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Professional Wednesday: One Last Teaser, and a Plea For Help — Please Read

Believe it or not, writers don’t particularly enjoy asking you to buy and read our stuff. We are not, as a rule, good at sales or comfortable touting our own work. We prefer to write, to spend time with our characters, in our settings, thinking up new and exciting plot lines. If we had wanted to be businesspeople we would have gone into business. For many of us, promotion and marketing are necessary evils that facilitate the creative endeavors we truly love.

The Chalice War: Sword, by David B. CoeAnd so, I undertake the writing of this post, this latest plea for help, with a good deal of reluctance. The thing is, though, I want this new series to do well. I love the books, the world, the characters, the storyline. And I have wonderful ideas for what might happen next in this universe. But if this first series doesn’t sell, I won’t get to publish more books featuring Marti and Kel, Riann and Carrie, Quinn and Orla, Manannán and the Furies. That’s the way the publishing world works. Our publishing reputation is really only as good as the sales of our most recent project. A harsh reality, but a reality nevertheless.

Therefore, before I offer you one last free teaser excerpt from The Chalice War: Sword, the third and final book in my Celtic urban fantasy trilogy, The Chalice War, I would ask the following of you:

1) If you have not started reading the series, which begins with The Chalice War: Stone and The Chalice War: Cauldron, please do. The books are exciting, fun, and filled with memorable characters. If you’re reading this blog chances are you’re A) a fan of my work, or B) a friend who follows me because of that friendship and has not yet read any of my books. To fans, if you like my other work, you’ll love these books. They’re among my best. And to my friends, maybe you’re not really fantasy readers. I totally get that. But these books are set in our real world and the magic is based on Celtic mythology. These are as accessible as any fantasy I’ve written. Give them a try.

2) If you have already read the first and/or second book(s) in this series, thank you. But there is more you can do. Please, please, please consider leaving a review of the book(s) on Amazon or at other reader/bookseller sites. Reviews, even not so great reviews, help writers enormously. The way Amazon works, the number of reviews for a book is far more important than the content of those reviews. So, if for some reason you didn’t enjoy the book(s), leave a review anyway. Every review helps. Of course, if you loved the book(s), a glowing review is especially helpful.

3) If you have already read the books AND left reviews, you have my deepest gratitude. And yet, I have a request for you as well. Maybe you know a reader who is not familiar with my work. Maybe a fantasy reader you know has a birthday coming up. Maybe you’re looking to get an early jump on your holiday shopping. Books make marvelous gifts. Just sayin’.

The Chalice War: Sword comes out the day after tomorrow, Friday, August 4. I hope you enjoy reading it as much as I enjoyed writing it. And now, a final teaser!

The Chalice War trilogy, by David B. Coe
*****

“There’s our guide,” Carrie said, as soon as the woman entered the pub.

“How do you know?” Marti asked, twisting in her seat.

“It’s the woman I saw at the river this afternoon.”

“You’re sure?”

She was. And the small, knowing smile the woman offered as she approached their table made her that much more certain. Seeing her close up, Carrie noticed things she’d missed earlier. The woman’s eyes were blue, and while there might have been thin lines around her mouth and eyes, her hair was satiny and black. She didn’t look as old as Carrie had thought by the river.

It helped that instead of wearing the long gown and shawl she had on this afternoon, the woman now wore a tight black leather skirt, a low-cut and yet somehow tasteful blouse, and ankle boots for which Carrie thought Riann would have killed.

Every person in the pub, regardless of gender, followed the woman with their gaze as she sauntered past. She kept her eyes riveted on Carrie. It was unnerving and, Carrie had to admit, just a little bit provocative. Perhaps reading her thoughts, the woman broadened her smile, revealing perfect, sharp teeth. Also provocative.

She halted beside Carrie’s chair, angling her body so as to show her back to Marti and Riann, and stuck out her hand.

“I believe you’ve been expecting me,” she said in a strong alto and a lilting brogue. “I’m Enya.”

“Um . . . Hi. I’m Carrie. Enya, you said? Like the musician?”

“It’s pronounced Enya, but spelled E-i-t-h-n-e.” She shrugged, tipping her head just a bit. “These days no one can make heads or tails of that version of the name. I should probably change it for simplicity’s sake. But I don’t like to make things too easy on anyone.”

Her eyes remained locked on Carrie’s, and she didn’t release Carrie’s hand. Her thumb gently, subtly caressed the skin between Carrie’s thumb and forefinger.

Carrie pulled her hand from the woman’s grasp and indicated the others at the table. Her skin tingled where Eithne had touched her.

“These are my friends. Riann, Marti, and Kel.”

“Hello, Kel,” Eithne said, turning unerringly to the conduit. Again, she proffered her hand, though she didn’t hold Kel’s for more than a second or two. She nodded to Riann and Marti. That was all.

She flashed a dazzling smile toward the men at the adjacent table. “Are you using this chair?”

The men practically fell over themselves positioning it for her. Carrie thought they would have built her one had there not been an extra.

Eithne sat, crossed her legs, and raised a hand. Within seconds, their server stood at the table, out of breath, her cheeks flushed.

“Wine, please,” Eithne said. “Whatever Sauvignon Blanc you have from New Zealand.”

“And I’d like another . . . .” Riann trailed off. The server was gone already, having given no indication that she heard. “Beer.”

She turned back to the newcomer, her expression icy. “So, Eithne, what qualifies you to be our guide?”

Your ‘guide?’ Is that how the Furies characterized what I’d be doing?”

“You’d use a different word?”

“First of all, I was under the impression that only Carrie would be entering the Underrealm.”

Riann shifted in her chair. “Well . . . yes.”

“And I would call myself her protector. Her champion. Her lifeline. Any of those will do nicely.” She faced Carrie again. “The dingo out front: she’s your conduit?”

“Yes.”

“She’s beautiful. And powerful. I can see why the Morrigan chose you for this.”

Riann bristled. “Why the Morrigan— They didn’t choose her for anything. This was our idea. Marti’s idea. The Morrigan knew nothing about it until we went to them. And the only reason Carrie is going down there is she’s the only one of us who’s Fomhoire.”

She cringed, seeming to grasp too late that she’d basically said Carrie had no value to them beyond her heritage. She chanced a glance in Carrie’s direction.

Carrie looked away pointedly, too hurt and angry to meet the woman’s gaze.

She would have struggled to explain her reaction. She knew it was true. She had Fomhoire blood, which meant she could enter the demons’ realm. Compared to the others, she had no magical ability to speak of, little knowledge of Baelor or Cichol or their servants, and even less sense of what she would find Below. And yet, hearing the woman she loved, who she thought loved her, speak of her in those terms left her feeling denigrated and dismissed. Not for the first time on this trip.

“Care to elaborate?” she asked Riann. “Give a few examples of the different ways I’m unqualified to go?”

Riann stared at her empty glass. “No. I’m sorry.”

