It seems like everyone has something difficult they’re going through right now, even if it’s “just” the pandemic. Everyone has something that’s happened or happening and it’s going on at the absolute wrong time. And we’re not immune here at the Scribes.
Even just living through this time is a drain on the creativity, inspiration, and life energy.
Each week we’ve striven to bring you helpful, inspiring, and new content to help you on your writing journey or creative outlets. But for the last few months that’s become harder and harder on all of us. That, coupled with some personal issues a few of us are going through right now, has finally come to a head for us.
So, for now, we’re taking a break from the blog. I was dreading this for a while, feeling it coming, hoping the tides would change in our favor, but it’s just not. This isn’t forever, at least, we don’t think it is, but it is for now.
We plan to regroup at the new year and see where everyone’s headspace is and if we feel better and ready to bring you renewed content and, if we do, we’ll be back!
Thank you all for reading with us over the years, every like and comment and share has been a gold star on our days and I’m sad to see it end. But remember, you can find each and every one of us on your virtual bookshelves if you miss us and want to show your support.
We’ve all talked in the past about what kind of writing rituals we have, ones that we just enjoy to give ambiance to the experience and others that we have trained ourselves to use to make writing easier.
For me, I have my preference of when and where to write (mornings, in my office), but if I have to make adjustments to that (my office gets unbearably hot in the summer), I can adapt and write at different locations and times if I need to get my words in.
But my trained ritual is music. For every book, I take time to curate the start of a playlist–a soundtrack–for the book. I do try to get at least forty minutes of a playlist before I start so that it doesn’t start repeating on me too soon. But repeating is part of the magic of the right playlist too. Like the chanting refrain of a spell, hearing the same key songs again and again will help me get the story on the page.
If you get the music just right, it will conjure the characters and/or location of the book in you mind when you hear specific songs even outside of writing. Sometimes I even put one song on repeat for an hour because it has the magical words that are working when no others are.
I like to keep building on a list if a book is a series, so I can hear the different voices of the different characters in the cast. I also like to throw in some instrumental tracks to help when I’m building tension in different parts of the book.
I managed to get my Ash and Ruin Soundtrack up to two hours and forty-five minutes.
I can open that and am instantly transported back to my post-apocalyptic world teeming with black-cloaked monsters.
Surprisingly, my Wytchcraft playlist is shorter than my A&R soundtrack. I say surprising because that series is much longer, but that world is much smaller in a way as it’s not a journey story like A&R. And, while there is a cast of characters even bigger in this series, it really is mostly about my MC, Mattie, so the music is mostly for her and to be in her head.
I have shared that I also have a pen name, Leila Bryce Sin, and under that name I write completely different stories (coughcoughveryadultthemescoughcough). So I definitely make sure that music is different, but one theme you’ll find throughout my playlist is strong female voices. I love a good power ballad sung by a woman that I want to be for five minutes. It’s a special kind of storytelling and I fucking love it.
My Brimstone War Trilogy was set in Las Vegas so it needed music to evoke that special city for me and it featured a war between heaven and hell, so it needed a lot of angry music. It’s quite the hodgepodge, I know, but it worked for me through three intense books.
Now, I have two playlists that aren’t tied to any one book; they’re soundtracks I can go to no matter what book I’m writing and it’ll help unlock a door in my mind like no other playlist can. Sometimes you just need intense emotions and music, pushing you forward as your characters run for their lives or fight to the death. Or the right creeping melody to help you curl your spine and sink into the cushions, hoping to drag your reader into the tense, scary darkness you’re weaving.
You probably notice there are the same artists on the different lists, even some of the same songs, and that’s because those artists really speak to me. I do tend to write slightly damaged, a little bit angry women as my main characters, so a lot of the same songs work for all of them. Or for me. Whatever. The Pretty Reckless, Kaleo, Ellie Goulding, Halsey, and Florence and the Machine are some of my touchstones no matter what I’m writing. Finding those voices for yourself could really help you if you find yourself stuck in getting through tough scenes.
Personally I love to find new music. It’s something I’ve always loved since I started figuring out what music I like. I can spend whole days getting that playlist started before I put fingers to keys, creating the vibe and ambiance I want to portray in a story. Ritual really is the only word for it. So, I hope sharing some of these lists with you, helps you find new sounds and voices that help you with writing.
