Category Archives: Guest Blogger

Should I podcast my fiction for free?

by P.G. Holyfield

Five years ago the question was, “Should I podcast my fiction for free? Will it hurt my chances of getting published?” But with the success of writers such as Scott Sigler, Philippa Ballantine, and Nathan Lowell, that question has become nearly moot. When I went to my publisher I was able to say “The most recent episode of my podcast novel has 18,000 downloads so far.” My novel was published by a small yet respected fantasy/sci-fi publisher, but even larger publishers have begun to admit that an unknown writer that has established himself or herself with an online following might be worthy of consideration. And the saying that used to be “EVEN THOUGH I’ve given it away for free” is now “BECAUSE I’ve given it away for free.”

So as we are now in the time of bloggers getting big book deals and publishers taking chances on pre-blogged or podcasted fiction, the question isn’t “Should I?” but “How do I do this the right way?” Because it’s not that you are trying to build “an audience,” but that you are building a relationship with your readers/listeners. Especially for those that are reading their own words, you are creating a connection to your audience that cannot be matched by any other medium. Your audience hears your voice and if you are telling a good story, your listeners begin to care about you in ways that most first time authors publishing traditionally cannot leverage. In cultivating that “horde” that we hope to inspire, here are some things to think about:

  • Website presence – Some people have used sites like Libsyn.com to host their podcasts, but a great looking personal website that has content in addition to the audio podcast is vital for audience engagement.
  • Release Schedule – Most podcast authors use a serialized release schedule and do not release the entire story at once. Releasing consistently (weekly works well) creates an ‘event’ atmosphere around your podcast. Yes, there are many who won’t start listening to a podcast novel until the author has completed it, because a) they want to make sure the author finishes the audiobook/podiobook and b) they want to mainline the entire novel and not wait a week for the next 30-45 minutes of your story. But for those that get hooked and wait patiently (or in some cases, impatiently), these people have a tendency to become rabid fans that will proselytize your work better than you ever can.
  • Make friends and influence… yeah, you know – Most podcasters use the first three to five minutes of each podcast episode to talk to their listeners. Depending on how open you are with your audience, they become invested not only in your story but in your life and your struggle to become a published author.
  • Podiobooks.com – Having your own website is vital, but just as important is having a “story only” version of your podiobook on Podiobooks.com. Consumers of podcast fiction know this is the place to go for good stories, and many that will never find your website will find your book here.
  • Short story podcast fiction – do you have short stories that can also be podcast? There are podcasts such as Escape Pod that are paying markets, and if you can get a short story on one of these outlets, you can drive people to your podcast novel.
  • Audiobook vs. Audio Drama – Most podcast novels are done as straight reads, such as what you find on Audible.com. But could your story work as more of an audio drama, with a full voice cast, music, sound effects, etc.? It doesn’t take an expert to see that this would cause an exponential increase in the time you would spend creating your podcast, but for those that have tackled that beast (like myself), if you do it well, you create another reason for people to give your podcast a chance.

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THE LUDDITES WERE RIGHT

By: C.J. Henderson

The Luddites, to make a short and inadequate explanation of a much more complicated movement, were folks who were against mechanical advancement. Worrying over the grim reality of losing jobs to automation goes back to the Industrial Revolution. These guys actually committed some pretty serious crimes to get their point across. They were rounded up and their riots quelled in the end, but they did raise an interesting point–

How much progress is enough?

Now, this is not one of those lectures on getting your kids to go outside to play more. You should do that, but you know, that’s up to you and your kids. No, this is a rant aimed at people who are perfectly willing to allow machines to replace parts of themselves which those machines are not fit to replace. Huh, I hear you mutter. I shall explain.

Automobiles … perfectly reasonable to drive them to a convention in another state. To the supermarket when you need to bring back 287 pounds of vittles. To the movie theater when you have to take four kids and it’s raining. There are a thousand, a million good reasons you can come up with for not walking. But, do we sometimes go too far?

For instance, have you ever gotten into the car and driven to a place only ten blocks away? Simply to mail a letter, or pick up a box of light bulbs?

In other words, when does the convenience become a burden? A certain amount of exercise is needed. Taking into consideration the trouble finding parking some times, the expense of gasoline, such a trip can end up taking more time and costing far more than it’s worth. But, in this modern world this ceases to be a consideration. Driving is what one does often …

Rather than thinking.

Then, add a cell phone.

How did people survive before them? Are you old enough to remember the world before cell phones? Did you find it impossible to communicate then? Probably not. But, along they came, and everyone suddenly had to have one. And had to chatter every minute of the day. Did they suddenly have so many more wonderfully interesting things to talk about?

No.

You know damn well they didn’t. Neither did you. But people can’t seem to put them down. They waste hours every day, chatting, and now texting, with absolutely nothing to say. Simply because a machine was put into their hands.

And, worse yet, so many of the grinning apes all around us think they have the skills to use automobiles and cell phones together. They think … now read this slowly and consider the lunacy of it while you do … that they have the skills to type while they drive.

To type while they drive.

Most of them can’t drive very well to begin with, don’t use turn signals, don’t know which lane to be in at what speeds, don’t understand the dangers of passing on the right (or forcing others to pass them on the right), et cetera. And, most of them can’t type very well, either.

Two great tastes that don’t go great together.

You’ve seen the videos of morons walking along texting tripping into fountains, falling down stairs, slamming into signposts, et cetera. And yet, these people believe they can drive cars while they type, when they can’t even walk and type at the same time.

The availability of technology does not imply mastery of it.

Am I getting through to anyone?

Who knows? Why would I ask that? I’ll tell you.

I ask such a question to make the reader wonder, if only for a split second about the question. I’m challenging you to consider what you have read before I go on to the major point. A point, oddly enough, of lesser consequence than the set-up.

Yes, I believe the above to be a major problem, and I will curse to Hell the mush-brained jackass that rams into me at 65 miles an hour because they were too busy letting some other worthless waste of oxygen know how much they “heart” some band or pictures of Internet cats or whathaveyou. But, the idea presented above was there to focus your minds on a smaller but, for we who write and edit and read for pleasure, in some ways equally disastrous set of problems.

Spell check. Let’s start there.

Spell check (and its equally evil twin, grammar check), may not be worth the problems it has caused.

Now initially, a great idea. Time saving. Super. Bring it on.

When I first encountered this technology, I was delighted. A traditionally bad speller (dictionary always on hand for this writer), it was a blessing sent from God. Indeed, as I would go through a ms. Checking each word it questioned, over the years I found myself actually becoming a better speller because I had this patient teacher willing to take me by the hand, word by word, and quietly explain each mistake to me.

It was wonderful.

But, most people don’t seem to have taken my approach. Most people seem content to simply let the machine correct things they way it wishes to do so … whether it’s right or not. They listen to their grammar checker and do whatever it says, abandoning what creativity they might have had in favor of a machine’s limited ability to structure a sentence.

Worse yet, we now have spell checkers being imposed on us.

Try typing the phrase “sci fi” in an email. At AOL, the machine will not let you leave “fi,” but will automatically change it to “if.” Because it knows better. Because you’re too stupid to be allowed to type what you want.

And, in a world where so many people are too stupid to be allowed to type what they want, can we blame the machines for rising up and trying to kill John Connor before he has us all filling our letters with goddamned idiotic “:O(” crap? What kind of pinhead uses this nonsense to convey a feeling?

The kind that has been brainwashed into believing they have no creativity. That conformity and speed equal something better than free expression.

Technology is a wonderful thing. It truly is. When I was a child I hand wrote stories. Hundreds of them. Then I learned to type. It was a glorious release. Then, the electric typewriter was born, and a golden age seemed to have arrived.

And then, the word processor was sent down from the mountain, and God had proved he loved his people.

No, I don’t want a return to the quill pen. But, when I get a new book delivered from a publisher, and I find that all they did was plug my ms. into a lay-out program which leaves my book ugly, boring, pedestrian and worse, filled with hundreds of technical mistakes … then suddenly I’m ready to start talking behind HAL’s back while hoping it can’t read my lips.

I just spoke with another author today who told me their new book arrived from a publisher who did the same thing, used a program to do the lay out for their book, but then didn’t bother to look at the results. Their book actually was printed and sent to the stores with strike overs in the text.

Sure it’s cheaper to not hire an editor, simpler to let the machine do the work, faster to not go through the effort of reading every single line for the tenth time, looking for dropped lines and extra spaces and run overs and strike overs and misplaced words and …

Well, you either get the idea, or you don’t.

What I’m trying to say is, don’t remove the human element from your work. When you type something, whether it’s a novel, or just a reminder to a friend as to where and when you are to meet, do it with care. Read over what you’ve written. Think about it. Decide as to whether or not it could be better.

Quantity … or quality?

Is it better to type up 500 meaningless, pointless texts a day, empty messages which will be forgotten instantly …

Instantly?

Or five or six texts which come from your soul, which tell those to whom they are sent something important, something vital, something lovely?

Spell check–good.

Caring enough to read it over after spell check–better.