Carrie nodded, tight-lipped. Eithne appeared to be enjoying herself.

“Where are you from, Eithne?” Marti asked.

“North of here. No place you’ve heard of.”

“I know Ireland well. Try me.”

“Noughermore.” She pronounced it “noffermore,” but with a hint of something guttural in the middle of the word.

Marti’s mien soured.

“As I said, no place you’ve heard of.”

The server returned with Eithne’s wine and this time lingered long enough to take refill orders from the others. After she left, a frosty silence settled over the table. Again. Carrie couldn’t remember the last time the four of them had simply gotten along, without conflict, or worry, or intrusions from others in the Celtic . . . . Community, she decided, was too generous a word.

Eithne was odd and clearly determined to sow as much discord among them as possible. But that hardly differentiated her from the Morrigan. And as flattering as her attention might have been, Carrie didn’t trust her even a little.

“So, how is it you know so much about the Underrealm,” she asked the woman. “I mean that’s not a usual tour guide thing, is it? There isn’t a tourism institute in—Where was it? Noughermore?—there isn’t a school you went to that offers lessons in navigating Cichol’s lair?”

Eithne’s lips curved, and she covered Carrie’s hand with her own. “Keep your voice down,” she whispered.

Carrie pulled her hand away. “Why should I? This is just a pub. We’re just talking. Who do you think might hear?”

Eithne’s smile ossified. “What does it matter? The Morrigan trust me completely.”

“But we don’t completely trust them,” Marti said.

“Heard that.” A distant voice, possibly Badbh’s.

Most of the time these days, Carrie felt beyond her depth, as if the others were privy to information she didn’t have. This once, though, she was anything but. She’d seen this woman first, and without knowing why, she already had a sense of her, of her motives and origins.

“You’re Fomhoire,” she said, leaning in, intent on those crystal blue eyes. “You’re not from Noughermore. You’re from Below.”

The others watched and waited, riveted. Eithne sipped her wine, her hand steady.

“Actually, it’s possible to be from both. I’m living proof.”

Carrie said nothing. She thought if she kept silent long enough, the woman would tell them more.

Eithne reached for her glass again, but stopped herself. “You know Noughermore as East Town,” she finally said, addressing Marti. Her voice had flattened, and she’d switched off the charm. “It’s not much, but it’s home.”

“East Town. On Tory Island.”

“That’s right.”

“So, Carrie’s right. You are Fomhoire.”

“There are Milesians from East Town. There are even Sidhe from East Town.” When no one responded, she made a small gesture, something between annoyance and acquiescence. “Like I said: I have roots in both worlds. What matters for you is that I can lead your friend here right through Cichol’s home and to the Sword. I know where it is. I know how to reach it. I know how to get us out once it’s in hand. Nothing else should matter to you.”

“Like hell it shouldn’t,” Riann said. “You want us to believe you’re helping us out of the goodness of your heart, or because you love Sidhe so much?”

“I don’t care what you believe. But no, I expect you to think there’s something in it for me, that I’ve got my own agenda. Because there is, and I do.”

“And what agenda is that?”

Eithne’s silken smile returned. “None of your damn business.”

The sounds of the pub abruptly vanished—the din of laughter and conversations, the clink of plates and glasses and cutlery, the background drone of the television. All went silent. Carrie glanced around, as did her friends. Eithne drank more wine, apparently unconcerned. The pubs other patrons had gone still. Literally. None of them moved or spoke. One man at the next table was frozen with his glass of stout at his lips. A drop of Guinness hung suspended between his grizzled chin and the table.

“What in God’s name . . . .” Kel said.

And then the Morrigan were back, in the flesh this time, seated in chairs that materialized with them. They wore black sequined dresses and black satin stilettos, and their hair was teased into matching buns. They looked stunning. And pissed.

“Are we having trouble getting along?” Macha asked archly, crossing her legs with the grace of a dancer.

“They don’t like me,” Eithne said.

Badbh dismissed this with a wave of her slender hand. “No one likes you.”

“You need a guide,” Macha said to Marti. “Or rather, she does.” She jerked a perfectly tapered chin in Carrie’s direction. “We got you one. End of story.”

“She’s Fomhoire!” Riann said.

Badbh chuffed a laugh. “Yes, darling. We searched far and wide for a Sidhe who could tell us what Cichol’s lair is like, but all of them are dead, so . . . .”

“This isn’t a meet and greet,” Macha said. “And it’s not a dating service. We honestly couldn’t care less if you get along. You have a task; you need help completing it. This is your help. Work together or don’t. But if you don’t, be prepared to fail. Navigating the Underrealm alone would be perilous. Entering Cichol’s demesne alone is suicide.” She indicated Carrie with another twitch of her head. “If you want this one back, you’ll let Eithne guide her.” She considered each of them one by one, appearing every bit the Battle Fury. “Are we clear?” She didn’t wait for an answer. “Good. We’re leaving. It’s going to take hours to get the pub smell out of my hair.”

“Why bother?” Badbh asked. “It matches your singing.”

Macha glowered.

“What? You expect me to pass up an opening like that?”

They winked out of view. The bar noise resumed. A wave of dizziness crashed through Carrie, and she gripped the table. “Whoa.”

“Tell me about it,” Kel said, doing the same, her cheeks blanching.

Only Eithne appeared unaffected.

Marti eyed the woman, suspicion and resentment in the set of her jaw. “Fine. You’re one of us, for now. Do you need a place to stay?”

That of all things made Eithne laugh. “Hardly. And I won’t need a ride either. Your car is too crowded as it is. And,” she added, with glances at Riann and Carrie, “pretty though your conduits might be, I have no desire to smell dog all day. We’ll work together, but we needn’t make things more unpleasant than necessary. Get to Tory Island. I’ll meet you there.”

Carrie half expected her to disappear as the Morrigan had. She didn’t. She drained her wine, pulled a twenty Euro note from within her blouse and tossed it on the table, and sauntered to the door and out, her exit from the pub as attention-grabbing as her entrance had been.

“I don’t like this,” Riann said to Marti.

The other woman shook her head. “Neither do I. We could try talking to Manannán. He’s likely to know someone with knowledge of the Underrealm. Someone we can trust more than—”

“No,” Carrie said.

They all turned to her.

“We’ll go with Eithne. That’s who the Morrigan have chosen, and they’ve been in on the planning from the start.”

“Just because they’ve—”

“I said no.”

Riann looked like she’d been slapped.

“It’s my life on the line, so it’s my choice. I don’t like her, and I’m very glad she has her own way of getting north to the island. But she’s the guide I want—not some friend of Manannán who none of us has ever heard of.”

Marti didn’t respond. Clearly, Riann wanted to. Carrie had no doubt this argument would continue later, when they were alone. For now, though, her declaration was met with silence. At first.

Kel drained her glass. “And once again, snaps for Carrie for saying what needs to be said. I should invite you to all my arguments with Marti.”