(P.S. I did have this all set up super cool where you could see the playlist in the post but for whatever reason, WordPress is being a complete butt. So if you can’t see the playlists, I’ve included links. Not nearly as cool, but what are you gonna do?)
As I was casually lurking on Twitter the other day, I came across this Tweet which, to be honest, took me aback a bit.
Now, YA–otherwise known as Young Adult Fiction–is a genre that’s near and dear to my heart, as a writer but especially as a reader. I’ve been reading young adult books since about the time I was able to choose my own reading material, which was whenever my parents gave their avid reader middle child (me) free run of our local library. With a few exceptions, my parents really didn’t police my reading choices, which meant I was drawing from a pretty broad pool of books from a pretty young age. But my favorite section was always the YA shelves, stocked with books the grown-ups in my life had never heard of before, books that felt like they were just for me, books full of magic and adventure. Garth Nix, Lloyd Alexander, Sherwood Smith, Tamora Pierce–I devoured these old-school YA novels like they were going out of style.
In middle school, things changed. A little book called Harry Potter started getting popular, and suddenly, everyone knew about my genre. Don’t get me wrong–I did and do love the Harry Potter books, and loved that soon after they became popular, the bookstore and library bookshelves were packed with new and more varied YA options. Throughout high school, I continued to read everything I could get my hands on, but YA remained my staple. I remember one douche-canoe who sat near me on the bus used to make fun of my reading choices, sneering at the YA covers and flashing his copies of Dostoyevsky at me (eye-roll). But that didn’t stop me from reading.
By the time the next mega-YA-phenomenon rolled around (Twilight) I was in early college. I actually picked the book up off my little sister’s library stack just months before everyone else lost their mind’s over it. Not too longer after that, The Hunger Games trilogy hit the stratosphere, and I was hooked on those too. Around this time in my early twenties, I had technically “aged out” of the target YA demographic. But honestly, the YA genre as a whole was just getting interesting! New ideas, new books, new authors. And I’d started noodling around with the idea of writing my own YA novel. I wasn’t going to stop reading YA just because I was “too old” for it.
All of which is to say, it’s honestly never occurred to me that there could be a designated age when a person ought to “stop reading YA fiction,” as the original tweet suggests. But as I started to read all the replies to the original tweet, I really started to think about it.
Here’s the thing–I think people should read what they want, when they want. Comic books, pulp fiction, Dostoyevsky, YA fantasy, milk cartons. But that said, I do think as readers we have to cultivate an awareness of who the books we read are intended for, especially when those books are intended for children or young adults. Those frames of reference must inform how we interact with the media we consume. When I was nine, I knew that even though I enjoyed reading about the adventures of teenage heroes, some of their conflicts and interactions were more mature than the ones I dealt with in my own life. Similarly, although I read YA throughout my twenties and now into my thirties, I got to a point where I couldn’t personally relate anymore to all the things the sixteen- and seventeen-year-old characters were going through–been there, done that. That didn’t mean I couldn’t still enjoy those books or those narratives.
Unfortunately, I’m not sure everyone has this awareness. Speaking from experience, many of the reviews for my own YA fantasy novel included a sentence that went something like this: “I would have liked the book better if the main character was more mature and made better decisions.” Ummm, she’s seventeen. Do you know many seventeen year olds capable of acting maturely in every circumstance and making all the right decisions in a high-stress environment? *face palm*
So no, I don’t think there’s an age when a person should no longer read young adult books. I do, however, think that once someone passes the age of both the characters in the books and the intended audience for which the book was written, they have to take a step back and ask themselves, “was this written for me?” Because chances are, once they’re out of the 13-18 age range of most YA books, they may start to relate less to some of the problems, choices, and actions of the main characters. And that’s fine! We don’t have to agree with every choice a character makes to still find their stories compelling and worthwhile. But we do have to stop assuming that YA books will cater to adult tastes when they’re intended for teens.