Caring enough to re-write, and to think about what you’ve written, to actually explore your feelings and the depths of your soul, opening yourself to the world beyond, taking a chance on your ability to express yourself …

Yeah, it’s dangerous. But it has it’s rewards.

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A Challenge in Writing Fantasy Short Stories

by Terry W Ervin II

www.ervin-author.com

https://uparoundthecorner.blogspot.com/

One thing on every writer’s mind as they are planning and writing a short story is word count. In almost every instance the shorter the work, the easier it is to find a market for it. It’s a balance of words, quality, and the story to be told.

In any case, there are more markets that accept 5000 word short stories than 7500 word stories, and some prefer word counts under 4000. Even those that indicate they will consider a 7500 word piece state it has to be really exceptional to be published. Consider in context what is being said, since I believe all publishers sift their submission pile for what they believe are exceptional stories. The longer the story, the higher the hurdle for it to reach publication.

Now consider writing a fantasy story. The writer has to introduce the reader to the created world, demonstrating or explaining ‘how it works differently’ as compared to the reader’s mundane, everyday world. The world building has to be packed within the context of the story while keeping the plot moving forward. Give the readers just enough to make sense, enabling them to understand. Allow the readers to fill in some of the blanks where ever possible.

An example to illustrate: A writer doesn’t need to explain to readers how an insecticide bug spray works (and its limitations) on a cockroach menace. The average reader can see the property owner in his mind’s eye removing the cap, pointing the can and pressing down on the nozzle, while avoiding inhalation of toxin. But a writer of fantasy may have to explain how a net stung with iron beads might be used by the royal gardener to snare the flitting fairies that have been stealing the blooming royal snapdragons.

In both examples the character is trying to get rid of pests, but the former dealing with the cockroach infestation would require fewer words than the latter dealing with the fairy menace. Maybe it would only require thirty words spread over a few sentences, but that adds up quickly when considering a word count limit of 5000. Why include the episode about the iron affecting magical creatures? Maybe it’s a way of establishing the rules or laws of that world for when a larger, more dangerous magical foe comes into conflict with the protagonist—so that the full explanation isn’t necessary, possibly right in the middle of intense action.

Maybe that’s part of what interests readers of fantasy—the discovery of new worlds and creatures, and how they interact. But there’s more than just how the fantasy world differs from the reader’s everyday experience. The story also has to include characters the readers want to follow through their interactions and adventures. Creating characters and relaying the story’s action takes words too—if at all possible everything tucked nicely into the 5000 word (or less) box.

So that’s the challenge. Write a short story with all the necessary elements, while including content related to the fantasy setting that is both necessary and intriguing. And keep the word count under the limit.

 

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The Greatest Teacher You Never Had

By Alethea Kontis

I haven’t had a lot of odd jobs in my life. Most of my jobs–like my relationships–have been long-haul kind of things. My first job was concessionist at a movie theatre when I was sixteen–by the time I turned twenty, I was running the place. That same year I graduated college and got a second job at a bookstore, and I haven’t left the publishing industry since. But there was a very brief time, in those first few months after I moved to Tennessee, before I landed the library job and another movie theatre gig, that I put my resume in at a temp agency so that I could get on the roster as a substitute teacher.

I was a substitute teacher for one day.

I sat in at the Daniel McKee Alternative School in Mufreesboro. That’s right, I got an entire day with juvenile delinquents. Right now you probably think you know exactly how this story ends, but you would be wrong.

I had a wonderful time with the kids. We chatted and laughed. We played Hangman with movie titles. One of the boys made me a rose out of a napkin. The only time I ever felt out of place was when I overheard one girl saying that her dad could drink another girl’s dad under the table any day. We didn’t do anything on the syllabus (they claimed they’d already done it), but they didn’t burn the school down, so I call it a win.

The second time I got the call, I was asked to sit in for a band teacher at Smyrna High School. Band? Ha! I couldn’t play an instrument if my life depended on it, but I was still excited. I put on the exact same outfit I wore to Daniel McKee, drove forty-five minutes to get to the school, and walked right into the office…where the secretary promptly ignored me. I took the initiative and asked, “Where is the substitute teacher sign-in sheet?” She pointed me to a closet-sized room behind her desk, and then promptly got up from her chair and walked away.

As I was signing in and greeting the other subs, I was stopped by a woman in the doorway with a horrible hairdo, pearls, and way too much make-up. The secretary peered anxiously over her shoulder. She introduced herself as the Vice Principal, and then proceeded to inform me that I was not adhering to the dress code.

I was taken aback, not just by her ridiculous accusations (since my oversized sweater and black leggings had obviously been fine for the other school) but also by the fact that the placement of her confrontation (the doorway) forced every one of the other subs to witness my scolding. She told me that my options were to go home and change, or to let them call in someone else in to sub. I was not about to drive an extra 90 minutes to kowtow to this woman’s demands, so I told her to call someone else.

As I stomped out, a student asked incredulously, “You’re substituting for Mr. Miller?” “Not anymore,” I answered.

To this day, I’m not sure how I would have handled that encounter differently. I could have put on my prom dress and gone back. I could have accused the woman of blatant age discrimination, which in hindsight was painfully obvious. (I looked like a high school student until I was 30. Now I look like a college student.)

I do know one thing, though–I wouldn’t have let the event affect me as deeply as it did. I let this woman crush my soul and spiral me into a horrible depression. In five minutes, this complete stranger brought back all my teenage insecurities and slapped me in the face with them. Because of her I turned down every other future sub request from the temp agency. Only later did I find out that a few of those calls were from a dear friend who taught an English class and had specifically requested me. I regret not taking those calls, and I am not a person who lives to regret.

As a writer, however, I highly valued this encounter. I needed to experience what it was like to face adversity, to be caught off guard. I needed to know that one’s past never stops haunting. I needed to know that even my strongest main character is subject to emotional downward spirals.  I needed to accept the fact that some internal struggles will never be resolved. In the adventure of life there is no “right” answer. The only “wrong” answer is not moving forward.

I was a substitute teacher for one day.

I think the person who learned the most was me.

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An Excerpt from The Master of Whitestorm

by Janny Wurts

1. The Galleys of Mhurga

Jostled from sleep by the bang of a fist against the beechwood oar that pillowed his head, Haldeth started upright, muscles tensed reflexively. But the command he expected never came; no guttural shout followed to transform the night into a misery of hardship, rowing against endless ranks of sea swells. By the dim fall of moonlight through the aft oar ports, Haldeth surveyed the lower deck of the galley Nallga. Every slave remained hunched and still over his loom, but one. The blow which roused him had not arisen from his Mhurgai masters, but from his own benchmate, in a useless fit of rage.

Annoyed himself, Haldeth forgot tact. “Mind your temper!” he whispered urgently.

The man at his side looked up. Confronted by gray eyes and a face which held no trace of laughter or compassion, Haldeth felt his breath catch in his throat. Gooseflesh chilled his skin. Although the air was tropical and mild, he shivered and glanced aside, reminded of the first night his benchmate had been dragged on board. As a battered, soot‑streaked captive not yet past his seventeenth summer, that savage look had been with him then, graven upon young features by the atrocities of the Mhurgai who routinely pillaged and burned towns on the shores of Illantyr. But who he was, and what family he had owned before he was chained for the oar, Haldeth never knew. The boy had grown to manhood in stony silence.

The Mhurgai called him Darjir, sullen one, for the flat, unflinching glare he returned when anyone addressed him. No man heard him speak, even through three years of abuse on Nallga’s lower deck. Haldeth believed him insane.

The cruelty of the Mhurgai could drive the strongest mind to madness, Haldeth well knew. Soured by bitter memories, he shifted a foot cramped by the bite of the galley’s floorboards. Even now, he suffered nightmares of his wife and two daughters; they had been butchered before his eyes the day his own freedom was lost. Daily, he cursed the smith’s constitution which bound him to life and health, for other than hair turned prematurely white, seven years as a galley slave had changed him little. Haldeth envied Darjir’s witlessness. Better to feel nothing than to endure the ache of grief and hatred, helplessly chained.

Sleep alone afforded respite. Determined to take full advantage of the hours Nallga would remain at anchor, Haldeth leaned once more across the oar and settled his head on crossed wrists. Darjir’s eyes followed him restlessly, luminous as coins in the moonlight.

“Neth Everlasting!” Haldeth lifted a resentful fist to emphasize his meaning, since words were wasted effort on a man never heard to utter an intelligent sound. “Bother somebody else, will you? I’ve had enough.”

Darjir flexed callused fingers against the oar. Then he lifted his head and spoke with sudden, startling clarity. “I’m going to get off this hulk.” His tone cut like the wind’s edge in winter.

Haldeth gasped. Shocked, he took a moment to react. No man escaped the bench of a Mhurgai galley alive. Attempts earned agonizing punishment, and since by custom the fate of the offender would be shared by the slaves surrounding him, a man dared not trust his fellows. Through three centuries of marauding, the Mhurgai held no record of slave mutiny; Nallga made an unlikely choice for exception. Caught by an involuntary shudder, Haldeth shook his head. “Be still!”