Professional Wednesday: The Emotions of a Book Release

The Chalice War: Cauldron, by David B. CoeLet’s start with the obvious: The Chalice War: Cauldron is now out and available from all booksellers in ebook and paper formats. This is the second installment in my Celtic urban fantasy trilogy, The Chalice War. Stone, the first book, came out a month ago. And the third and final volume, Sword, should be released in early August. The cover reveal will be coming soon.

I sold a bunch of copies of the first two books at ConCarolinas this past weekend, and hope to sell bunches more at LibertyCon (Chattanooga — June 23-25). By the time DragonCon rolls around (Atlanta — August 31-September 4), I’ll have all three books in stock.

I have, in a previous post, made the case for supporting authors and their blogs, etc. by buying their published works; I won’t bother making the case again. I have also made the case for buying the early books in a series as they’re released, rather than waiting for the entire series to drop, and I won’t bother doing that again either.

But I did want to spend a bit of time discussing the emotions of a new release, emotions that begin well before the actual publication of the novel. The anticipation can be excruciating. Not just waiting to see the book, or even looking forward to seeing it in the hands of readers, though I feel both of those. With each new book, I experience this sense of excitement about the story finding its way into the world. “I have a new book coming,” I want to shout from the rooftops, “and it is going to blow your minds!!” As I’ve said before, I almost always feel that my newest book is also my best, and so I want to show off a bit, let people see what I’m capable of as an artist now. Ego? Maybe. Pride? Definitely.

Children of Amarid, by David B. Coe (Hardcover -- Art by Romas Kukalis)I’m asked quite often if I still feel the thrill of seeing a new book in print, even after so many years and so many releases. And the truth is, I do. Sure, the very first time was unlike anything I’ve experienced since. I still remember getting a call from the local bookstore here in our little college town. My author copies hadn’t arrived yet, so when the store manager reached out to let me know the hardcover edition of Children of Amarid was in stock, I rushed over to see it. I’m pretty sure Nancy came with me.

And, typical of me, I was so excited to see the book, to hold it in my hands, to see my name right there on the cover, right below the gorgeous artwork. I was over the moon. But I also recall thinking, “Hmmmm, the image is a bit too dark, and the colors don’t pop the way they should.” I have long been Glass-Half-Empty Guy . . . . Which doesn’t change the fact that I was right. The cover did come out too dark, something Tor corrected with the mass market paperback edition a year later. Just sayin’.

Those competing impulses, though, are fairly typical for me, and, as I gather from conversations I’ve had with other authors, for many of my colleagues as well. Yes, the thrill is real. So is the worry about sales and critical response, the hyper-sensitivity to anything that might be even slightly off with the new product, the certainty that the excitement will prove fleeting while the concerns linger.

We authors notice things others don’t — the darkness of the images is a perfect example. No one else thought the jacket art for the hardcover of Children of Amarid was anything other than cool. But I picked up on the (very mild) flaw immediately. That said, I have been fortunate with my book art throughout my career, and have liked the cover images that appear on almost all my books. There are a couple of exceptions, but I won’t say more than that. The point is, I have never actually hated one of my covers. I know plenty of authors who have. I can’t imagine how difficult that would be.

There can be other problems as well. Sometimes the maps we put in our books are split in an awkward way in order to fit them in the front pages. Sometimes there are typos. I know authors who have had their books published only to find that the print editions begin or end with the wrong chapter or scene!! Oh. My. God. I would lose my freaking mind. All sorts of things can go wrong.

And, as I mentioned before, even if all goes as it should with the published version of the book, and even if the jacket looks great, sales can disappoint. So can reviews. Releases can coincide with economic downturns. Or national tragedies. Or global pandemics. We have no control over such things, of course, and in the context of world events, the fate of our book release is pretty insignificant. Except to us. For us, it’s more than a book release. It’s the realization of years of work and hope and passion.

The Chalice War: Stone, by David B. CoeWith all this in mind, I am happy to say that the releases of The Chalice War: Stone and The Chalice War: Cauldron have gone great. No new pandemics. The stock market is up. The art work looks marvelous. All the chapters are just where they should be. (I think — I should probably check to be sure . . . . Yep, they look great!) Sales? I have no idea at this point. It’s too early to know. Reviews? We’ll see about those as well. I worry, of course. I want these books to succeed. I want you to like them. And, if you do, I would love for you to tell the world.

Thanks for reading this.

Keep writing!

Professional Wednesday: Another Letter To My Younger Self

Dear Younger Me,

Yes, it’s me again — Middle Aged David. Upper Middle Aged David, actually. I know I wrote to you earlier this week. I remember doing so. I’m not so far gone quite yet. But I thought you might benefit from a second letter focused on the professional side of things. As I told you on Monday, we did wind up having a career in writing, just as we dreamed when we were a kid. And, also as I told you, our professional life hasn’t followed precisely the path we envisioned. That’s fine. We’ve had a good ride so far. But there’s stuff you should know, stuff I wish I had known.

I suppose all of it can be summed up in two words — and I hate to resort to cliché, in a writing post no less, but it really is true. Shit happens. It does, it does, it does. And it has happened to us. More than once.

The biggest mistake I made — we made — early on was assuming our career trajectory would be linear, a progression toward greater and greater success, higher and higher advances, bigger and better sales numbers. That may be true for a select few, but for most writers a career follows a meandering, uncertain path. Some books and series are more successful than others — commercially and critically. I call that early expectation of ever-improving circumstance our biggest mistake not because it somehow led to a disappointing outcome for one project or another, but because it caused me — us — so much pain. When our career hit that first speed bump, I took it personally. I felt I had failed, and also that the industry had failed me. I was confused and angry and sad and, most of all, terrified at the thought that this first disappointment would mean the end of our professional journey. I didn’t yet understand the nature of a creative life.

And so I say to you, Younger Me, learn resilience. Grieve for those lofty unmet ambitions, but then move on and try again. Learn moderation. Don’t let commercial and critical success carry you too high, and don’t let poor results drive you too low. Success will follow failure, which will follow success, and so on. If you can — and I know it’s so, so hard — learn to let go of expectation entirely. We don’t know which books will soar and which will flop. We love them all, which is why we go to the extreme trouble of writing them in the first place. And finally, learn contentment. Love the stories you create on their own terms. Find success in the completion of a good tale, in the realization of an artistic vision.

Take every promise made to you by an editor and publisher with a grain of salt. It’s not that they don’t mean what they say. Okay, SOME of them don’t mean what they say. But mostly, they simply can’t anticipate all that might happen. Producing a book is no small feat. A thousand things can go wrong. Editors and publishers often tell us, as if gospel, that a certain thing is going to happen on a given date. And that is, at the moment, their best guess of what will happen. Pencil in the date. Don’t commit it to ink. Because, as we have established, shit happens.