There’s so much to love about YA fiction. These coming-of-age stories remind us of a time when our experiences were most likely to change us; a time when everything felt newly-minted and shiny; when all our firsts were still ahead of us. I think, ultimately, they are stories of hope. And that’s something I hope none of us ever grow out of.
Do you think there’s an “expiration date” for reading YA fiction? Leave your thoughts in the comment section below!
It seems to me there are two kinds of readers. Those who MUST FINISH EVERY BOOK they start, and those who will drop a book like a hot tomato if they’re not impressed.
I’d hazard a guess that it’s impossible for one group to understand the other’s point a view. (lol)
I’m definitely in Camp Drop-it-if-it-sucks. Ouch. That sounds kinda harsh, but Camp Drop-it-if-it’s-not-working-for-you doesn’t have the same rhythm. And you know how I am about rhythm.
(Jump HEREif you want to read my post about rhythm in writing.)
This post was prompted by a chat I had recently. My friend Sheryl messaged me about a book she was reading, a contemporary romance where the author seriously misjudged how real life works. I don’t want to point fingers at any particular author, so let’s just say that most bands don’t make enough money for each member to have their own touring bus.
Even Mick & Keith have to share, y’all.
That’s the kind of error that would make me doubt every other word the author put on the page. It turns on my inner editor, and once she starts, there’s no way I’m going to be able to relax and enjoy the rest of the book.
Factual errors might be the biggest bump for me – like the book where the heroes went home to Canada in late November to celebrate Thanksgiving.
Um….Canadian Thanksgiving is in October.
Then there was the book where a character was supposed to be in a hospital on a ventilator and he had a conversation with another character. Can’t be done, but for some reason I kept reading that one and mostly enjoyed it.
I could come up with other examples, though to be honest, I’m guilty of a mistake or two myself. One of the reviews for my book Aqua Follies pointed out that Skip could not have worked at the Everett Boeing plant in 1955, because that site didn’t open until the late ’60s.
My friend Sheryl says she’s going to finish the book that prompted our chat, because it’s one of a series and she wants to see it through. Others might say they want to finish out of respect for the author’s work, which I can’t really argue with.
Still, I pretty much adhere to Nancy Pearl’s Rule of Fifty. For those of you who haven’t heard of Nancy, she’s a librarian and best-selling author, and her book reviews on NPR have guided many readers for years. (Jump HERE to see all her books.)
Nancy’s Rule of Fifty goes something like this…
Give a book 50 pages. When you get to the bottom of Page 50, ask yourself if you’re really liking the book. If you are, of course, then great, keep on reading. But if you’re not, then put it down and look for another….And if, at the bottom of Page 50, all you’re really interested in is who marries whom, or who the murderer is, then turn to the last page and find out. If it’s not on the last page, turn to the penultimate page, or the antepenultimate page, or however far back you have to go to discover what you want to know.
Even better, she’s modified her rule for those of us over the age of 50. It’s a variation of “So many books, so little time” (Which is apparently a Frank Zappa quote. The things you learn on google!) If you’re over 50, subtract your age from 100 and that’s the number of pages you get to read before deciding whether or not to put the book down.
By adhering to this rule, I mean no disrespect to authors. If you start one of my books and it’s not working for you, you have my permission to put it down and pick up something else. Scan the Amazon or Goodreads reviews for any book, and you’ll see a range of opinions. The same book might get 5-star reviews from some and 1-star reviews from others.
Reading should be fun and moving, and it should feed your soul. I mean, it motivated Sheryl to message me because she cared enough about the book to want to talk about it.
Life’s too short to read past page 42 if the book’s a clunker. One person’s clunker is another’s lifetime top ten.
Most of us hear stories about authors getting their first publishing deal in their 20s (and even a handful in their teens) and are green with envy. I know I have been. But today is a first, at least for me: Nadim, a 4-old English boy got a publishing deal for his poetry.
Have you read the article? If not, please do. I’ll wait.
I can’t really remember being four, but I know I wasn’t writing poetry. I think I was taking my first dance classes and learning my ABCs. I know I couldn’t read or write at that age. My parents didn’t push me; they let me learn in school in first and second grade like everyone else at the time.