Darjir moved his ankle. A dissonant rattle of chain destroyed the night silence. “I’ve had enough.”

“Quiet, fool!” Haldeth felt fear, cold as the touch of bare steel against his neck. “The forward oarsman will kick in your ribs if he wakes and hears you.”

“I was named Korendir. And I’m getting off.” The words left no chink for argument.

Haldeth abandoned the attempt. Nervously, he surveyed the forms of the surrounding slaves for any trace of movement. But the lower deck remained peacefully undisturbed, quiet but for the lap of water against the hull. Prompted by reckless impulse, Haldeth met Korendir’s gaze.

“I’m with you.” The steadiness of his voice amazed him. “I’d prefer the knife found me guilty.”

Korendir’s bearded features split into a slow, ill-practiced smile which left the flint in his eyes unsoftened. “I thought you might.”

Haldeth bent once more over his oar, but sleep would not come. Years of suffering had inured him to his fate; he knew in his heart that Korendir’s proposition was nothing but desperate folly. Sweat sprang along his naked back. No mercy would be shown should their plot be discovered; and even if they managed to escape their chains, the Mhurgai collared their slaves with iron. The sea made an infallible warden. Reminded by the slap of waves against the hull, Haldeth hoped the water would claim his life. The knives of a Mhurga seaman never killed. They crippled.

#

“Bhakka! Bhakka!” Nallga’s mate shouted the call to rise from the companionway ladder.

Haldeth roused from an unpleasant dream and knuckled gummed eyelids. Dawn purpled the calm of the harbor beyond the oarport; in the half-light of the lower deck, the unkempt compliment of Nallga’s slaves stirred and stretched. The mate strode aft, thick hands striking the back of any man slow to lift his head. Swarthy, round-shouldered, and short, the officer wore no shirt. Scarlet pantaloons were bound at his waist with gemstudded, woven gold; a whip and a cutlass hung in shoulder scabbards from crossbelts on his chest, companioned by a brace of throwing knives and a chased dagger.

Haldeth shifted uneasily. Mhurgai sported weapons like women wore jewelry, even to the four-inch skewers which decorated their earlobes. Conscious of damp palms and a hollow stomach, the ex-smith cursed his impetuous pact with Korendir the night before. Surely as steel would rust, the plan could only lead to grief.

The mate strutted like a fighting cock down the gangway and glowered over the double rows of captives. “Out oars!”

Haldeth moved at his order, one with a hundred men who unshipped fifty oars counterweighted with lead and held them poised over the sea. A deep rumble sounded overhead, and shadow striped the oarports as the upperdeck slaves followed suit.

“Forward, stroke!”

With a drumbeat to set the speed the shafts dipped, shearing Nallga ahead against the tide. Chain rattled in the hawse as the deck crew raised anchor, but whether the galley left port for plunder or commerce, Haldeth could not guess. He bent his back to the oar, flawlessly coordinated with the man at his side. Korendir’s face remained as expressionless as ever beneath his tangled bronze hair. Except for the memory of his given name, the plot and the promise exchanged in the night might have been hallucination caused by too many years of confinement.

#

By noon, the air below decks became humid and close. Sweat traced the bodies of the rowers, and the waterboy made rounds with bucket, mug, and a sack of dry biscuit. Haldeth chewed his portion, resentfully watching the mate dine on salt pork, beer, fresh bread, and grapes, provisioned at Nallga’s last port. Though the man’s eyelids drooped, his ear remained tuned to the oar stroke; not even the lethargy of a full stomach would lighten his whiphand if he caught a lagging slave.

Korendir paid him little mind. He pulled his end of the oar one-handed and flicked weevils from his biscuit with a cracked thumbnail. Though bugs invariably infested the entire lump of hardtack, he never overlooked one. Haldeth endured the extra weight of the loom without complaint. Bored to the edge of contempt by Korendir’s fussy habit, he nearly missed the discrepancy even as it happened: his benchmate passed up an obvious cluster of insects and raised the biscuit to his mouth.

Korendir tasted the mistake the moment he bit down. He choked, and with a swift, thoughtless gesture, thrust his face through the oarport to spit over the gunwale.

Haldeth tightened his grip on the loom. Should a wave dislodge the oar from its rowlock, Korendir risked his neck and head to a hundred and twenty pounds of leaded beech shoved by water with an eight-yard mechanical advantage. Haldeth cursed and leaned anxiously into the next stroke. More than once he had seen slaves killed by such carelessness.

Korendir ignored the danger. He emptied his mouth with unhurried calm, then executed a pitched imitation of the captain’s gruff voice. “Alhar!” Deflected by water, the shout seemed to issue from abovedecks. “Get topside, thou son of a lice-ridden camel tender!”

The mate flinched. His sallow features suffused with rage, and weapons, mustache, and tasseled pigtail quivered as he sprang to his feet and stamped the length of the gangway. Haldeth felt his heart pound within his breast. But the mate passed without glancing aside, even as Korendir withdrew from the oarport, stupidly intent on his biscuit.

“Great Neth,” murmured Haldeth. Perspiration threaded his temples. The Mhurgai language was not a tongue readily mastered by foreigners; Korendir’s ruse indicated painstaking forethought. Yet however well planned his intentions, Haldeth perceived no advantage to be gained through a trick upon the mate. The man was notoriously bad tempered; his unpleasant mood would shortly be vented upon the hapless backs of the slaves.

Korendir finished his meal. He licked his fingers and returned his hand to the oar, apparently unruffled by the raised voices abovedecks. Between strokes, Haldeth caught fragments of the mate’s protest, clipped short by a bitten phrase of denial; the captain had summoned no one on deck, far less attached insult to such an order. He dismissed the mate amid startled laughter from the crew. Since gossip thrived on shipboard as nowhere else, the unfortunate officer immediately became the butt of spirited chaffing. Haldeth knew even the waterboy would smile at the mate’s idiocy before the incident was forgotten.

Shortly, the red-faced and furious mate stamped down the companionway. Braced for trouble, Haldeth glanced at his benchmate. Korendir never flicked a muscle. His mouth described as grim a line as ever in the past, even when the mate ordered double speed from the rowers with vengeful disregard for the heat.

The drumbeat quickened. Nallga’s oars slashed into the water. Waves creamed into spray beneath her dragon figurehead as the full complement of her two hundred slaves bent to increase stroke. Faster paces were normally maintained only to keep the slaves in battle trim; today, the drill extended unreasonably long. Soon the most seasoned palms split, blistered and raw, each stroke become a separate labor of endurance. Blood pounded in Haldeth’s ears, cut periodically by the crack of a lash as the mate laid his whip across some unfortunate laggard’s back. With lungs aching and eyes stung blind with sweat, he reflected that Korendir’s fellow captives would pound the life from his body should they discover him responsible for the mate’s ugly mood. Yet the man himself bore the agonies of exertion with impassive lack of regret.

The mate’s fury did not abate until the waterboy arrived with the evening’s rations. Sensible enough to recall that unfed slaves made slow passage, the officer restored his whip to his belt and at last slackened the pace. Beaten with exhaustion, Haldeth dropped his head on crossed wrists. Since the evening meal was more lavish than that served at midday, the slaves ate in shifts, permitted use of both hands. But like Haldeth, most of the men were far too winded to eat. Still irritable, the mate paced the gangway, urging them to haste with his whipstock until the night officer reported for duty. Soon after he called the order for rest, heavy sleep claimed the entire lower deck.

Nallga held course under reduced speed, driven by her upper oars. Midnight would bring a reversal, the lower oarsmen resuming work while the slaves above slept until dawn. The wind blew steadily off the starboard quarter, and the galley’s single, square sail curved against a zenith bright with tropical constellations. Mhurga’s fleet plied south in winter, to avoid the cold, storm-ridden waters of their native latitude. In expectation of mild seas and fair sky, the captain retired below, which left the quartermaster the only officer awake on deck. Phosphorescence plumed like smoke beneath the galley’s keep. The lisp of her wake astern described a rare interval of peace between the frailty of wood and sinew, and the ruthless demands of the ocean.

“Bhakka! Out oars! Reverse stroke!” The shout disrupted the night like a warcry, its bitten, authoritative tones unmistakably the mate’s.

The lower deck oars ran out with a rumble. Dry blades lapped into water, muscled by a hundred rudely wakened slaves. Entrenched in the long-established rhythm of forward stroke, the exhausted upperdeck rowers adapted sluggishly to the change. Chaos resulted.

Slammed by the conflicting thrust of her oars, Nallga slewed. Crewmen crashed like puppets against bulkheat and rail. The sail backwinded with a bang which tore through boltrope and sheet. Canvas thundered untamed aloft while the oars crossed and snarled, slapped aside by the swell. Leaded beech punched the ribcages of some rowers with bone-snapping force, and a barrage of agonized screams arose from the benches.

“Oars in! Quartermaster, hard aport!”