Thieftaker, by D.B. Jackson (Jacket art by Chris McGrath)All those great ideas you have for jacket art? They’re not as great as you think they are. Seriously. We are a writer. And we’re very, very good at that. We are NOT a graphic artist. We are NOT a marketing expert. I remember when the first Thieftaker novel went into production, I had what I thought was SUCH a wonderful idea for the jacket art. A can’t miss idea. PERFECT for the book. It wasn’t any of those things. The moment I saw Chris McGrath’s image for the book, which WAS brilliant and wonderful and perfect, I understood that no one should ever put me — us — in charge of selecting jacket art.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)On the other hand, do trust in your story ideas. All of them. Even the old ones that haven’t yet gone anywhere. At some point, you’ll have an idea for a story about three kids living in the subway tunnels beneath New York City. And you won’t have any idea what to do with it. You’ll give up on it. Don’t. It will become Invasives. At another time, you’ll write a story about two women interacting with Celtic deities and trying to protect an ancient, transcendently powerful magical artifact. That one, too, will seem to languish. Trust the story. That book just came out. It’s called The Chalice War: Stone. Believe in your vision.

If a publisher promises more than you think they can deliver, under terms that seem way too good to be believed, be skeptical. Very, very skeptical. Chances are, they CAN’T deliver. Chances are those terms can’t be met. We’ve been burned a couple of times. ’Nough said.

Over the past twenty-five-plus years, I have tried to thank Nancy every single day for making our career possible. And I’ll continue to thank her. But I might have missed a few days. Fill in the gaps, will you?

Most of all, keep doing what you’re doing and I’ll do the same. No, we haven’t gotten all we wanted, we haven’t achieved every goal. But we’re doing okay, and as much fun as you’ve been having early in our career, I’m having even more now. It keeps getting better.

And yes, the rumors are true. We’re editing now, and we like it. The dark side really is more powerful . . . .

Best wishes,

Older David

Professional Wednesday: Looking At Our Old Work With Compassion

Rules of Ascension, by David B. Coe (Jacket art by Gary Ruddell)I continue to read through and revise the books of my Winds of the Forelands epic fantasy series, a five-book project first published by Tor Books in 2002-2007. The series has been out of print for some time now, and my goal is to edit all five volumes for concision and clarity, and then to re-release the series, either through a small press or by publishing them myself. I don’t yet have a target date for their re-release.

Last week, I wrote about the number of passages I have found in the first book, Rules of Ascension, that are repetitive or overly explanatory. My younger self had yet to learn the simple lesson of trusting one’s readers, and, by extension, trusting oneself. We often don’t need to tell our readers as much as we think we do. We can trust that the groundwork we have set in place will make clear the plot points, character backgrounds, and world building details we want our readers to grasp and remember.

In previous weeks, I have written about the excess verbiage we often put into our books, at the expense of flow, clarity, and effective story telling. And yes, I have found a great deal of this in Rules of Ascension as well. Too many adverbs, too much passive writing, too many dialogue tags. This was only my second series, and I was still learning to write.

This week, though, I would like to shift my focus a bit, and, in a way, give my younger self a break. Because despite the many, many flaws in my early prose, I am also finding some things to enjoy and even admire about this early work.

I suppose it might strike some as self-serving — even egotistical — to look back on earlier work and say, “I like this; this is good.” The truth is, I find myself grappling with self-criticism for even contemplating praising my own work. Hence this paragraph. But I had a text exchange the other day with a dear friend, someone I have known for decades. And he pointed out to me — in a somewhat different context — that extending ourselves grace and compassion, not to mention forgiveness and understanding, can be incredibly difficult, but also profoundly important.

Children of Amarid, by David B. Coe (jacket art by Romas Kukalis)We are often our own most unrelenting critics. This is certainly true for me in other elements of my life. I am hard on myself. Too hard. And, on a professional level, I am the first to notice and criticize flaws in my writing. So reading through old books in preparation for re-release is often an exercise in self-flagellation. It was with the LonTobyn reissues that I did through Lore Seekers Press back in 2016. And it is again with the Winds of the Forelands books.

Then as now, I had to force myself to acknowledge the good in the novels. Because I was hyperaware of instances of clumsy prose and heavy-handed story telling. I still am.

But . . . .

The Winds of the Forelands books marked a turning point in my career. I had enjoyed some success with the LonTobyn Chronicle, and with this new project I wanted to take my writing to the next level. I challenged myself in several ways: I featured a protagonist who was, at least at the outset of the saga, really difficult to like. I built a world that was exponentially more complex and intricate than what I had constructed for LonTobyn. And I wove together numerous plot threads, creating an ambitious (and, I believe, ultimately successful) narrative that I wouldn’t have dared to attempt with my first series.

Weavers of War, by David B. Coe (Jacket art by Romas Kukalis)As I have read through this first book in the story, polishing and trimming the prose, I have rediscovered that narrative. I remember far less of it than I would have thought possible. Or rather, I recall scenes as I run across them, but I have not been able to anticipate the storyline as I expected I would. There are so many twists and turns, I simply couldn’t keep all of them in my head so many years (and books) later.

So, I constantly find myself thinking, “Oh! I forgot this! What a cool twist!” If I’m being honest, I have to say that it’s quite gratifying.

I have written here before about the importance of self-defining our successes. Artists in general, and writers in particular, are subject to business models and creative traditions that depend largely on external markers of success or failure. Royalty statements and sales numbers, print runs and new contracts, reviews in journals, reviews on Amazon, awards, etc. We look outside ourselves for affirmation. If it comes, great. But if it doesn’t, many of us label our latest endeavors “failures.” Or, worse, we label ourselves that way.

To my mind, one of the secrets to enjoying, or perhaps enduring, a career in writing, is learning to self-define what it means to succeed. We need to take satisfaction and a sense of accomplishment from the things we can control — hitting our deadlines, writing books we know are good, managing to craft that difficult scene or plot point in just the way we had envisioned.

Which brings me back to where I began. Rules of Ascension will benefit from the polishing I’ve done. The other four books in the series will be better when I complete similar revisions on them. But these are good books. They’re exciting, suspenseful, poignant. They’re written with passion and a keen eye for detail. The character work is strong, the plotting tight, the world building compelling.

I say this not to brag, but to affirm something I wish I’d been able to say as a young writer, too obsessed with those external measures of accomplishment to look beyond a poor review here or a disappointing sales report there: These books were a success. And I’m damn proud of them.

I look forward to reissuing them so you can enjoy them, too.

Keep writing!

Monday Musings: This Blog, My Books, Your Support

This Blog:

I want to say from the outset that I love maintaining this blog. I write my twice-weekly posts because I enjoy sharing my thoughts (on Mondays) and my writing tips (on Wednesdays). Writing on demand in this way is always good practice. Delving into various issues with the Musings posts often is therapeutic for me, and forcing myself to think about different craft issues on a weekly basis helps me continue to hone my own writing skills.