On one hand, I have to admit to being a little suspicious of this whole thing. How do we know Nadim really wrote these poems and it wasn’t his parents? I mean, his mom is a poetry instructor. This isn’t the first time parents have taken advantage of their kids to make money (remember the kid who had a bestseller on a near-death experience that ended up being faked by his dad?) and it won’t be the last. And if he did write them, how much pressure was put on him to learn how from a scarily young age?
On the other, child prodigies have existed throughout history. Look at Mozart. The difference there is that you could witness his talent, whereas with poetry, you have to take it on faith that Nadim really wrote the poems. Even if they had him recite in public, you can’t tell how much is coached. Perhaps his mom, being a poetry lover, just taught him how to rhyme as soon as he could speak.
I am no prodigy, far from it, but I did have my first poem published at an early age. I know I was no younger than six because I remember hand-writing it at my grandma’s house. I wish I knew what was going on in my mind at the time, but I can’t remember.
I may even still have the original my basement somewhere. I think I was more like eight, though, because I entered a contest advertised in the back of YM magazine (so that now tells me it may not have been as legit as I thought at the time), so I know I could read and write. My parents had nothing to do with this; I had to beg them to let me enter.
Anyway, I’ve never shared it before, but here it is. (Needless to say, this copyrighted.)
Aloneness is the feeling when your mind is empty/and your heart is full./Aloneness is the sadness of pain and hunger around the world.
Short, but I do have to say, profound for a young mind. So it is entirely possible this little 4-year-old is some kind of genius or at least thinks deep thoughts.
But is a book deal for someone that age really necessary? Why, other than shock value, would anyone do this? Why not keep the poetry and include it in a collection when he is older? It would be cool to see the evolution of a poet over the years in a single volume. All I can do is shake my head. Why can’t we just let kids be kids anymore?
I really do hope this is the beginning of great things for Nadim and that someday we can all look back and remember the day we read the announcement. But I also worry what kind of pressure this puts on a boy whose mom admits he’s still learning to read and write. When you have your first book deal at so young an age, how do you follow it up? Will this just turn into a funny story on a college application or will he feel the weight of it for the next 20 years?
I don’t even like most children, and yet I worry about this one I’ve never met. My first gut instinct is that this is an example of parents pushing their children into their own dreams (much like most beauty pageant/dance/cheer moms), rather than nurturing a budding talent. I think that is it; I’m seeing the commercial side of this and not the warm parental side. And that is the problem with having only one source for an issue.
In the end, it’s none of my business, but it is also something to think about. And if nothing else, it has reminded me that I used to be a poet – which I had completely forgotten. Maybe I’ll pick up a pen for the first time since I was in high school and write a few poems from time to time. Thanks for the inspiration, Nadim!
I consider myself something of a first line connoisseur. What do you mean, that’s not a thing?
Seriously, though, I have a pretty intense fascination with opening lines. I like reading them (I actually have a list in my Notes app with all my favorite opening lines), and I’m borderline obsessed with writing them. I love them in poems and novels and short stories. I’ve heard it said that perfect first lines contain the entirety of the work they represent, and while I’m not sure that’s entirely or always true, it certainly highlights how significant a first line can be. To boil it down: great first lines have the power to entice a reader enough that they wouldn’t dream of putting down your book/short story/poem.
So how on earth do you write a compelling first line? Here are a few methods to make your first line sing!
Use vivid imagery
Invite your reader into the world of your story with an image or feeling that cannot be ignored. It doesn’t have to be long or complex–in fact, with this method I tend to think shorter is better. Pick a specific image or sensation and make it as visceral, punchy, and vivid as possible.
“A screaming comes across the sky.”
Gravity’s Rainbow, by Thomas Pynchon
Make the reader ask questions they can only answer by continuing to read
Many great first lines introduce elements of world-building without explanation as a way to entice readers into the meat of the story. This can be incredibly effective as long as it’s not too confusing. Keep the language clear and simple to balance the unknown elements.
“The man in black fled across the desert and the gunslinger followed.”
The Gunslinger, by Stephen King
Introduce a theme that begs further explanation
Rather than opening in media res, or in the middle of the action, some great opening lines choose instead to posit a theme or a motif that will continue to be explored throughout the story. This can be risky, as the reader may not immediately identify or connect to the theme, but it can also be done very well.
