ago, or more — and they have haunted me ever since. Their backstories are complex, as are their conflicted interactions with one another. This is some of the most intricate character work I’ve done — I’m quite proud of it actually.

2. My agent, the fabulous Lucienne Diver, told me when she first read the manuscript that this might well be her favorite of all the books I’ve written. Don’t you want to know why?

And my number one reason why you should buy this new book . . .

1. It really is a fun read, a moving read, an exciting read. The story includes characters with cool Radiant powers, assassins who will chill you to the core, and heroes who will make you stand up and cheer. The narrative will grab you on page one, and it won’t let go. Trust me on this.

You can order Invasives from:

Amazon | Barnes and Noble | Kobo | Google Books

 

 

Professional Wednesday: Throw Nothing Away — A Writing Lesson Courtesy of INVASIVES

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)February has begun, Punxsutawney Phil has done his schtick, and time seems to be moving at breakneck speed. In a little over two weeks, Invasives, the second Radiants book, will be released by Belle Books.

Like Radiants, this is a supernatural thriller. This time, though, I have set my thriller in New York City, and a good deal of the story takes place in the New York subway tunnels. My lead characters are a trio of homeless, runaway teens — Mako, Bat, and, my main protagonist, Drowse. They live off what they can make by scrounging and, yes, stealing, and they take shelter in a house built of cardboard and shower curtains, tape and rope and plastic ties.

Bat is blind. He comes from money, but had to leave his home. When the book opens, we don’t know why.

Mako was involved in gang activity for a time, but eventually went straight. Or tried. Did I mention they have to steal?

Drowse ran away from a terrible home situation. She turned tricks for a time. Ran drug money. Now she’s trying to hold their small “family” together and survive in the Below. And, as it happens, she’s a Radiant, whose power is invaluable to their business.

But her abilities, and the business they do, have now attracted the notice of some of the most powerful people in New York’s financial world. They want something Drowse has, and they are willing to do anything, kill anyone, to get it.

Intrigued? I hope so. I love, love, love this book. Yes, I know, I say that about all my books when they come out. Because it’s true.

Invasives, though, is special to me in a couple of ways.

First, this is the book I was writing when we first got my daughter’s cancer diagnosis last March. At first, I put my writing on hold. I could barely function. I could barely think. How the hell was I supposed to write a novel? Well, as it turned out, writing this book was just what I needed. It is a fraught narrative, filled with suspense and tension. It focuses on these three characters, on their love for one another, on their bonds, and the forces trying to tear them apart. It wasn’t about cancer at all, and that was a good thing. But the story gave me an outlet for all the emotions churning inside me. As I have said before, I could not have gotten through the ordeal of last spring and summer without this novel.

And second, Drowse, Mako, and Bat were with me, lurking in my imagination, for more than a decade before I finally started work on this book. I had the idea for them, for their circumstances and relationships, long before I knew what story to build around them. I knew only that I loved the characters, and their dynamic. I had one idea for a novel, but I could never quite figure out the storyline, the world, the ending. I did write a kick-ass opening chapter for it, though.

Then, two years ago, I began writing the first Radiants book, and as I thought about subsequent volumes, Drowse and her friends popped back into my head. This was their story. Finally. This was the perfect world in which to place them. I even was able to use an updated version of that opening chapter.

I have said before, half in earnest, half in jest, that writers are packrats. We keep everything. Or at least we should. When I figured out that Drowse et al. would be the perfect protagonists for my second Radiants book, I knew just where to find the original character sketches, the original opening chapter, the original storyline for their caper. Because even that wound up factoring in to the creation of Invasives.

I never lost faith in the groundwork I did for their story all those years ago. I knew there was a novel there, somewhere. It was just a matter of placing it.

That happens to me a lot, and I know it happens to other authors as well. Sometimes we have an idea, and we are ready immediately to write and publish it. Other times, stories and characters take a while to steep, like good, strong tea. For ten years, Drowse, Mako, and Bat waited in a file on my computer desktop. It wasn’t that the original idea was bad or lacking in some way. It just wasn’t ready. Or rather, I wasn’t yet ready to write it in a way that did justice to the power of the original notion.

And that made the final realization of their tale in this novel all the more satisfying.

Keep writing. And don’t throw any idea away!

Professional Wednesday: Cover Art and Why It Matters

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)Last week, I was able to share with you the incredible art work for my upcoming novel, Invasives, the second Radiants book, which will be out February 18. And because I’m mentioning the art here, I have yet another excuse to post the image, which I love and will share for even the most contrived of reasons . . .