Nallga’s captain pounded up the companionway, still naked from his berth. His hand clutched a bleeding shoulder, and his face was purpled with outrage above his broad chest.

“Send the mate on deck!” he bellowed to the nearest seaman. While the galley rounded to windward, he turned on the quartermaster and shouted over the crack of wind-whipped canvas. “What in Zhaird’s blackest pit provoked that nullard’s act of stupidity?”

The quartermaster had no answer. Nallga rocked gently, her bow pointed to windward. A stricken groan from the benches recalled the captain to his responsibilities. He issued rapid orders. Hands ran aloft to subdue the mainsail and assess damage. Escorted by the heavily armed bulk of the ship’s marshal, the healer made rounds of the slave benches to tend the injured. His task took the better part of the night.

The mate spent an unpleasant interval in the captain’s cabin. He insisted he had been asleep in his hammock at the time the shout disrupted Nallga’s course, but repeated denials only made him look silly.

“Thou hast made a fool of thyself.” The captain gestured crossly. “No crew respects an officer whose behavior lacks logic. Perhaps rest will restore thy reason. Zhaird’s hells, it had better. This vessel cannot afford another of thy mistakes.”

Nallga resumed headway at daybreak. Crewmen labored over her sail with rigging knives and needles, and the oar banks stood gapped where injuries laid up several rowers. Seven looms had snapped off at the rowlock; replacements were fitted from a store of spares, and the broken ends stacked behind the lower deck companionway, their lead-spliced handles saved for salvage. Slowly the galley regained her trim, while fore and aft her crewmen whispered that the mate had lost his honor. Perhaps, they said, he had been cursed with madness, and their thoughts strayed often from their work.

Haldeth bent to the rhythm of the oar and furtively studied the emotionless man by his side. Last night’s call for reverse stroke had roused him from deep sleep. With reflexes ingrained through years of obedience, he had run the loom half out before his benchmate stopped it with his fists.

“Wait.” Korendir fumbled his end of the oar and seemingly by chance the blade splashed short of its full sweep. In the following second, the reverse stroke of the lower deck tangled with the entrenched beat of the upper, with disastrous results. The mate had issued no order, Haldeth perceived at once. The voice and words had been delivered with diabolical skill by the one man who would be least suspected: the Darjir named by the Mhurgai never spoke, far less rendered pitched imitations of his masters. Now, Haldeth watched the same oar rise, dripping from the sea. He concluded his thought grimly. If a man sought to undermine the mate’s authority, no method could be better. Except Korendir’s wayward performance had left two slaves dead from punctured lungs; six others gained multiple broken ribs, and their moans of pain could be heard as the day wore on.
“The dead no longer suffer,” Korendir whispered in reply to Haldeth’s silence. “And shattered bones are a small price to pay for freedom.”

His words held a ringing arrogance which allowed no grace for reply. Haldeth did not try. Either Korendir was a madman with a taste for cruelty, or he knew explicitly what he was doing; his implied intent was to release every slave on Nallga’s benches. Haldeth splashed the oar into the swell with bitter anger. More likely his benchmate would earn them all the cold taste of the knife.

#

Nallga entered the tiny harbor of Kahille Island late that afternoon. Mhurgai ships often anchored there, for springs flowed like silver down the islet’s mountain slopes. Most southern archipelagoes relied on rain cisterns for fresh water; controlled by a water-broker, the price came dear. But Kahillans were too unsophisticated to levy a fee, and free water made their harbor a popular port.

Nallga moored inside the barrier reef, and instantly became the target of a flotilla of native ventors in dugouts. Reduced swell offset their nuisance; casks made awkward handling, and the captain wished the loading accomplished as smoothly as possible. The Kahillans did not concern him. A culture without knowledge of metal could traffic no weapons with the slaves, and any guard spared for security left one less man for work.

On the lower deck, Haldeth lounged at ease, grateful for the respite. An unfamiliar deckhand stood watch. Seated on the gangway enjoying a basket of fruit, the man was tolerant of contact between the slaves and the Kahillan merchants. One bold wretch had managed to wheedle himself a bunch of grapes, but the officer was too busy eating to intervene.

Korendir leaned across the shaft of his oar with his head cradled on folded arms. To an inboard eye, he appeared asleep. Haldeth knew he was not. A Kahillan dugout drifted close to the galley’s side, all but moored beneath his oarport. The occupants sat with upturned faces watching a humorous mime as Korendir pretended to hunt lice in his beard. By periodic stretching, Haldeth caught the gist of the performance. The sham puzzled him until he noticed the Kahillan men were clean-shaven. For a people without knives or steel, the fact was a telling oddity.

Evidently Korendir intended to exploit the implications if he could. A final, furious round of scratching raised applause from his audience. The men in the dugout pushed off. Chattering and laughing as if they shared a fine joke, they unshipped paddles and executed a graceful stroke. As the canoe slipped out of sight beneath Nallga’s counter, Korendir shut his eyes and drowsed in earnest. Presently, Haldeth did likewise.

“Baja!” cried a smiling native in accented imitation of the Mhurgai call to rise.

Haldeth opened his eyes in time to see Korendir lift his head and peer cautiously through the oarport. Balanced precariously on tiptoe in the stern of his dugout, a Kahillan man stood with his paddle extended above his head. Lashed to the end was a small wooden box. Korendir squeezed both shoulders through the oarport to reach it. Untying the knots on the waving blade took him an imprudent amount of time.

Haldeth cast a nervous glance at the watch and observed that the sight of a slave straining through an open oarport did not pass unnoticed. The officer spat grape skins onto the deck and shouted a guttural warning.

Korendir ignored him. With an irritable frown, the deckhand rose and unslung his whip.

Haldeth kicked his benchmate’s ankle, imploring prudence. But with the final knot nearly undone, Korendir refused to relinquish his prize. The string fell loose, just as the deckhand strode the length of the gangway and uncoiled his lash. Korendir started to unwedge his shoulders from the oarport, but the deckhand moved first. Seven supple feet of braid struck, splitting through muscled flesh.

Korendir recoiled and skinned his collarbone on the oarport. Silent and sullen, he straightened. Gripping his oar with both hands, he lifted gray eyes and glared at the deckhand. The insolence earned him the whip-butt across the face in a blow that left him reeling.

“Mind thy manners,” snapped the officer. But the slave’s cold gaze left him strangely unsettled. He blotted sweat from his lip and sauntered back to his seat.

The instant the officer’s back was turned, Haldeth caught his friend’s shoulder and whispered, “Was that necessary?”

Korendir shifted his hand, surreptitiously exposing the corner of a small wooden box. Kahillan shaving tools were bound to be inside, and if his brief act of defiance had distracted the deckhand from noticing, Korendir considered the price worthwhile. One bruised eyelid dipped into a wink as he tucked his prize under his loincloth. Curled once more over his oarshaft, he ignored the flies which lit upon his opened back with impressive single-mindedness, and presently fell asleep.

#

In the dark, still hours after midnight, Korendir examined his contraband. Haldeth craned his neck to see over his companion’s shoulder as the box fell open. The contents were immediately disappointing. By the wan light through the oarport, Haldeth discovered that Kahillans removed their beards with slivers of sharpened shell, each imbedded in a layer of pitch to preserve their fragile edges. A slot to one side contained a well-used whetstone.

“Neth,” said Haldeth. Disgust thinned his habitual caution. “Those things are worthless.”

Korendir lifted his head. “They’re precisely what I expected,” he said mildly.

But Haldeth remained too irritable to demand any explanation. Angered that he had permitted himself any hope at all, he hunched at the far end of the oar shaft and sleeplessly waited for dawn.

#

The dishonored mate resumed duty the following day. His jaw was clenched, and his strut more pronounced as he relieved the officer on the gangway. Interpreting the signs as fishermen read weather, Haldeth knew the man’s temper would be short. No slave needed Korendir’s crusted back to remind him how readily the Mhurgai whip might fall. All orders on the lower deck were obeyed as though the rowers sat balanced on eggshells.

Nallga cleared the barrier reef just after sunrise. Driven by both banks of oars, she thrust through the swells under a stiff breeze, her forward slaves drenched in spray.

Accustomed to the shudder of planking against heavy waves, Haldeth rowed, preoccupied by thought. Korendir’s exchange with the Kahillan natives had been outright recklessness. Certain the mate would discover the contraband, Haldeth worried. Sharpened shells were no match for Mhurgai steel. Korendir was crazy to believe in them.

Scarcely an hour beyond the barrier reef, Haldeth noticed cold water wetting his feet. He glanced downward, immediately suspicious of a leak. Nallga was clinker-built, her strakes lashed through eyes on the ribs with tarred cord; one of the lines had given way, and seawater welled between the floorboards with each roll of the hull.

Haldeth swore. Korendir had surely been at work with his shells; the line showed no trace of chafing previously. And with the mate’s competency questioned by the entire crew, now was the worst time to discover hull failure. Yet Haldeth had no choice. Refusal to report a leak carried worse penalty than the whip. Reluctantly, he raised his voice.