I will also admit, though, that maintaining the blog is time-consuming. Some weeks, the posts flow pretty easily. Other weeks, not so much. It can take me a full day to write the two essays, occasionally more than a day. That’s fine, too. As we all know, writing can be like that — easy one week, excruciating the next.

To state the obvious, I am not compensated in any way for my blogging. That has been by choice, and I do not intend to place a paywall between my readers and the content on my blog. That, I fear, would change the dynamic between my blogging and reader response to my posts, which feels very organic right now. I want to keep it that way. I have thought, though, about creating a Patreon (for those unfamiliar with Patreon, it offers creators a chance to gain financial backing from subscribers) and asking people to contribute voluntarily. If every person who visited my blog and every person who subscribed to it gave just one dollar per week, that would be ample compensation.

As I say, it’s something I’ve considered. But . . . .

My Books:

As I’ve already said, I maintain the blog because I enjoy doing so. But, to be perfectly honest, I also do it to bring traffic to my website. The calculus is a little convoluted, but it goes something like this: If people come to my site to read the blog, maybe they will stick around and look at the other pages. And if they look around, maybe they’ll become interested in my books, and maybe they’ll start buying and reading those books. As marketing strategies go, it is neither brilliant nor revolutionary, but I’m a fantasy writer, not a Madison Avenue executive, and it’s the best I’ve got.

And so, I am a little reluctant to set up a Patreon because in a way I already ask you for a financial contribution, don’t I? I make no secret of my desire for you to read my books. I write about them in my blog posts, I refer to them in my social media posts, I talk them up and even hand-sell them at the conventions I attend. If someone were to ask you, “What do you think David B. Coe wants from you?” you probably wouldn’t have to think too long and hard before coming up with, “Well, I guess he would like me to buy his books when they come out.”

The Chalice War: Stone, by David B. CoeLet’s back that up with a little math. I said a moment ago that, were I to start a Patreon, I would be happy with contributions of $1.00 per week, which comes to $52.00 for the year. Now, as it happens, I have the first book of a new trilogy coming out on Friday of this week, May 5th. This is The Chalice War: Stone, the first book in my new Celtic urban fantasy from Bell Bridge Books. The second book, The Chalice War: Cauldron, will be out in June, and the third book, The Chalice War: Sword, will be out soon after that. Each printed book lists for $17.95. Factor in sales tax, and the three books together would cost about $57 or $58, or about $1.12 per week. (If you read ebooks, the three together will cost a total of about $16, or $0.31 per week. What a bargain!!)

The Chalice War: Cauldron, by David B. CoeSo, for about what you might give to a Patreon, you could have all the blog posts AND all three books in the new series.

And so . . . .

Your Support:

Yes, with a Patreon, most of the money goes directly to the author. When you buy our books, we authors get a much smaller share of the proceeds. And yet, most authors I know would make that trade every day of the week and twice on Sunday. Why? Because we write! Because we LOVE to write! Because we have new ideas that we are eager to write and have published!

Much that we hear about the publishing industry sounds arcane and confusing, and many of us respond to elements of the business with amazement and dismay, wondering why anyone ever chose to set up an entire sector of the economy in quite this way. But boiled down to its most basic elements, the business model is pretty straightforward. Authors write books, publishers put out those books, readers purchase and read those books. And if all goes as it should, and readers do their part, authors get to write and publish more and more books. Lather, rinse, repeat.

Which brings me, at long last, to my point. I need for you to buy my books. It really is that simple. If you like the blog — if you navigate to my page on Mondays and Wednesdays, or if you subscribe to my feed and the posts come to your inbox — you know how much I love to write. I love it so much I do it for free twice every week. But I can only do that if the books move off the shelves and I get to write and publish more of them.

Your support is vital, not just for me, but for every author whose work you care about. Stories matter. The written word matters. Today, more than ever before. All over the world and, sadly, all over our country, self-expression is under assault from those who fear ideas. All over the world, and all over our country, literature is dying a death of a thousand cuts: book bannings, apathy, the allure of gaming and television and social media. Books and authors need the passion and commitment of readers, just as readers need the passion and commitment of writers.

And, to state the obvious, authors need to make a buck. This is our passion, our obsession, our craft and art. It is also our livelihood.

So, please, enjoy my blog posts. If you’ve missed any recently, feel free to go back and read through the archives. And take a look around the site. Make yourself at home, and rest assured that I’ll be back with another post on Wednesday, and with more in the weeks to come. But also please consider that when you buy my books, and those of other authors, you not only get those stories, you also make possible all the content we make available to you.

Thanks for reading this. Have a great week.

Monday Musings: My Favorite Babies

This post is not about my daughters. I swear. I love my girls exactly the same amount. Except maybe around my birthday, when my love for them is directly proportional to the quality of the presents they give me. Other than that, though, I don’t play favorites.

Today, I am writing about my other babies. My books.

I am asked quite often if I have a favorite among the books or series I’ve written, and always I deflect a bit. I make a joke about how my books are like my children and asking me to choose among them is akin to asking me which of my kids I love most. Then I say something about how, generally speaking, my favorite book is my newest book. And there is some truth to that. I am still learning, still honing my skills as a storyteller and a writer. I believe my books continue to improve.

It is also true, though, that I do have favorites. Probably not one overall favorite in particular (although I do have a candidate for that — more later!) but there are certain books that I love more than some of the others. To be clear, I am proud of all my books. I like them all. Otherwise I wouldn’t have written them. But yeah, I have favorites.

Jacket art for Bonds of Vengeance, book III in Winds of the Forelands, by David B. Coe (Jacket art by Romas Kukalis)I’ve been thinking of this a lot recently because I am in the process — finally! — of reissuing my Winds of the Forelands series, which has been out of print for several years. The books are currently being scanned digitally (they are old enough that I never had digital files of the final — copy edited and proofed — versions of the books) and once that process is done, I will edit and polish them and find some way to put them out into the world again.

I have always viewed the Forelands series as the most important project of my career. I’ve done better work since, but Winds of the Forelands marked a huge step forward from my first series, the LonTobyn Chronicle. The Forelands books proved to me (and to my publisher) that I could not only come up with another world, another narrative, another set of characters, but I could do all of those things with greater creativity and to greater effect than I had with the first series. For that reason alone, Winds of the Forelands is among my favorites of all the series I’ve written.

I should pause here to say again that I love all my books and I am deeply proud of lots of the books fans of my work like best. The Thieftaker books, for instance — I love writing them, I look forward to writing more of them. I think the concept for the series is clearly the best I’ve ever developed; there’s a reason those are my most popular stories. There’s also a reason why I’ve written more books (6) and more short stories (at least 12) in that world than in any other.