I have been fortunate throughout my career to have some really outstanding art work grace the covers of my novels. It began with my very first book, Children of Amarid, which had a striking wrap-around cover from artist Romas Kukalis. Romas did terrific work on the other two LonTobyn books as well, and also on the third, fourth, and fifth books of my Winds of the Forelands series (Gary Ruddell did books one and two), and the three volumes of Blood of the Southlands.

Children of Amarid, art work by Romas KukalisFor the Thieftaker novels, Tor hired the incomparable Chris McGrath, who has also done the art for the Lore Seekers Press publications of Tales of the Thieftaker (the Thieftaker short story collection) and The Loyalist Witch.

And I have had amazing art for the Islevale Cycle books (Jan Weßbecher and Robyne Pomroy) and for the Radiants series (Debra Dixon). As I say, I’ve been astonishingly lucky.

But does it matter?

“Don’t judge a book by its cover,” we’re told. And as a saying using the proverbial book as metaphor for others things in life, it makes lots of sense. But as a practical and literal (as well as literary) matter, it’s advice we ignore all the time. Of course we judge books by their covers. We do it every day, and one reason we do it is that publishers use cover art to signal genre, story-type, the age of a book’s intended readers, and even the possible series relationship between one book and another. We are programmed to judge books by their jacket art, and we have been for a long, long time.

The truth is, having cool jacket art can be a tremendous boost for a book. Need proof? Hang out by a bookseller’s table in the dealers’ room at the next convention you attend, and see which books shoppers ignore, which they linger over, and which they pick up and open. Covers matter. People are drawn to the Thieftaker books for several reasons. The blend of history, mystery, and magic helps. But few potential readers would know even that much about the books if not for the allure of those Chris McGrath covers.

Thieftaker, by D.B. Jackson (Jacket art by Chris McGrath)The thing to remember about artwork, though, is that it’s not enough for the covers to be eye-catching. They also need to tell a story — your story. The Thieftaker covers work because they convey the time period, they offer a suggestion of the mystery contained within, and they hint as well at magic, by always including that swirl of conjuring power in Ethan’s hand. The Islevale covers all have that golden timepiece in them, the chronofor, which enables my Walkers to move through time. All my traditional epic fantasy covers, from the LonTobyn books through the Forelands and Southlands series, convey a medieval fantasy vibe. Readers who see those books, even if they don’t know me or my work, will have an immediate sense of the stories contained within.

RADIANTS, by David B. Coe (Jacket art by Belle Books)And that’s what we want. Sure, part of what makes that Invasives cover work is the simple fact that it’s stunning. The eye, the flames, the lighting in the tunnel. It’s a terrific image. But it also tells you there is a supernatural story within. And while the tunnel “setting” is unusual, the presence of train tracks, wires, electric wiring, and even that loudspeaker in the upper left quadrant of the tunnel, combine to tell you the story takes place in our world (or something very much like it). And for those who have seen the cover of the first book in the series, Radiants, the eye and flames mark this new book as part of the same franchise. That’s effective packaging.

When I started in this business, and was writing for big publishing houses, I had relatively little input on my jacket art. Sometimes that was frustrating. Other times, it was fortuitous: I had an idea for the cover of the first Thieftaker book that was nothing like what Chris came up with. Thank God they didn’t listen to me.

In today’s publishing world, with so many authors self-publishing or working with small presses, which tend to be far more open to involving authors in these sorts of decisions, we have greater control over what our books look like. We also face challenges that didn’t exist back when I was starting out. Today, a cover doesn’t just need to look good in hand. It also needs to convey a sense of the story, genre, series, and audience age in thumbnail form. It doesn’t just need to stand out on a table in a bookstore. It also needs to compete with a dozen or three dozen other thumbnails on a single web page. Effective art is more important now than ever.

And yet, I don’t want to leave you with the sense that a great cover is the silver bullet for book marketing. Not even the coolest image can help you if the book within is poorly written or sloppily edited. Sure readers might fall for that once, sold on the book by the great image. But they won’t be fooled a second time.

TIME'S DEMON, by D.B. Jackson (Art by Jan Weßbecher)In the same vein, poor marketing practices by a publisher, even if inadvertent, can doom even the most beautiful book. I LOVE the art for Time’s Demon, the second Islevale novel. But the novel came out when the publisher was going through an intense reorganization. It got little or no marketing attention, and despite looking great and being in my view one of the best things I’ve written, it was pretty much the worst-selling book of my career.