“A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story…a writer is condemned to remember that moment, because from then on he is doomed and his soul has a price.”
The Angel’s Game, by Carlos Ruiz Zafon
Introduce a character’s unique voice
If your story is very character driven, or told from a unique point of view, this may be the best way to draw your readers in to their particular voice, tone, or cadence.
“If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.”
The Catcher in the Rye, by J.D. Salinger
Play with time
Perhaps you want to hint at an event that takes place further along in your story than you’re starting the narrative. Or perhaps you want to tease something that happened in the past that led up to the moment your story begins. Either way, referring to something that happened in a time other than where your story is happening can be a compelling way to draw your reader in.
“Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice.”
One Hundred Years of Solitude, Gabriel Garcia Marquez
Make your reader laugh
If your book is funny…why not make the first line funny as well? This is not my forte, so I don’t have any more salient tips than “be funny,” but who doesn’t love a hilarious opening line?
“In the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move.”
The Restaurant at the End of the Universe, by Douglas Adams
And that’s all I got! First lines aren’t always easy to write, but when you finally get it right it can be like a path opening up in the woods. Be patient with your craft, listen to how your story wants to be told, and good luck writing your own perfect first line!
How do you go about crafting first lines? Let me know your best tips or drop your favorite literary opening line in the comments section below!
If you’ve been following along with my writing saga for the past year, you know I’ve been struggling to figure out a new book idea or even just to get inspired to start writing again after writing so much so fast for so long.
I’m a big believer in refilling your well and rewarding yourself for milestones so it doesn’t just feel like an endless trudge through the words, from one book to the next. It’s really hard to be a writer, especially a self-published writer, because you really are the only thing that keeps you go. Yes, if you have a contract with a publishing company, you have agreements to meet, but sometimes that’s not enough to inspire someone.
For me, I’ve been struggling to find that spark again. I started working on a new book last NaNo, and I won NaNo with it, but that’s been it. I’ve only gotten to the 50k word mark. I had to walk away from it and when I came back, I had to re-read the whole thing and make some notes, but no new words have happened. And the weird thing is, I like this book idea. But I do think, maybe I have too much going on in the book? I may be trying to make a salad out of it and I need to pull back. I dunno. But, like I said, I like the book, but I haven’t been able to figure out why I can’t finish it.
So I took a break. I’ve blogged about this. And, of course, the end of the world happened and, while that should have given me plenty of time to write, being inspired when you’re stressed the fuck out, isn’t easy. So I haven’t finish it.
And every time I think things are getting back to normal and maybe I can start working again, things in our state change and I’m back to no spare bandwidth to write.
But then, last week, I got an idea.
A new character walked into my mind and glared at me.
I don’t know her name yet. But I do know what she is. I do know what she is doing. I do know she’s interesting.
And I want to write her story.
The idea is super new and fragile right now. I have no idea what the point of the book is, other than following this character around and writing down what she’s doing, but it has sparked something inside of me. I haven’t tried to figure out her name yet. I think I actually already have her playlist built (maybe she’s been forming for a while). I don’t know what the Big Bad is, or if she’s the Big Bad (!). But I know that the idea is really cool and different than what I’ve done so far.
So, what is the point of this post? Maybe it’s to inspire you if you’ve been beating your head against a block wall because you haven’t been able to write or even think of an idea to write about. Maybe it’s to remind me that, when I thought maybe I’d run out of ideas, there is still some water in the well to draw from. I don’t know. But I’m excited.
This idea is both dark and shiny. Like a glittering, black diamond. It’s precious and formed over a long time and under great pressure and I’m clutching it close and going over every pane trying to figure it out as it mesmerizes me.
But I’m not going to rush it. I know, based on my past experiences, I can’t go too slow–once I have an idea, I need to keep up with the urgency to tell the story or I’ll lose it–but I’m not going to kill myself trying to get the outline written in a few days and then start pumping out thousands of words a day. I’m going to sit with this idea until I know where it’s going, what’s at the climax of the story, then I’m going to start working on it.