That said, the books that tend to be my favorites are ones that have special emotional resonance for me. My choices in this regard have almost nothing to do with sales or critical success and everything to do with my attachment to the characters and the worlds, or in a couple of cases, with what was happening in my private life when I wrote the books. I would even go so far as to say that I love some books precisely because they have not done as well commercially as others. It’s as if I am compensating in a way, giving them extra love to make up for the fact that they failed to garner the attention I believe they deserve.

His Father's Eyes, by David B. CoeI feel that way about the second and third books in my Case Files of Justis Fearsson series, His Father’s Eyes and Shadow’s Blade. These books are easily as good as the best Thieftaker books, but the Fearsson series, for whatever reason, never took off the way Thieftaker did. Hence, few people know about the Fearsson books, and it’s a shame, because these two volumes especially include some of the best writing I’ve ever done.

Time’s Children, by D.B. Jackson © Angry Robot. Art by Jan Weßbecher.Same with the Islevale Cycle trilogy. Time’s Children is the best reviewed book I’ve written, and Time’s Demon and Time’s Assassin build on the work I did in that first volume. But the books did poorly commercially because the series got lost in a complete reshuffling of the management and staffing of the company that published the first two installments. The series died before it ever had a chance to succeed. Which is a shame, because the world building I did for Islevale is my best by a country mile, and the plotting is the most ambitious and complex I ever attempted. Those three novels are certainly among my very favorites.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)But of all the novels I have published thus far, my favorite is Invasives, the second Radiants book. As I have mentioned here before, Invasives saved me. This was the book I was writing when our older daughter received her cancer diagnosis. I briefly shelved the project, thinking I couldn’t possible write while in the midst of that crisis. I soon realized, however, that I HAD to write, that writing would keep me centered and sane. I believe pouring all my emotional energy into the book explains why Invasives contains far and away the best character work I have ever done. It’s also paced better than any book I’ve written. It is simply my best.

So far.

The Chalice War: Stone, by David B. CoeNext month, I will release the first volume of The Chalice War trilogy, my Celtic urban fantasy. This is a different sort of book for me, a different sort of series. As usual with a new release, I love the book and I am excited to get it into the hands of my readers.

Do I think it’s my best? Honestly, it’s too early to say. It has more humor than anything I’ve ever written, and I’m very proud of the way I have adapted Celtic lore to our modern world. Plus, I love my characters. So yeah, I love it. Do I love it most? Time will tell.

Have a great week!

Professional Wednesday: 2023 Is 1/4 Gone — What Have You Done?

Spring is here. April is knocking on the door. 2023 is just about one quarter gone (a thought that sends me into a frenzied panic) and with the first three months of the year nearly over, I felt this would be a good time to pause and take stock of my goals and accomplishments so far. Care to join me?

The end of March is significant for me, because my convention season is about to begin. Yes, I sometimes have an event or two early in the year, but most years my professional travel begins in earnest with the onset of spring. 2023 promises to be no different in this regard, and the truth is I feel like I have been stuck in second gear since the beginning of the calendar year.

I keep a day book, a sort of diary, using my Sierra Club Engagement Calendar. I write down key events of each day, important conversations I might have had, and, most notably for the purposes of this post, an accounting of the work I have gotten done daily. I do this for myself (although it is also helpful occasionally in settling arguments about the timing of certain things . . . .) for moments like the one I’m having right now, when I wonder if I have actually accomplished anything at all.

I HAVE gotten work done this year. A lot of it has involved editing — the Artifice and Craft anthology I’m editing for Zombies Need Brains, edits on my upcoming Celtic urban fantasy series, and editing I do for clients. This is all important work, but it doesn’t leave me much to show for my efforts. When I’m writing a book, I can point to my page count or word count. With editing . . . my track-changes count? It just isn’t as satisfying.

Add to that the week-plus that I lost to Covid, and some travel I’ve done, and I can account for all the time that has passed since New Year’s. But aside from my short story for another ZNB anthology, Dragonesque, and a couple of dozen blog posts, I haven’t written much of anything this year. I think that is what’s bothering me. I get grumpy when I don’t write enough, and I’m feeling grumpy.

The Chalice War: Cauldron, by David B. CoeI also know that what has been a quiet year thus far is about to get very, very busy. Starting in May, we (Bell Bridge Books and I) will be releasing The Chalice War trilogy, the aforementioned Celtic urban fantasy. The first book, The Chalice War: Stone, will be out that month, followed closely by The Chalice War: Cauldron, and, sometime in the summer, The Chalice War: Sword. I can’t wait. Sword will be my thirtieth (yes, 30th) published book.

Also this summer, Zombies Need Brains will release Artifice and Craft, my 5th edited anthology, and Dragonesque, which will include “Reenactment,” my 30th published short story.

In April, I will attend JordanCon (Atlanta). In early June, I will attend ConCarolinas (Charlotte), and later that same month I will be at LibertyCon (Chattanooga).

I have recently been accepted into the Launch Pad Astronomy Workshop, which is taught in late May at the University of Wyoming in Laramie. Launch Pad is a week-long workshop on all things related to space and space travel taught specifically for writers and editors. It offers an amazing opportunity to learn about these fascinating topics from professional scholars who also happen to have backgrounds in SF. I have been considering a new science fiction project, one that would be a dramatic departure from anything I’ve written before. Launch Pad will be invaluable in preparing me to write those stories.

We have family travel on the schedule for July, following an important professional transition for Nancy at the end of June. And then I will be attending DragonCon (Atlanta) in late August/early September.

Jacket art for Bonds of Vengeance, book III in Winds of the Forelands, by David B. Coe (Jacket art by Romas Kukalis)I have two other projects underway as well. A nonfiction thing that I am not ready to discuss in detail, and, at long last, the editing of the Winds of the Forelands books for re-release in late 2023 or early 2024. And I have another writing project — a collaborative undertaking — that I also cannot describe in detail, simply because I am not the organizing force behind the project, so it is not mine to reveal. But I am excited about it.

And I have a possible tie-in project looming, which is not certain enough to reveal at this time.

I know: There’s a lot of secrecy in this post. My apologies. There is also a mixed message. On the one hand, I feel a bit stuck and dissatisfied with what I have done so far this year. But I am also excited about what is about to come and a bit overwhelmed with all that looms on my professional calendar.

At the beginning of the year, I had a sense of things I wanted to get done in 2023. My life has been filled with enough uncertainty over the past few years, that I knew better than to fill out a work schedule in ink. But I had goals; I still do, and they remain much the same. The busier calendar on my work horizon won’t make it any easier to get work done. Or will it? I work better when my deadlines are immutable, and once I have revised the third Chalice War book, I will be finished  with most of my editing duties for the year. More time for writing — yay!!

So, that’s where I am at the 1/4 mark. Where are you?

Keep writing!