Yes, art matters. Good art attracts readers and brands our books. But we still need to write the best story we can. And we still have to bust our butts marketing the book once it’s out.

Keep writing!

Professional Tuesday: The Creative Origins of RADIANTS

Islevale compositeA couple of years ago, I put the finishing touches on the third book of a time travel/epic fantasy trilogy called the Islevale Cycle. I loved the Islevale books then, and I remain incredibly proud of them today. I think they represent some of my finest work, and if you enjoy epic fantasy, OR time travel, OR (best of all) both, I recommend you pick the books up and give them a try. (The books are called Time’s Children, Time’s Demon, and Time’s Assassin.)

As much as I love them, though, I also have to admit that they nearly destroyed me. I have never struggled so much with any books, and I hope I never will again. Part of the problem was simply the ambition of the project. Sprawling epic fantasies are hard to write. One must weave together multiple plot threads and write from the perspectives of numerous point of view characters. Time travel is even harder to write, first because one must keep track of several time lines at once, second because any plot point is potentially reversible (If time traveling characters are unhappy with events, what’s to keep them from going back and changing them?), and third, because in my story I had more than one iteration of several characters existing simultaneously. (At one point in book 3, I had four or maybe five iterations of the same character inhabiting my world.)

As you might expect, combining the challenges of writing epic fantasy with the difficulties inherent in writing time travel only serves to compound all of those issues. These books would have been hard to write under any circumstance. But here’s the thing: For some reason, I could not outline any of the Islevale books. I don’t know why. To this day I remain mystified. But yeah, I had to write all three books without any advance outline beyond my vague sense of where the books needed to go. The books turned out really well, but the process was excruciating.

What is the point of this?

Well, once I finished the last Islevale novel and worked with the folks at Falstaff Books to shepherd it through production and publication, I needed a new project that would be Different, and Straight Forward, and Directed.

RADIANTS, by David B. Coe (Jacket art by Belle Books)And that next book turned out to be Radiants.

Radiants, a supernatural thriller, comes out from Belle Books on Friday (yes, THIS Friday) October 15th, and this “little” book, which I thought of as a sort of creative palate cleanser, has turned out to be far, far more.

Yes, it is different from the Islevale books, and it is quite directed. But it is deceptive in its “simplicity.” It is firmly rooted in our real world, and deals with social issues of weight and emotional power. It has fewer point of view characters and concentrates to a far greater degree on a single narrative thread. As a result, it is fast-paced. Like breakneck. And it includes some of the deepest, most satisfying character work I’ve done. (In fact, in this regard, I believe it might be exceeded by its sequel, Invasives, which will be out in another few months.)

So what makes Radiants a “supernatural thriller,” as oppose to a fantasy of some sort? Partly, it’s that pacing I mentioned, and partly it’s the real world setting and the fact that the speculative fiction element of the story is limited and very specific. And that was the appeal of writing the book. After creating a world whole-cloth for the Islevale series, I wanted to remain firmly fixed in our world for the new project. I wanted my characters to deal with issues that impact us in our day-to-day lives. I wanted them to speak as we do, to think and feel and interact as we do. In short, I wanted the story to be utterly relatable.

It would be easy to ascribe this to something pandemic-related — a need for normality, say, or some recognition that we don’t have to create an imagined world to come up with situations that are ________ . . . insert your preferred word here: Frightening? Disorienting? Surreal? As it happens, though, I completed my first draft of the book in February 2020, just before the current unpleasantness hit. [Invasives, the second Radiants book, is much more a reaction to the pandemic, as well as the personal difficulties my family and I have faced in recent months.]

Radiants really was a response to my creative needs at the time. No more, no less. It is the book I needed to write next. My lead characters presented themselves to me, along with their fraught and frantic circumstances, and I simply wrote. In this sense, Radiants might be the most organic book I’ve ever written. I had no marketing strategy for it; hell, for the longest time, I didn’t even know how to classify the story. I didn’t know if I was writing something for myself, for the sheer joy of it, or if it would turn out to be something I could sell and publish. I had a story to write and I wrote it.

For that reason alone, I love this book. And I am very hopeful that you will, too.

 

Professional Wednesday: Lessons From A Recent Edit

As part of my new Professional Wednesday format, I intend to tie advice posts to issues I am encountering “in the moment” with my own work. And so, today, I share with you a few insights that grew out of an editorial note I received from the marvelous Debra Dixon on the supernatural thriller I’ve recently sold to Belle Books.

