Tag Archives: writing

Dead Man’s Reach Update

Today I finished reading through the first pass galley proofs of Dead Man’s Reach, the fourth and (for now) final book in the Thieftaker Chronicles (which I write as D.B. Jackson). There is really nothing left for me to do in terms of production for the novel. It will be released on July 21, 2015, and I really can’t wait. It is my favorite of the Thieftaker books and it may well be the finest novel I’ve ever written.

And it also sports the best cover of the series, which is saying something because ALL of Chris McGrath‘s Thieftaker art has been magnificent. I mean, really: check this out. Amazing, right?

DeadMansReachFix

 

A Book Goes Out, a Book Comes In, a Book Begins

I turned in a book today. Shadow’s Blade, the newly titled, third installment in The Case Files of Justis Fearsson, is out of my hands and with my editor at Baen Books. That’s kind of exciting. I read it through this week, and though I struggled with it when I was writing the first draft, I’m very happy with how it came out.

And, of course, at pretty much the same time I turned that book in, I received the galley proofs of Dead Man’s Reach, the fourth volume in the Thieftaker Chronicles, which I write as D.B. Jackson. So I know what I’ll be working on for at least the first part of next week.

After that, things get a little murkier, and far more intriguing. It’s time for me to start a new project. I have ideas, but nothing firm. Once those proofs are done, the brainstorming and worldbuilding and plot construction begins. I don’t know yet where it all will lead, but I’m eager to find out. Stay tuned. . . .

 

A Novel By Any Other Name . . .

My Facebook page was hopping today, because I asked for people’s opinions on the title for the book I’ve been working on. The book is the third in my new series from Baen, The Case Files of Justis Fearsson. The first two books in the series are called Spell Blind (released earlier this month) and His Father’s Eyes (coming out in August). The list of possible titles from which I asked people to choose included:

The Pale Blade (or Knife), The Stone Knife (or Blade), The Lost Blade (or Knife), The Necromancer’s Blade, The Killing Blade, The Blood Blade.

And the responses I got were fascinating, and made me think about what goes into a title, what makes a title work or not work.

First let me say that I’m grateful to all who have offered opinions thus far. I really am paying close attention to responses, because I want to get this right. Over the years, I feel that I’ve done pretty well with my book titles.  There are one or two that I think could have been stronger, but generally speaking I feel good about the titles I’ve chosen. (Among my favorites: The Outlanders, Seeds of Betrayal, Weavers of War, The Sorcerers’ Plague, A Plunder of Souls, Dead Man’s Reach, His Father’s Eyes)

But, of course, it’s entirely subjective. Others might not like any of those I’ve just listed, and might feel that one of the titles I didn’t mention as a favorite is better than all of them.

As an author, I want a title that sounds cool, whatever the hell that means. I want it to have a certain poetry, a cadence that rolls off the tongue. I also want it to conjure imagery that is both intriguing and representative of some key element of the book. But again, even these criteria are subject to personal taste. Today alone I’ve had someone tell me that he/she loves the title The Pale Blade because of the repeated long “a” sound. And I’ve had another reader say that the title doesn’t work for him/her for the exact same reason. Some folks love the word Necromancer, and others feel that I should avoid it at all costs. The Pale Blade emerged as a clear favorite, but it also elicited the most forceful negative responses. “It’s mysterious.” “It sounds cool.” “It’s boring and plain.” “It’s weak.”

Now, one might think that all these contradictory opinions would cloud the issue for me and make what will ultimately be my choice that much harder. But the fact is, the feedback is valuable if for no other reason than because I react to these arguments in a visceral way. And my responses give me a sense of where I’m leaning, what direction I think I might want to go.

I haven’t come to a decision yet (so feel free to weigh in on the discussion). Right now I’m thinking strongly about Pale Blade (without the “The”) and Lost Blade. But that could change. It’s possible that something will come to me that I haven’t even considered yet. So stay tuned. And again, thanks for the input.

Plotting Versus Pantsing Update

Last week at the Magical Words blogsite, which I helped found so many years ago with Faith Hunter, Misty Massey, and C.E Murphy, I posted about plotting versus pantsing. For those not in the writing profession, plotting refers to setting out an outline at the beginning of a project and allowing that outline to guide us through the process of crafting our novels. Pantsing — as in flying by the seat of one’s pants — refers to winging it, essentially writing a novel without having a clear idea of where it’s going.

I am have been, throughout much of my career, a dedicated plotter. But with the third book in the Case Files of Justis Fearsson, I was unable to come up with a decent outline, and so I dove in and just wrote the darn thing. That’s what the post was about (you can read it here).

Well, as I always do with a book, upon finishing the first draft, I put it away with the intention of coming back to it several weeks later in order to revise and polish before submitting it to my editor at Baen. Today, five weeks after completing the book, I began to read through the manuscript, unsure of what I would find.

I’m a little more than a third of the way through the novel. I’ve found some things that needed changing, and I’ve refined my wording here and there. But so far, overall, I like the book very much. In this case, it seems, pantsing was the write approach. We’ll see if I still feel that way when I’m finished reading it.