“Zhaird’s hells,” snapped the mate. “How did that happen?” Surly and impatient, he rang the brass bell to summon the ship’s marshal since no Mhurga seaman ever walked among the slaves without an armed escort to cover his back.

The mate strode down the gangway to Haldeth’s bench. Even where he stood he saw the water sluicing through the floorboards. The cause was certainly minor, and in his present vicious mood, the protocol which demanded he wait for assistance rankled. The moment the marshal’s weaponed bulk loomed above the companionway, the mate barked orders to hold stroke. Then he stepped down between the slave benches.

Haldeth relinquished his oar and moved clear. Left to tend the loom alone, Korendir stared through the oarport as if unaware that an officer had arrived to inspect the leak.

The mate muttered an insult and added a curt gesture for Darjir to move his feet. Korendir complied without haste. He fixed intent gray eyes on the mate and appeared not to notice the foam-laced swell which rose beneath the poised blade of his oar. The sucking smack of impact tore the shaft free of his grip. The high end of the loom rose in a neat arc and struck the mate on the side of the head.

Haldeth cried out in alarm as pounds of leaded beech thumped into skull. The officer toppled like a felled tree. His weapons clattered over the wood of slave bench, rib, and floorboard. Korendir controlled the shaft with a one-handed motion and swiftly bent over the fallen body of the mate.

Haldeth trembled uncontrollably. A man four years at the oar could never have misjudged the swell; Korendir’s act surely had been deliberate. The marshal had witnessed its entirety, and his muscled, gut-round figure now pounded the length of the gangway. Both huge fists contained knives.

Fear closed Haldeth’s throat and sealed the breath within his lungs. Only divine intervention would spare him from hamstringing, and as he knew the Mhurgai, he would be lucky to escape that lightly. He remembered the mate’s knife too late; the marshal’s lumbering charge had already carried him aft. Haldeth found himself throttled by a hairy wrist, while ten inches of bare steel pricked his exposed back.

“Get back!” commanded the marshal. He spoke past Haldeth.

Instantly obedient, Korendir straightened. He withdrew his hands, which surprisingly held no weapon, but instead had supported the mate’s shoulder to hold him clear of the bilge. Salt water welled beneath the floorboards, lifting plumes of blood from the man’s split scalp. His tasseled braid was already sodden scarlet and his body lay ominously still.

Korendir shrugged, artfully emphasizing empty hands. The marshal snorted in disgust, but his death grip on Haldeth relaxed slightly.

“Zhaird’s own fool, thou art, to have made such a move,” he muttered to the unconscious mate. Then he fixed unfriendly eyes on Korendir. “Ship that oar, slave, and make certain it causes no further mischief.”

The marshal raised his voice and summoned Nallga’s healer. The man arrived, accompanied by a brace of deckhands who removed the mate from the bilge under the vigilant eyes of the marshal. After a brief examination, the healer stood up and pronounced the mate dead. He accompanied his prognosis with a clipped gesture toward Haldeth and Korendir.

“Those slaves should both suffer punishment.”

The marshal crossed his arms over his belted chest and spat on the deck. “I think not,” he said. “Why ruin two fine strong backs? The mate’s own carelessness earned his death. I saw. No hand held the oar which struck Alhar down. Any fool who thinks himself clever enough to walk alone on a slave deck well deserves a split skull.”

“The captain must decide,” retorted the healer. “I doubt the injury to Alhar was an accident.”

The marshal shrugged. He extended a hand for the healer’s satchel and helped the man back onto the gangway. A crewman arrived to replace the departed mate, and both officers retired abovedecks.

#

Interrupted at breakfast by news of Alhar’s misfortune, the captain heard the marshal’s account through without comment. But when the healer insisted the slaves be tortured in retribution, Nallga’s commander spared no patience for tact.

“Zhaird’s hells, I’m well rid of that incompetent excuse of a mate!”

The healer frowned. “That’s a dishonorable way to account for an officer who was murdered in thy service.”

The captain’s face went white. “Alhar’s weapons were not touched.” He qualified with menacing clarity. “Slaves who kill usually have courage enough afterward to strike a blow in self-defense. We’re short-oared enough without wasting the morning carving sheep.”

The captain sized the healer up in a manner that withered the reply in the man’s throat.

“Get thee gone from here,” he finished. “Quickly, or I’ll teach thee the meaning of insubordination with a rope on the end of a yardarm.”

The healer backed through the doorway, his satchel forgotten in his haste. The captain booted it out of the cabin with such violence that the medicine flasks shattered within. With no pause for apology, he rounded on the marshal.

“Clear that oar and get the joiner to work on the leak. Lock the slaves in the sail room, and don’t trouble me again concerning the matter.”

#

Confined in the semi-darkness of the sail room, Haldeth shivered as the sweat chilled on his body. The stroke of the upperdeck oars rumbled through the bulkhead at his back, and he breathed air thickened with the smell of mildewed canvas. The new location held nothing by way of advantage. Stout chain secured him to the ring set in the hatch grating, and a guard stood watch beyond the companionway. The man would not sleep at his post; every sailhand down to the waterboy had suffered repercussions from the captain’s foul mood. Haldeth found no comfort knowing that blame rested on the slaves whose oar had caused Alhar’s death.

As though sensing his companion’s thoughts, Korendir whispered from the shadow, “I never promised there wouldn’t be risk.”

Haldeth’s temper flared. “What have you gained us but misery? You’ve seen what happens to those who earn the disfavor of the Mhurgai. How long do you think it will take you to break, when they strip your back raw because you moved to swat a fly?”

“Be still!” snapped Korendir. “I never act without purpose.”

Haldeth felt his wrist gripped, and a warm object pressed against his palm. He raised it toward the dull streak of daylight which fell through a crack in the hatch grating, clued by the pungent scent of pine before his eyes confirmed. Korendir had passed him the pitch which once had lined the Kahillan box. Deeply pressed in the surface was an impression of the leg-iron key, surely purloined from the ring at the mate’s belt during the confused moment while the marshal had raced the length of the gangway.

Sobered into reflection, Haldeth returned the pitch. Over the stroke of Nallga’s oars, he heard the whispered scrape of a whetstone grinding shell, and in darkness, Korendir’s slow smile could almost be felt.

“I’ll have you a copy,” he said softly. “Wooden, but good enough, since the marshal so kindly oiled the locks.”

Haldeth suppressed a mad urge to laugh. Under normal conditions, the leg-irons were frozen with rust. But the marshal had nearly bent his key while unlocking the slaves for transfer to the sail room. In an irritable fit of efficiency, he had commanded a deckhand to work the slide bars with oil, then inspected the job personally to ascertain the work was done well. For the first time, Haldeth entertained the belief that escape might be possible.

He touched his companion’s arm. “Let me help. I can sharpen while you carve.”
Korendir passed the whetstone and the duller of his two shells, then resumed work in silence. The joiner would repair the leak in under an hour, and the duplicate key had to be completed before the marshal returned to fetch them back to the oar.
© Janny Wurts

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Alarming Trends

by Janny Wurts

Is anyone disturbed by the accelerated hype now appearing as ads targeted for unpublished, new authors, and featured in glitz, at the top of a number of prominent book discussion forums?

Should writers of fiction be bothered about this, given the rapid shifts and changes sweeping the publishing industry, and the trend for young people to mine the internet for information?

Yes, getting picked up by a major house is competitive, and yes, there is a building groundswell, internet driven, toward would-be authors leaping straight into self‑publishing and more, hyping this route as the only or best thing, with passionate, apparently informed expertise. I could show you the boxful of business cards such authors have handed me at public venues, or the disks of e books, made at home. This is publishing, geared for the future, right?

Why am I disturbed?

Because all online sources, even the overwhelming bulk of the information that’s become so prolific is not alike. There is a difference between such traps, and the genuine article.

Too many of these links are direct advertising, not to help newcomers actually reach a valid reading public, but are, in fact, hype geared toward stealing your cherished dreams and your shirts, and poised to take advantage of a wide reaching arena of total ignorance. Some of these sites are after your pocketbooks, folks, and you will never, ever make the springboard to where you want to go, from there. In fact, the opposite.

More sadly, not just predatory businesses are riding the information wave – many honest, well-meaning people who are enthusiastically touting self-publishing their novels on forums as the means to your ends actually haven’t an honest clue. Or they’ve burned themselves out submitting substandard material (or never even tried, just listened to doomers and gloomers) until they believe the traditional career path is hopeless. I have seen blogs and forum discussions where the clueless expound on the facts of the industry for the even more clueless, with no sound counter-argument or professional experience in evidence behind such soapbox trumpeting.

An article was written in the SFWA Bulletin, recently, where several old hand pros on a panel reported being hotly contradicted by a chorus of self‑published clueless authors – who were, in effect, preaching that the way to be noticed by, or break in to, a legitimate major house was to sell books behind a vendor’s table at conventions and book fairs, and to keep doing this behind a stack of self-printed titles, until such zealous efforts invited approached by a real editor who would offer a contract from a big publisher. Louder still, is the groundswell of insistence that e publishing on your own is the quick ticket, and who needs an editor anyway?