Professional Wednesday: What Holds Me Back, part III — Imposter Syndrome and Other Insecurities

Continuing my series of posts on “What Holds Me Back,” I turn today to more difficult issues. In my experience, the greatest challenges creators face are emotional ones, and I have struggled with such things throughout my career. This is a complex subject, and not one that’s easy to cover in a single post, though I intend to try. The problem is, the emotional obstacles we face are varied and at times debilitating. Imposter syndrome, lack of self-confidence (which is different), excessive comparison of our own achievements and disappointments with those of others — these things and more can keep us from accomplishing all we hope to.

I’m not going to hold back in this post. My own experiences will only be helpful for the rest of you if I’m completely honest, so that’s my intent.

Let me begin with the obvious: I have been a professional writer for close to thirty years and in my calmer, more rational moments, I feel pretty good about my abilities and also about what I have done over my decades in the business. While I’ve never been a huge name in the field, I have been publishing long and short fiction continuously for my entire career. I consistently get good reviews, I have won several awards, and I enjoy the respect of my peers. In short, I have no reason to be anything but proud of what I have achieved as a writer.

And yet . . . .

That is, as I say, the rational view of my professional life. The thing about all the emotions I mentioned in the opening paragraph is that they’re not rational. They’re anything but. Yet they are persistent and pervasive, and they can be utterly crippling.

I have written before about imposter syndrome. For those of you who are unfamiliar with the term, it is self-explanatory: Imposter syndrome is the unfounded belief that, despite our qualifications and successes, we are undeserving of our status and whatever accolades we might have received. I recall years ago talking about imposter syndrome with a friend, someone who was at the time far more established in the field than I, and who had enjoyed some serious commercial success. I asked this person when I could expect my imposter syndrome to go away. My friend laughed. “When you find out, let me know.”

Based on conversations I’ve had and on reading I’ve done, I sense that imposter syndrome is fairly common across the creative arts, affecting visual artists and writers, movie stars and rock ’n roll icons. (It also happens to be common among academics, so it seems I was destined to deal with it no matter which career path I followed.)

It may seem that lacking self-confidence is the same as suffering from imposter syndrome. And certainly a case can be made that a shortage of confidence contributes to what I’ve just described. But really they are separate phenomena. As I have said, imposter syndrome is a real problem for me personally, lack of self-confidence less so. Still, I have dealt with it off and on, and I have seen the impact a profound lack of confidence can have on talented writers. It can make them question their ideas, it can keep them from moving forward with manuscripts because they constantly retreat into rewrites of perfectly good stories in order to fix imagined problems, and worst of all, it can prevent them from sending out stories and books for consideration. That same lack of self-assurance can bring with it social anxieties that prevent writers from taking advantage of convention and workshop situations. As I said before, it can be debilitating.

And finally, I mentioned early in the post our tendency to compare ourselves excessively with our peers and colleagues. Another friend of mine once referred to this as Locus Syndrome, Locus being the newsletter of the science fiction and fantasy fields, where many in the industry announce awards, new contracts, sales of secondary rights, and other career milestones. I no longer subscribe to Locus because the arrival of each issue set off my worst comparison tendencies. Why is that publisher taking so-and-so’s novel when they passed on mine? Why did that person receive that award; why didn’t I? Why did my publisher take out a full-page ad for writer “x” when they merely included my book in a group advertisement?

No, I’m not kidding. I really did stuff like this to myself. More, I was hardly alone in this regard. And I can tell you, just as jealousy in a relationship can undermine love and trust, envy in one’s professional life destroys everything it touches. Many of the people I envied I also considered friends, and my jealousy of their triumphs kept me from being fully happy for them, as I should have been. It placed a strain on our relationships.

Imposter syndrome, lack of confidence, envy directed at colleagues — all of these have held me back at one time or another over the course of my career. And I would argue that all are exacerbated by a simple truth about the writing industry and the arts in general: the markers we use to chart our progress and our achievements, all tend to be external. Reviews and awards, story or book sales and new contracts, Amazon rankings and royalty statements. Not only do these forms of feedback come from outside, they all lie well beyond our control. Sure, we can publicize our work and hope that will impact our numbers. And yes, we can write our books well, and so influence reviews. But really our reach in terms of sales and reviews is quite limited.

And this is why I often return to the idea of self-defining our successes. There are a lot of authors out there these days, and they’re producing a lot of books. There’s no guarantee that our book is going to be noticed or reviewed. There is no guarantee it will sell. Which means one of two things — either the lack of attention is going to make us jealous of more successful writers and cause us to question our talent, our imagination, the quality of our work, OR we are going to take satisfaction in our own achievements regardless of the feedback we get externally.

I’m not naïve. Like I said, I’ve been in the business for thirty years. I’ve seen a lot, experienced a lot, had my share of both triumphs and disappointments. I know better than most how publishing works. Obviously, we need good sales to further our careers. Obviously, we want good reviews to help us gain recognition for our work. I would never claim otherwise. What I’m saying is this: NOT getting those things does not mean our work is unworthy. It does not mean we don’t belong in the profession. It should not cause us to question all. And to be honest, I am saying these things — again — as much for myself as for you. We all need to hear it.

Keep writing.

Professional Wednesday: What Holds Me Back, part II — Building a Platform

Last week, I started my newest series for the Professional Wednesday feature: “What Holds Me Back.” My first entry was on life in general, and the ways in which we learn to cope with life’s intrusions on our creative output.

This week I would like to shift my focus a bit to more writing-specific obstacles that can hold us back in one way or another. As it happens, there are a lot of them, so it may be this series will stick around for a while. But let’s begin with all those things that fall under the heading of “building our platform.”

Children of Amarid, by David B. Coe (jacket art by Romas Kukalis)I’ll preface this discussion with the obvious: I’m old. I’ve been in this business for a long time — it’s been nearly three decades since I signed my first contract. When I got started in the business, publishers were just beginning to expect that writers would maintain websites. Websites! Facebook and Twitter and the rest didn’t even exist. And when we signed contracts, writers could rightfully expect that our publishers would handle the bulk of the necessary publicity, which consisted mainly of taking out ads in journals, sending review copies to print magazines (kids, ask your parents) and other critical venues, setting up newspaper, radio, and television interviews, and arranging signing tours and individual store events.

My point being that the days of publisher-centric publicity have long since passed. Our jobs as writers have become far, far more demanding in so many ways. In the age of self-publishing, many of us are now required to get our own jacket artwork, to arrange for our own editing, to typeset our own books. But in today’s marketplace, ALL of us are responsible for creating audiences for our books. We are the ones who advertise our releases, who set up events, who make our marketing decisions. And social media gives us the opportunity to interact with and get to know our fans in ways I never would have dreamed possible at the outset of my career.

More than ever, we are not just writers. We are publicists and advertisers. We maintain our social media presence, and many of us also create additional content for blogs. All of these things can be time-sinks, and therein lies the danger. I know of many writers who, at the outsets of their careers, become so obsessed with “building a platform” or “establishing a fan base” or “finding their readership” that they leave themselves no time to do the one crucial thing all writers have to do to be successful: write their stories.