A Word About Editors

I have just turned in a revised version of the short story I submitted to TEMPORALLY OUT OF ORDER, the new anthology being edited by Joshua Palmatier and Patricia Bray. I am on “Team Patty,” which means that Patricia edited my story. And her feedback, and the subsequent revisions I did on my story, reminded me once more (as if I needed reminding) of how important a good editor is for all that we write, regardless of length.

As it happened, my story didn’t really need extensive rewriting. But it did need polishing and some subtle changes to deepen the character work and clear up the plotting. I hadn’t realized that it needed these things; it took Patricia pointing them out to me, gently, diplomatically, professionally for me to see the issues and find solutions. It helped that she was looking at it fresh — having a different set of eyes look through a story always helps, which is why having Beta readers can be so helpful. But more than that, Patricia is a fine editor who understands storytelling and can diagnose narrative problems with a simple read-through.

Of course she’s not the only person who can do this. Joshua is an excellent editor as well, and I have been fortunate enough to have worked with countless others — both on my books and my short fiction — who have improved my work and taught me valuable lessons about the craft. And that, really, is the point. We ALL need editing. I have been writing for a long, long time, and I have never written anything that was so perfect it didn’t need at least some help. A good editor is invaluable. And a good writer understands that her/his work can always — ALWAYS — be improved by editorial feedback.

Plotting Versus Pantsing, at Magical Words

Today’s installment in the continuing, unofficial Winter 2014-15 Spell Blind Blog Tour (which is way too much of a mouthful) can be found at the Magical Words blog site. The post is about plotting and pantsing — the age-old tension between wanting to outline our stories before we write them so as to keep our narratives clear and coherent, and wanting to let our narratives flow “organically” in the moment of creation. You can find the post here. I hope you enjoy it.

Dealing with Inaccuracies in my New Book

SpellBlind200Yesterday I received one of those emails that authors usually hate to get. A reader wrote to let me know that there were a couple of details in my new novel, Spell Blind (book I in The Case Files of Justis Fearsson) that I had wrong. I work hard on my research, and on those occasions when I happen to get something wrong, I am deeply disappointed in myself. And I have received messages in the past from readers who, let us say, did not handle the situation in a socially appropriate way, which makes the whole thing that much worse.

This time, though, the reader in question, did everything right. His email was courteous, informative, and respectful. It was clear to me that he wrote not to criticize, but rather to help. He was even kind enough to tell me that the small inaccuracies he found did not keep him from enjoying the novel. And armed with what he told me, I will be sure to avoid these errors in subsequent volumes of the series. I’m grateful to him for his help, and for his willingness to take the time to contact me.

I’m sharing this with you because I think we can all learn from this gentleman’s professional and thoughtful approach to contacting me. Just about every author has faced this at one time or another. We’re human, and sometimes we get things wrong. But I’ve been sent emails about mistakes I’ve made that were rude to the point of abusiveness. In fact, I’ve received emails “correcting” things that I DIDN’T get wrong, that were rude. There is nothing wrong with sharing our knowledge in circumstances such as these. As I said, his email helped me. But there is no need for cruelty, for abuse, for name-calling. Not to be too glib, but it’s one thing to be helpful, it’s another to be hurtful.

And what were my mistakes, and why would I share them here? Well, I’m always willing to share my good news — nice reviews, new sales, etc. This time, I messed up, as all writers do from time to time, and I feel that I should share that, too.

Early in the book, Justis Fearsson, my point of view character, mentions that he is licensed to own a firearm in Arizona. Arizona doesn’t issue such licenses. I also said that Jay became a detective in the robbery detail of the Phoenix Police Department upon graduating from the police academy. As it turns out, the PPD requires two years of uniformed duty before an officer can be assigned such a unit.

These are small matters that have little bearing on the plotting or character arcs.  But that doesn’t excuse my mistakes. I got these things wrong, and I apologize for that.

Today at MarsCon 25

Panels on the best genre books of the past quarter century and overcoming writing blocks in our novels, readings and signings with the wonderful Alethea Kontis, David Weber, and Katherine Kurtz, countless conversations both serious and fun: Just another day at MarsCon 25.  Still more to come this evening, including the masquerade and the charity auction, and right now I’m trying to grab a bit of down time. But it’s been a terrific convention so far.

A Very Special Interview

Today on the unofficial Winter 2014-15 Spell Blind Blog Tour I have a very special post up at the website of Lucienne Diver, writer, agent, friend. The post is an interview with Namid’skemu, a character from Spell Blind and the other volumes of The Case Files of Justis Fearsson.

Namid, as he is known, is a runemyste, the spirit of a Zuni shaman and weremyste who was sacrificed centuries ago by the runeclave and imbued after his death with enormous magical powers. He is now a guardian of magic in our world and he is Justis “Jay” Fearsson’s mentor in all matters relating to spellcraft.

He is not the most effusive of beings and getting him to sit down for an interview was not easy at all. So I hope you enjoy this. You can find the interview here.