Wrong steer! Yes, I have heard the myths and the stories “out there” – but in fact, the real route to a paying contract is not selling your own books off your car tailgate at malls, or setting up shop with a paypal account!

Fiction publishing is a legitimate business, and there is a professional way and manner in which to apply for serious success.

Now, before the knee jerks, I am not condemning all comers to self-publishing – recently, certain non-fiction works are earning their marks, here, and there are many cases where writers who have been professionally established before, and through a published career course, have gained sound knowledge of production, editing, and professional graphics – these folks have a developed readership, presumably, toward which to target their efforts.

I am not saying all self published new books by unknown names are without merit. I haven’t read all of them to generalize in that way. There are genuine small presses and independent publishing houses, too. I am not referring to these!

My concern is targeted toward the enormous ignorance about how the industry actually works, and the whacked out “advice” being proliferated on the internet, that is seeing too many enthusiastic young talents sold short. If you have dreams of writing fiction, by all means pursue them with your whole heart, but please take the time to get educated and know the ropes, first!

Don’t take the blind plunge into the morass of myth, and waste your money, or fall headlong, uninformed, into the pit of self e publishing and exhaust your hopes before ever taking up the challenge to make the bar and achieve a professional career. The tag line, that implies, in effect, “connect your book to mega tons of eager readers” is not necessarily what it’s cracked up to appear.

Presses who take your money and make a profit producing your manuscript into a bound book, then do nothing, are very much alive and advertizing, and you bet, collecting your eager-beaver bucks to publish your work. If you pay for this service, that is a vanity publisher, and not the same thing as a publisher who contracts your publication rights, pays an advance, prints and markets your book, and actually does do the work of distributing and marketing.

While “publishers” who hook you to pay upfront for your book may be years in the business, and make every effort to pose as their counterparts, they’ll have plenty of fine print protecting them from your ignorance when you are dumped with your substandard press run, and don’t know what to do beyond give it away to your relatives. Other venues in fact are real wolves. Many are styled as “agents” and “POD” (print on demand) houses that are in cold fact, actual scammers. Others are fleecers, just as misleading and hurtful. You pay them to produce your book, or find a publisher for you, and you get nothing substantial at all in return.

Read the websites, WRITER BEWARE, and PREDATORS AND EDITORS.

The content can help illuminate what to look out for, where to be guarded, and how to recognize a legitimate venue. Below, I offer a few simple guidelines.

Tip #1: The money flows TO the author FROM the publisher or agent. If you are paying for a service like being published, paying for readings and evaluations – I suggest that might ring an alarm, because that is not flowing payment to the author! These venues are to be differentiated from a genuine professional editing service – where a real copy editor or editor offers their expertise to the public for a freelancer’s fee – do learn how to recognize the difference, and if you are buying a legitimate service, know when it is of value and why, or if it is simply unnecessary.

Tip #2: Learn your craft. It’s up to you to create saleable work. If you do, the publisher pays you, and their own production staff will handle both edit and copy edit and print the book at no charge to you. The legitimate publisher will distribute the copies to the major chain shops, and handle all of the selling. If you learn your style, grammar, and fiction technique properly, you should not need an editor in order to submit and sell your manuscript to a name professional house. If you can’t write a story, if you don’t know what story is, (the book, Story, by McKee could assist you) if you don’t know the craft distinction between narrative voice and dialogue – then you need to get a solid book on fiction writing. (I favor Dwight V. Swain’s Techniques of the Selling Writer) If you like hands on learning, consider one of the very long established reputable workshops for fiction – like Odyssey or Clarion – attend and learn to apply the sound nuts and bolts of the trade to your efforts. Workshops worth attending for popular fiction are well known, and have years of reputation for teaching new writers who actually go on to sell their manuscripts.

Can’t afford a fiction workshop? How serious are you – you’d go to college to get a degree for any another professional job. Can’t manage to buy two or three books on style and craft? Then try what I did, when I was just starting, use an inter-libary loan service to get the titles you need for learning.

You’re underage? Stuck on the wait, while you save money for the above? Then mine your favorite authors’ websites for posted, free information. You might be surprised how many will offer tips, helpful links, or maintain blogs or web pages filled chock full of great free advice. I have created a tips page based on what I found valuable from my experience. It has some sound basics. Do you know how your manuscript should be professionally formatted for submission? Are you familiar with proof reader’s marks? Do you know how to write a cover letter, or submit a query to an editor? Do you know how to sidestep, or breeze past, a writer’s block?

Do you understand etiquette? I’ve been amazed how many blaze beginners breeze in with an e mail to ask about breaking in, or worse, dump an attachment of their entire manuscript into my in box – first presuming I am a teacher, or coach (I’m not, though I do sometimes volunteer writer’s workshops, one on one, to raise funds for charity auctions.} More bumptuously irritating, many of these enthusiastic hopefuls blatantly have not ever bothered to check the tips page I’ve provided for aspirants – which properly would have answered many of their questions in the first place.

Flinging unsolicited e mail at a working author is not the same thing as approaching one politely at public events where attendees are invited to interact with professionals – sometimes opportunities may be welcomed at informal signings, or at conventions which feature panels that are oriented toward helping aspirants – where hopefuls are encouraged to hear advice from established old hands. Questions are acceptable, too, where working editors in the field sometimes appear to speak. Many such venues will schedule panel discussions geared for new writers. Use this chance to hear the facts from the horse’s mouth.

Live in the middle of nowhere and can’t wait to feed your dream? Look at author’s blogs, or seek out discussion threads on those book forums where authors are vetted for professional credentials. Then read the threads where professionals tend to gather to share business information with each other. Search and read the archived posts on the blog, Miss Snark – which professes to be written by a pro agent – entertaining, bitterly brutal, but very much on the mark about the realities and falsities of cracking a difficult field. Disabuse yourself of the idiot illusions, that Greatness Waits Without Effort, and instead, motivate yourself to learn how to tell a dynamite story. Strive for excellence – and encounter what that means in terms of discipline. Then sort the welter of information to discern the most direct course to realize your dream. The rewards and many, and well worth the long haul.

Science Fiction and Fantasy Writers of America, in a recent article in their Bulletin, asked how their professional membership could reach out to new writers and help them find legitimate sources for information. This is my bit.

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Heroes

by Michael A. Ventrella

www.michaelaventrella.com

Jeremy Wembley grabbed the broom by the handle.  He took forceful steps toward the back of the room where Patrick stood unaware.   Patrick paid no notice as Jeremy shortened the distance between them, and seemed completely oblivious to Jeremy’s presence.

Jeremy raised the broom just as Patrick turned around.

“I’ll sweep the stockroom now, Mr. Brenner,” he said.

Jeremy knew that if he continued to impress his boss, it would not be long before he could get that promotion—and soon after, get the real reward he desired:  night manager of the Fredricksburg 7-11 on West Norton Avenue.

Unless his arch-nemesis, that kiss-up Eric Stoher got there first…

All the elements are there.  There is a goal the main character wishes to reach, and an obstacle that can prevent him.  There is character development and conflict.

But, you know, who gives a flying you-know-what?

The fact of the matter is that we want to read stories about people and events that are larger than life.  We want to read about heroes to do great things, make clever comments, overcome great odds.

This is nothing new.  The ancient Greeks didn’t do plays about the guy who cleaned the stables.

And I am no exception.  My books have been about wars and world-shaping events and the heroes whose presence made a difference.

However, at the same time, I have consciously avoided the standard hero that is a mainstay of much of fiction (and especially fantasy).   You know the type – the Chosen One from Prophecy who is the seventh son of the seventh son who is the only one who can wield the magic sword Noonah because he has surplus midichlorians and blah blah blah.   Maybe this hero starts off the book as a nobody, but he or she ends up as the World’s Greatest Swordsman or Most Powerful Wizard by the end and thus, being superior to us lowly humans, saves the day.

In my two published novels (ARCH ENEMIES and THE AXES OF EVIL) and in a short story in the soon-to-be-released anthology TALES OF FORTANNIS:  A BARD’S EYE VIEW, my main character is a teenager named Terin.   His problem is that, thanks to a mistake, everyone thinks he’s the Chosen One Who Can Save The Day.

By the end of ARCH ENEMIES, Terin is still running when a fight breaks out and still can barely cast a minor spell.  So what makes him the hero?

To me, what makes a real hero is someone who doesn’t have all those skills and yet, through bravery and intelligence, rises above what is expected and does the extraordinary.   Terin is the hero because he figures out a solution – he finds a way to solve the problem that is more than merely “hitting the bad guy with the weapon until he falls down.”

I like these kinds of heroes because they remind us that we all can be heroes sometimes.

Oh, I don’t mean to knock down the more traditional heroes:  I love Batman and Luke Skywalker as much as the next fan.  But when I create a hero for my stories, they tend to be average people put into extraordinary circumstances who must then find something special within themselves to make things right.