Yes, I am aware of the irony. Here I am blogging about the perils of spending too much time on one’s blog (among other things). But the danger is real, and it can become a trap for many. After so many years as a professional writer, I have gotten to the point where I can be productive on demand. I can turn out two one-thousand-word blog posts in a day and still have time left over to edit a couple of story manuscripts for the anthology, or I can get a couple of thousand words written on a work-in-progress and then write a thousand words more for the blog. I couldn’t have done this early in my career; writing in volume and switching gears among various professional tasks are skills I have developed over years. I think if I had started my career ten or fifteen years later, I would have struggled mightily to build my audience and simultaneously write my novels.

I have managed to maintain the regular Monday and Wednesday features of this blog, to turn out material on a regular basis, by making blogging a habit. I devote one day a week — usually the same day each week — to getting the posts written. Yes, I am sorry to blow-up such a carefully maintained illusion, but I DON’T write my blog posts on the days they go up. Sometimes, when I know I’ll be traveling during a given week, I will have posts, particularly the Professional Wednesday entries, scheduled a week or two in advance. I try not to allow post deadlines to loom. Why? Because currently I enjoy maintaining this blog and I don’t want it to become A Thing I Dread. And more to the point, I don’t want it ever to get in the way of work I have to do.

The Chalice War-Stone, by David B. CoeBlogging and social media are extras. Yes, in this day and age, they are important extras. Crucial, some might say. We have to publicize our books, or no one will buy them or read them. But as vital as this part of the job might seem, I would once again turn the previous phrase on its head: We have to publicize in order to be read? Yes, we do. But more important by far is this: We have to write the books in order for any of that publicity to be worth a damn.

Writers write. As I said earlier, the single most important thing we can do to further our careers, to build our audiences, to draw the notice of the industry, is write our fiction (or non-fiction, if that’s your thing). If you can maintain your output while also spending time each day blogging and feeding the social media beast, good for you. You’re more accomplished than I am. But if you find that you’re not getting as much done on your stories and books as you would like, check to see if maybe you’re spending too much time on the other stuff. And if you are, make the adjustment.

Platforms are great. But if you don’t have books to sell from them, all you’ve got is a flat expanse of wood.

Keep writing.

Professional Wednesday: What Holds Me Back, part I — Life Issues

As we turn the calendar to March, I thought I would turn to a new series of posts in my Professional Wednesday feature. This month, as I struggle with a bit of work-related inertia, I have decided some might find it helpful to read about “What Holds Me Back.” Because let’s be honest — those of us who seek to make a living as professional creators face no shortage of obstacles to productivity. We have to be self-motivated, we have to be disciplined, we have to be imaginative and prolific on demand. None of this is easy and at times it seems hobgoblins lurk in every corner, threatening to undermine even the most sincere determination to get stuff done.

What — or who — are my hobgoblins? How do they disrupt my work patterns, and what do I do to keep them at bay? These are the questions I hope to address in the next several Wednesday posts.

This week, I address perhaps the most obvious and formidable hobgoblin of them all: Life.

Life is a fickle bastard, with a cruel streak a mile wide, a perverse — at times evil — sense of humor, and a preternatural knack for intruding at the absolute worst moment. But Life can also be charming, deeply attractive, kind, generous, and downright fun. This is part of what makes Life such a difficult opponent in the battle over productivity. Life is as changeable as March weather, as unpredictable as the best storyline, and as relentless as time itself. Life happens constantly; Life will not sit quietly in a corner reading a book and respecting our need for calm just because we have a looming deadline or a new idea we are eager to explore. Life lives to mess with us.

All strange metaphors aside, in my experience, relating to my own work output and also my interactions with other professionals, general life disruptions are responsible for the vast majority of missed deadlines and punted obligations. Sometimes it’s the (relatively) small stuff — a kid with a bad cold or stomach bug, a blown car engine or flat tire, a flooded basement or loss of power. Sometimes it’s more serious than that — an ailing elderly parent, a dire illness in the family, a failing marriage, the death of a friend or relative. I’ve faced my share of such things — not all, but enough; every one of us has.

And in the short term, there is nothing we can do about them. Life imposes its own exigencies. When our kid is sick or our parents are fading or a relative or friend is in need, we have no choice but to prioritize the people we love and the obligations we’ve taken on as parents and partners, offspring and siblings and friends. No one with a thread of compassion or decency should punish or blame us for this. Those who would, do so at their own risk, because eventually they, too, will be on the receiving end of Life’s caprice.

The problem comes later, after the crisis has passed, but while the aftermath lingers. Nearly two years ago, when our daughter received her cancer diagnosis, I withdrew from . . . well, pretty much everything. I told my agent and editor that I wouldn’t be able to make a deadline that was still a couple of months away. I stopped seeing friends. I hunkered down with my fear and my grief and my anger, and I essentially surrendered to this terrible thing Life had done to my family and me. I was sure I couldn’t work through it, and so I didn’t even think it worthwhile to make the attempt.

Nancy responded differently, not because she is better or stronger than I am (although she might well be both . . .) but because she deals with emotional strain differently. She is great at compartmentalizing, which is good, because at the time she had a high-stress, high-profile job. In the time since, she has advanced to a position that is even more high-stress and high-profile. Her ability to compartmentalize has served her well.

I don’t have that ability. I can’t compartmentalize. But, I realized, I had a different ability I could harness. I had learned years ago — when we lost my parents, and later when we lost my eldest brother — to channel my grief and pain into my art. And it didn’t take me long after hearing the news of our daughter’s illness to understand that was precisely what I needed to do. Within a week of calling my agent and editor to tell them I was pulling back, I sent them new messages. I am working through this. I will make my deadline.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)And I did. The book was Invasives, by the way. It contains the best character work I’ve ever done, and that is no coincidence.

I suffer from anxiety and panic disorder. I sometimes walk the edge of depression. I know as well as anyone that coping with life is hard, and that glib, easy-fix solutions to the shit life throws at us are worse than useless. Such facile responses can actually hurt, because they suggest to those of us who struggle that the problem isn’t the circumstance but rather our inability to deal with it.

But I know as well, from my own experience, that we don’t have to be whole to create. Life elicits emotion and those emotions can overwhelm and paralyze. The thing is, though, we’re creators, and emotion is our bread and butter. Yes, at times the emotions we feel in life’s rawest moments are like a downed electrical wire. We touch them at our own risk. As I found a couple of years ago, however, we can be resilient in the face of the worst circumstances. Long before I was ready to interact with other people, I was ready, even eager, to take hold of that live wire and use it for something constructive and healing.

Life can disrupt our art. We all know this. But we are alchemists at heart. We can turn grief and hurt and fear and anger into golden moments on the page (or the canvas or the guitar or the stage — whatever). And, for me at least, that is how I keep life from holding me back.

Keep writing.