I don’t know if that means I’ll start writing soon or sometime next month. But if you’re struggling, I’m here to tell you to breathe and let the ideas come to you when they’re ready. Or when you’re ready. I was really trying to force it and it just wasn’t working. That’s how I got to my first series, now that I think about it. I was trying for a long time to force one story out of me, but I couldn’t get it to take off. When I finally let it go, I was able to write almost 10k words of my first book in one sitting. No, I don’t recommend doing that. But it was one of my first self-lessons in writing and I’ve clearly forgotten that.
The right idea will come to you if you let.
It is so hard to let go of stories we’ve started. Trunk novels hurt too (I’ve got one of those during this time too). Time not writing sucks. But sometimes we gotta go through all of this to finally be able to say, “I have an idea.”
Think back to the Before Times – you know, like last February. Did any of these terms and hashtags resonate? #BlackLivesMatter is the only one I’d heard of, but now we have this whole new vocabulary.
I know many authors are struggling to get words on the page, and others who are no longer struggling, because they’ve given up. It’s just too hard to tap into their creativity when it feels like the world is falling in around them. I’ve also seen debates on social media about the appropriateness of writing quickie quarantine romances to try to capitalize on our new reality.
Kinda gives the “forced proximity” trope a whole different spin.
For discussion’s sake, let’s say you do have the spoons to write, but you’re wondering how much of our current quagmire should make it on the page. As a first step, it might be worth considering what people want to read. Maybe they do want that quickie quarantine romance. Or maybe they want Shauna’s fantastic dystopian Ash & Ruin series or any of the books on this Goodreads list of Current Events Fiction.
Or maybe they want something as far from reality as possible. (How ’bout hot&naughty elves? Kasia Bacon‘s Order series – starting with The Mutt – is a whole lot of fun.)
Keep them (current events) fresh and meaningful long after they’ve passed in the same way you keep any events in your fiction fresh and meaningful: Lash them with urgency to the experience of one or more characters.
For example, I found one of the best descriptions of New Orleans during Hurricane Katrina and its aftermath in Royal Street, the first book in Suzanne Johnson‘s Sentinels of New Orleans urban fantasy series. Not only did the author nail the details – she lived in NOLA during Katrina – but her characters had a life or death stake in the events, which made for a real page-turner.
One thing to consider, though, is that Royal Street was published in 2012, about seven years after Katrina. I’ve never asked, but I’d imagine it took Suzanne some time to organize her reactions to the disaster in a way that made sense. In a WaPo article that speculates on what post-pandemic fiction will look like, Chris Bohjalian makes a useful comparison with post-9/11 fiction. He points out that it was 2005 before the serious novels dealing with 9/11 began to be published.
….it took novelists a little more time to shape the nightmare into a story. After all, how do you make something up when the truth is so unspeakable? So wrenching?
The pandemic, with the horrific costs associated with it, is at least as profound an event as 9/11, with arguably greater consequences. The concurrent shifting social paradigms around race and racism are equally significant, though I’d caution all writers who want to explore those issues to make sure the story is theirs to tell. It’s going to take years for creatives to wrap their arms around this phase in our history, and there may be some who’ll never be able to revisit this time, even in fiction.
Is there territory between a quickie something-something that grabs the headlines and runs, and a deep and thoughtful examination of our lived experience? I’d argue that there is. One of the series I’m co-writing with Irene Preston features a character who used to be a cop but quit the force. In part because of that character, I’ve made an effort to read about the whole #DefundThePolice movement and those ideas are definitely influencing his backstory.
Times are hard, and I’ve got it better than most. The stress, the isolation, and the endless conflict have to color what we’re able to create, if not squash our creativity all together. Take care. Be gentle with yourself. Use the grist of these days in any way that makes sense to you.
Hello my darlings, I hope you’re all staying safe, wearing your masks, and washing your hands. Please don’t end up an infamous internet sensation because you won’t use curbside service or wear a mask. But, if you’re here, I’m sure I don’t need to tell you. Moving on!
So, this week, we’re lending our blog to help boost the voice of a friend who has their debut novel coming out! So exciting!
We’ve got an awesome cover reveal, blurb, AND pre-order links to share with you today. Is it tacky to say the cover is awesome if I helped create it? Well, if it is, then I’m tacky af.