In the sequel THE AXES OF EVIL, people are now thoroughly convinced that Terin has wondrous powers, even though he doesn’t.  Now he’s confronted with a trio of barbarian prophecies which, he later discovers, contradict each other.  On top of this, his liege wants him to get all the barbarians off his land, and a bunch of silly goblins think Terin’s the one who will lead them to victory over the evil humans who oppress them.

These are problems that cannot be resolved by being the biggest fighter.  Terin solves them all by the end of the book through his cleverness and resourcefulness, and by being brave and willing to risk it all.

That, to me, is very admirable.  It’s what I admire about my real life heroes (Benjamin Franklin and Martin Luther King, to name two).   And it’s the kind of hero I like writing about, because I can identify with him and understand his fears and worries.

 

 

 

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Freebie Friday from Alethea Kontis

Alethea Kontis, our guest blogger this week, has a fun podcast project going where she reads aloud the original Grimm’s Fairy tales. Here is the link to “Cinderella”, : https://aletheakontis.com/2011/05/princess-aletheas-fairy-tale-theatre-episode-14/

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Molly and Jane Revisited

by Faith Hunter

www.faithhunter.net
https://www.facebook.com/official.faith.hunter
https://www.facebook.com/janeyellowrock

Evan: Today at Witch Central, the interview/blog spot for all things witchy, hosted by the Everhart sisters, we are posting an interview with Jane Yellowrock, the Cherokee shape-shifter / skinwalker who hunts rogue-vampires for a living. This is from a taped interview, transposed to type for the blog, and where possible, parenthetical comments will be included for clarity.

Our interviewer is Molly Everhart Trueblood, a moon witch, and because of the sensitive nature of some of the questions—and answers—this blog will be a closed interview, available to only the supernatural community. No humans have been sent the password to the interview site, and if you have access, remember to share it only people who will appreciate paranormal! I’m Evan Trueblood, Molly’s husband. Welcome Molly and Jane. Take it away ladies.

Molly and Jane (speaking at once): Thank you Evan. Glad to be here.

Molly: And I have to give a special thanks to Evan Trueblood, for producing us today. The rumors circulating in the witch community that Evan is unhappy because of my friendship with Jane are well founded, as noted in the plot of BLOOD CROSS. His generosity today is exceptional.

Evan: (grumbles through his mike).

Molly: Jane, not everyone here knows what a Cherokee skinwalker, also known as a shape-changer or shape-shifter, is. And the myths that surround the Native American skinwalkers are violent and gruesome. Can you enlighten us?

Jane: Most of us prefer to be called American Indian, or AmIn, or by our tribal name, not Native American, which is a moniker probably dreamed up by some D.C. bureaucrat. I like to be called Cherokee. I haven’t done a lot of study about the western AmIn shape-changer mythos, like the Hopi tales, but what I’ve learned about the Eastern Cherokee skinwalker can be pretty awful, with age-related changes in dietary habits that are gruesome, tending toward … um … the consumption of human meat.

Molly: (groans in horror) So, they get old and start eating people?

Jane: Yeah, the tales are pretty nasty. But according to the oldest traditions of many tribes, skinwalkers were originally the tribal protectors and warriors. It was only after the white man came that their numbers began to decrease, and they started acting nutso, which makes me think that my subspecies of human may have been decimated by illness brought by Europeans.

Evan: (interjecting, sounding stern) Our apologies to the mental healthcare professionals and those suffering from any form of mental or emotional anguish.

Jane: Yeah, yeah, sorry. I guess there might be a more medically and socially acceptable diagnosis than nutso, but to get one, a shrink would have to spend time with someone who wanted to eat him, and in a lot less entertaining way than some Hollywood-created Hannibal Lector.

(Jane leans in, intent.) Skinwalkers are a magical subspecies of human, Evan, Molly. Very different from the were-creature mythos, who can adopt only one animal shape. Skinwalkers can adopt the shape of many different animals if certain conditions are met. For me to shift, I have to have some genetic material of the chosen animal, bones with some marrow is best, but teeth with some soft tissue works. And it’s easier if the genetic guidelines for size and mass are equal to the human making the change. Meaning that if the shifter weighs 125 pound in human form, then it’s easier to shift into a wolf or big-cat or other animal that weighed 125 pounds in real life.

Molly: But if you wanted to fly, to be a bird, and it weighed only 40 pounds, or if you needed to be a horse, and it weighed a thousand, what then?

Jane: (sounding hesitant) It’s possible to take mass from, or leave mass with, anything that contains no genetic material, like stone. But it’s dangerous. I don’t like to do it. When I dump mass, I leave something of myself behind, and not just body mass. The smaller brain capacity of smaller animals means that I have to store part of my consciousness—memory, spirit, whatever—in other parts of the animal or leave it behind in the stone. I never know if I’ll get all of myself back. And when I take on mass to change into a larger animal, I always wonder if I’ll drop it all, or get stuck with an extra hundred or so pounds of, well whatever I’d get stuck with.

Molly: Like an extra hundred pounds of stone. Well, if you get stone hard abs and bones hard as stone, it might be worth a little extra weight. (The girls laugh.)

Jane, you had a financially lucrative relationship with the Master Vampire of North Carolina, where you became the only vampire hunter to take down an entire rogue-vampire blood-family—that’s a mouthful, isn’t it?—as told by your writer, Faith Hunter, in the anthology titled Strange Brew. Tell our listeners what took you from your home in the Appalachians Mountains, near Asheville, North Carolina to New Orleans, Louisiana?

Jane: First, let’s clarify that I don’t kill just any vampire. I’m licensed to kill rogue vampires, and there are two kinds. Young rogues are vamps who were turned and not kept shackled long enough to cure, or ferment, or whatever they do to find sanity. This usually takes 10 years or so, during which time they’re under the care of, and dependant upon, their maker or sire. Old rogues are vamps suffering from the vamp form of dementia, which makes them a lot more dangerous than a young rogue, because an old vamp still has his mental functions, but his predatory instincts have gone whacko, and he—or she—has taken to violence.

There aren’t many people willing to take on the job of rogue-vamp hunter. I’d hazard to say that there aren’t 25 in North America and Central America together. And there aren’t that many sanctioned vamp-hunting gigs to be had. For a hunt to be legal, the local vamp council has to sanction the hunt and then call in a licensed hunter. So when the New Orleans council asked me to come for a job interview, I took the chance and made the trip. Katie Fonteneau conducted the interview for the vamp council and hired me. It was a lot of money, and it was a dangerous job. I earned every red cent I made on that one.

Molly: And what made this job so dangerous?

Jane: Whacked out vamps don’t usually eat their victims. This was an old-rogue with a preference for organ meat, livers were his cut of choice.

Molly: Eeeew. (more laughter) But that wasn’t all that made this job dangerous, was it?

Jane: No, there was a lot more. Spoilers, so skip the next sentence if you haven’t read SKINWALKER. The vamp in question turned out to be related to one of the most powerful vamps in the city.

Molly: And the whacked-out vamp, well, he wasn’t a vamp at all, was he?

Jane: (voice firm) I was hired to kill a vamp. The vamp council has issued a statement saying it was a vamp that got sick, and I took him out.

Molly: (Presses the point.) But it wasn’t a vamp, was it?

Jane: If I killed something that wasn’t a vamp, then I could, possibly, be accused of murder. So, it was a vamp, Molly, and that’s all I’m gonna say about it.

Molly: Okay, okay, but for our listeners and readers, there have been hints in this interview that tell exactly what the vamp turned out to be.

Change of subject. Tell me what happened in the vampire hunter community after you killed the vamp who was eating people—and vampires. Y’all. It was eating vampires too—in the party capital of the nation. And don’t fidget as if you won’t answer the question. Come on, Jane.

Okay. Our guest is never one to brag, so I’ll say it for her. There’s a website online for vampire hunters, and it lists contact info, number and difficulty of kills, website addresses, and a scorecard of sorts for each of the licensed hunters out there. It’s managed by a guy called Reach, or Reacher, a mysterious personage in the vamp-hunting community, who has his fingers in a lot of pies.

Our guest, Jane Yellowrock, hovered in the top three vampire hunters nationally for years, but after the photo of the thing she killed for the Vampire Council of New Orleans was posted to her website—and went viral, I might add—she moved firmly to the number one spot, and the price to hire her, moved up accordingly, am I right, Jane?

Jane: (mumbles) I knew I shouldn’t have agreed to do this interview. You’re going all Nancy Grace on me here, girlfriend.

Molly: But—another spoiler—the word in the supernatural community is that Leo Pellissier, Master of the City of New Orleans, is claiming that you, well, you murdered the insane vamp.

Jane: I didn’t murder anyone. I killed the vamp the council hired me to kill. If you read Skinwalker, you know the truth.

Molly: Okay, don’t get grumpy. Lets talk about your love life.

Jane: (laughing, covering her eyes) Oh, God. I knew not to do this interview. Let’s not talk about my love life. It’s so mixed up right now.