Writers, myself included, sometimes “make” things happen to our characters, either for good or for bad, that are essential for our storylines, but not necessarily convincing in the natural flow of events. Put another way, sometimes we contrive things to happen because we need them to happen. This is one of those writing pitfalls that brings to mind the old Tom Clancy quote: “The difference between fiction and reality? Fiction has to make sense.”

Real life is filled with coincidences, with random occurrences the timing of which could not be better (or worse), with odd little quirks that make us stop to take note of how strange/funny/ fortunate/terrible (pick one or more) the world can be.

But when we put such things into our books or short fiction, they seem to lack authenticity. “That’s too convenient.” “No one will believe this.” “This feels contrived.”

In my thriller, I had my two young protagonists, having just been separated from their mother, taken in by a couple who wind up helping them at potentially great cost to themselves. The circumstances of their encounter with this couple made perfect sense. But as Debra pointed out, the mere fact that the couple were willing to help, despite the danger — well, that strained credulity just a bit. Not a lot. I was almost there. But the couple’s backstory needed… something to make their choice more understandable.

First of all, this is a GREAT editorial note. This is just the sort of thing a developmental editor is supposed to notice and bring to a writer’s attention. As a writer, the note is both helpful and, yes, a little frustrating. I had worked hard to make the interactions believable, and, as Debra said, I almost succeeded. That I hadn’t meant more work, and changes that might upset the flow of the book. That, at least, was my initial reaction. Something along the lines of, “Well, crap. She’s right.”

As it turned out, the fix I came up with, far from upsetting the flow, deepened the story and the interactions between my protags and these two people they meet in the midst of their adventure. The backstory of the couple feels richer now. There is a poignancy to the entire encounter that makes everything around it better. As you’ve probably sussed out by now, I’m not going to tell you what I did. You’ll have to read the book when it comes out.

But I can tell you HOW I did it, and I can share with you a few lessons I draw from making these revisions.

First the “how.” I needed to build into the couple’s backstory a trauma that was somewhat related to what my heroes were experiencing, but not so similar as to raise new believability flags. That was fairly easy — the lives of my heroes are quite different from those of this couple. By the same token, though, all of them are human. They love and feel, they experience loss and tragedy and injustice. There were actually several directions I could have gone, and I chose one that was neither the most obvious nor the most complicated. Which, I suppose is a lesson in and of itself: When developing backstory, particularly for secondary characters, strive for the somewhat unexpected, but keep things simple.

Once I had decided on an approach, I didn’t simply blurt it out. I meted out the information in dribs and drabs throughout the pages that followed. The couple are “on stage” for only two or three chapters total, but that gave me plenty of time to build in the information. I hinted at it early and had one of the characters make a cryptic reference that put the history at the heart of their decision even before I explained that history fully to my reader. Finally, when the emotional payoff seemed likely to be greatest, I wrote my reveal, working the information into an exchange that served as the final button to a key scene. So that would be lesson number two: Give out information to your readers on a need-to-know basis. Don’t resort to data dumps, and don’t feel that your reader has to know every detail up front. Sometimes a slow reveal can be far more satisfying to the reader than having all that knowledge from the start.

As I said, this was a great editorial note, and like all great bits of editorial feedback, it improved my novel. It forced me to rethink an essential narrative element, and in doing so it strengthened my plot AND my character work. Which makes lessons three, four, and five really easy: Trust your editor. Be open to constructive criticism. And look at the editorial/revision process not as a burden, but as an opportunity to make the story you love even better than it already is. As I’ve written before, edits are part of the business. Accepting feedback is part of being a professional.

So in the end, I wound up with a better book, a more powerful way of getting my protagonists the help they needed, and, most important, a deepened appreciation of and trust in my new editor. I also reminded myself that at times withholding information from my reader, at least in the short term, can heighten the impact of the revelation when it finally comes.

I hope you found this helpful.

Keep writing!

 

 

Tuesday Special Announcement

So, I have been sitting on this for a little while, but at this point the contracts are signed, the editorial process is well underway, and discussions of marketing have begun. Which means I can now make the official announcement.

My new supernatural thriller, RADIANTS, and its as-yet-untitled sequel, will be published by Belle Books! The books will appear under the David B. Coe byline.

Woot!!

I am very excited and will keep all of you informed as publication dates are firmed up, cover art is developed, and the time for teasers approaches.