I gotta say, I’ve had quite the creative block for some time now and when I Kool-Aid-Man’d my way into helping Drew with his cover (no, he didn’t ask, yes, I just said “HEY LOOKIT I MAKE THINGS! DO YOU LIKE IT?”) it really shook something loose inside of me. I actually enjoyed making something again. So as much as I wanted to help a debut author, because goodness knows I’ve been there, I am grateful I got to do this for myself too.
I remember Lyra once talking about getting past a creative block by doing something other than your normal art and you know? I think she’s on to something!
Seventeen-year-old Julius Monroe hates his life. He hides the truth of his father’s abuse with careful lies and a kick-ass jacket that keeps everyone at bay. But Julius’ careful facade crumbles after a run-in with the school administration puts him on a collision course with his best friend’s sister and her jealous boyfriend.
But escaping the school bully and his father’s abuse isn’t his only worry. The worst monster is Lela, whose manipulations threaten to expose every secret that Julius is so desperate to hide.
When his worlds collide, Julius must make a choice. Live with the monsters he knows, or take a chance on being free.
About the Author
Andrew didn’t realize he wanted to be an author until he wrote his first words on his step-father’s Apple IIe. Fast forward 30 years and that story still isn’t finished. He keeps claiming he’ll write it…just after he finishes the four hundred other ones in his head.
Born in California, on a now decommissioned army base, Andrew then spent the next four years in Germany before moving to Kansas where he has been ever since. Coming from a long line of librarians, Andrew didn’t expect to continue the family trend. Instead, he received his bachelor’s in Music Theory from the University of Kansas in 1997. It was during that time that he ended up working in the university library as a student. He found he liked being around the old books and has been hanging around dusty old tomes for the entirety of his adult life.
After 20 years, he decided that he wasn’t leaving the world of libraries and received his Masters in Library Science from Emporia State University in 2015. But life changes and Andrew took a leap into the real world and now works as a software developer for a digital marketing firm.
When he’s not working or writing, Andrew is an avid gamer, reader, and occasional maker. He currently lives in Olathe, KS with his wife, their combined six children, and a tortoiseshell cat named Lili. She’s a princess.
In my last Spellbound Scribes post, I wrote about things that I am going to put on my vision board. Since then, I’ve done some Photoshopping, but I haven’t even printed the photos much less put the board up yet….and one thing has come true and another is getting really close!
Just to draw out the tension, the one that is close to happening is winning the Launchpad Manuscript Contest, which is a book-to-move contest. Daughter of Destinyis in the Top 25! They will announce the Top 10 June 30 and the three winners (and other prizes) July 16. Any good vibes you want to send are much appreciated.
Okay, on to the big news…. I HAVE AN AGENT!!
I signed with Amy Collins of Talcott Notch Literary last week! She is immediately representing the two books I’m working on now (the Minor biography and a historical fiction I’m not ready to talk about yet). Here’s the official announcement.
I’ve known Amy for a few years. We first met when she presented on marketing to the Saturday Writers chapter of the Missouri Writer’s Guild. We really hit it off during the presentation (I’m Hermionie Granger, so teachers and presenters usually love me because they know I am engaged) and through conversation at lunch afterwards. We stayed in touch online and I saw her present again maybe a year or two later at the St. Louis Publisher’s Association. Amy also hosted a lot of online workshops that I attended so were were in contact that way as well as on social media, and became friends.
I knew she was a huge fan and champion of my books, but what I didn’t know was that she was also an international rights agent. When she became a full U.S. agent earlier this month, she called me and asked if I was considering traditional publishing and if I would think about becoming her client. Why, yes, I was! We talked, I asked questions, and sent her what I have been working on. She loved it and needless to say, I said yes! (Never underestimate the power of networking…not that I could have ever predicted this.)
I really, really like Amy and she has a great reputation in the industry and in marketing, so I’m really looking forward to working with her. We’re a great personality fit and what she represents is right in my wheelhouse, so I am predicting a long and fruitful relationship with many, many book sales!
With Amy on my team, I’m officially on the come up! (I love that phrase and if you haven’t read the book by Angie Thomas of the same title, please do. It is amazing!)