Molly: We witches are a predominately female community because our males don’t usually survive the childhood cancers they’re so prone to. So, we’re accustomed to marrying into the human community, having children with our human husbands, and passing along the witch gene only occasionally. With so few shapeshifters around, do you date humans?

Jane: I like humans, and yes, I’ve dated a few. Right now, I’m talking to a human, a blood-servant, and a vamp.

Molly: Anyone you want to tell us about?

Jane: No. No way.

Molly: Okay. Then tell us how the vampires relate to your scent.

Jane: (sounding relieved) Rogues recognize me as a fellow predator right off. I seem to provoke a response that’s primarily aggressive in them. But if they’re young enough, all they can think of is food, so they attack, wanting to kill or subdue and feed. Katie Fonteneau was the first sane vamp I ever met in person. When she got her first, good whiff of me, she attacked. Ditto with her boss, Leo Pellissier, Master of the City of New Orleans. But once he accepted me, the rest of them accepted me, and their perception of my scent changed. I’ve guessed it’s like a pride of lions. Once the alpha accepts the outsider, then the others will too. Now they say I smell like a combo of dessert and sexual challenge. Dangerous. They seem to like it.

Molly: (teasing) Tall, dark, and deadly. For our readers, Jane Yellowrock is six feet tall, has hip-length black hair, amber eyes, wears leather, and is armed and dangerous. Vampires like the way you smell. Okay, moving back to the subject of men. There are hints scattered about that Rick LaFleur is not quite human. Or more than human. Or maybe he is human and you liiiiike him. May we expect further enlightenment?

Jane: The answer to that question will be partially addressed in Mercy Blade, and will be addressed again in Raven Cursed. My writer is still working on that novel. Which means that I don’t know the answer, and for all I know, she might not know. She’s bad about leaving me hanging, you know?

Molly: So there’s a chance he is a skinwalker!

Jane: I didn’t say that, Molly-girl. Ricky Bo smells totally human, not like me, and not like what I remember of my kind, at all. Delectable to my Beast, but totally human.

Molly: I know some of us will be disappointed to hear that. But, that brings us to Beast. Jane is a being with two souls, one a skinwalker, one a mountain lion. What’s that like?

Jane: (sounding snarky) Crowded.

Molly: Come on Jane. Give me something here.

Jane: (sighs) It’s complicated. I have two conscious minds, each very different, trying to, learning to, get along in a body built for shape shifting. When we … merged, I guess is one way to put it … I got some of Beast’s strength and speed, even in my human form, and she got some of my language abilities. She talks to me inside my head when we’re in human form, and I can talk to her when we’re in cat form, though one of us is always alpha. It’s kind of … schizophrenic, I guess. But it works for us.

Molly: How about eating?

Jane: You’re not gonna like this. Especially your vegetarian listeners and readers. I like my steak rare. Beast likes hers on the hoof and freshly dead, raw, and still warm.

Molly: And your writer? The woman who tells your stories?

Jane: (sounding snarky again) Faith Hunter? She likes leafy greens and bean soup and yogurt. Wimp. The only thing we have in common is a love of fine teas, though I may let her teach me to whitewater kayak. It looks like fun, especially the Class III rivers. Oh – and she said to tell you that RAVEN CURSED, the fourth Jane Yellowrock novel, will be out in January 2011.

Molly: (laughing) Perfect timing for a plug Jane! I think that’s enough for today.

Jane Yellowrock, thank you for coming to talk to us. Evan Trueblood, producer extraordinaire and best hubby in the world, thank you.

Evan: It’s been a pleasure. And enlightening. And to all our listeners and readers, we hope you have a good witchy evening, and a good book to enjoy!

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Fights, Perils, Barriers, and Annoyances: The art of the middle

by James Maxey
https://dragonprophet.blogspot.com/

So, I’m currently well past the halfway mark of the first draft of my tenth novel, Hush. When I started the book, I knew exactly how it began, since it starts just a week after my novel Greatshadow ends. At the end of that book, one of the surviving characters has made a vow to a dying friend to return a sacred weapon to a temple in a faraway homeland. The book starts with her gathering things she’ll need to make this trip. I also knew exactly how the book ends. The weapon needs to end up back in the hands of its rightful owners. So, I have a first chapter, that should be good for 5000 words. And I have a last chapter, good for another 5000 words. I’m under contract to turn in a novel approximately 110,000 words long. What the hell do I put into the middle 100,000 words?

I wish I could claim to have some systematic approach to logically filling in the giant gap between the beginning and the end of my books. My real approach is to just dive in and start making up stuff, then keep on making up stuff, then make up more stuff. So far, this approach has worked for me. But, somewhere around chapter 10 of Hush, I’d written two fight scenes back to back and I realized I couldn’t immediately use another fight scene. But, it was also too early just to have everyone settle down and talk about the weather for a chapter or two. What I needed, I thought, was a peril. I settled on the ship being damaged in the course of the last fight, and now it’s sinking. Once they saved the ship, there would be time for a talking scene. Then I’d throw in a big obstacle for my characters to get around. Then, it might be time for another fight. I realized as I was thinking through all the upcoming turns of events that I do have a few standard categories of events that my chapters follow. I don’t present these as formulas, but as a potentially useful tool for the next time you are writing a book and you’ve just had your characters jump out of the frying pan, escape the fire, and are now staring at a blank screen wondering, “Okay. Now what?”

1: Fights. Since I write action adventure fantasies, the first thing standing in my characters’ ways are ordinarily other characters. While in a perfect world they could resolve their differences with a friendly smile and a handshake, in my books someone almost always winds up throwing a punch. Fights tend to be inherently interesting, and I sprinkle them liberally throughout my books, but too much of a good thing gets tiresome. So, when even I’m tired of my characters fighting, it’s time for:

2: Perils. The ship is sinking! The building’s on fire! A tornado just picked up the house! Perils are obstacles that threaten the lives of the characters. They can’t be solved by punching someone. Perils are handy in their neutrality. The same hurricane that is dashing your ship against the rocks is also scuttling the zombie pirate ships that were chasing you. Or the evil space tyrant who was going to delight in torturing your heroes flees in his escape capsule as the space station gets too close to the black hole.

3: Barriers. What you need to succeed is someplace you ain’t, and getting to it won’t be easy. The medicine you need to halt the zombie plague is in a locked bunker in Antartica, and you’re on the side of the road in the Arizona desert with an empty gas tank and no bars on your cell phone. Or, maybe the floor plans you need to get past the bank’s security system are in a safe on the 99th floor, guarded by sharks with laser beams. Which leads to:

4: Puzzles. A subcategory of barriers. You’ve captured the Nazi attack plans, but they’re in code. What’s the key? They dying man’s last words were a cryptic quote from Shakespeare’s “Tempest.” What was he trying to tell you? Puzzles can sometimes be large enough to last an entire book, but if you scatter smaller ones throughout your plot they are useful in demonstrating that your hero has virtues other than tough fists and a heart of gold.

5: Tests. Not SAT type problems, but moral tests. The mob boss has just called your cop hero into a private meeting. Call off the investigation, turn over the hard drive with the evidence, and whoah, where did this suitcase full of hundred dollar bills come from? Or, the lead vampire has just pulled off her hood and, gasp, it’s your own mother! You aren’t going to stake your own mom, are you?

6: Annoyances. Of course, if every problem your character faced was some life altering choice or unstoppable foe, you’d burn out your readers pretty quickly. Sometimes it’s out of the frying pan, into the fire, then back into the %$#&! frying pan because the hero dropped his damn car keys. Other times, the good guy is just about to charge into the demon lord’s throne room when his kid sister taps him on the shoulder and asks what he’s doing. He was sure she’d been asleep when he slipped out the bedroom window!

7: Chats. No matter how gung ho your characters are, there are going to be scenes in your book where your characters do nothing but stand around and talk. Frequently, these scenes serve to advance the plot. After a fight, your heroes interrogate a captured guard and learns that the kidnapped princess is locked in the north tower. Now they talk through a plan on how to get her out. Later, they talk through what when wrong when they rescue not the princess, but her hairdresser. Stuff happens. People talk about it.

8: Respites and interludes. Finally, sometimes the world just gives you a break. Right in the middle of Greatshadow, I have a chapter where the characters meet the long lost grandfather of the narrator and are invited back to his jungle village to rest and recover from their wounds. The characters had just survived a long string of fights and perils, and it was a welcome break to have the characters sitting around debating philosophy while dining on an exotic jungle buffet of mystery fruits, raw snails, and katydids. I’ve made this a separate category from the previous one because other talking scenes can unfold while danger is imminent. With a respite, you and your readers can take a deep breath and relax for a moment and find out what your characters are like when they aren’t killing people. These peaceful scenes also help to establish a sense of what might be lost if Evil Triumphs.

Of course, all of these categories are amorphous, and frequently overlap in the course of a single scene. And despite the fact I’ve numbered them, I wouldn’t advise digging out your 8-sided dice from your D&D set and trying to plot a book by rolling random numbers. There’s an ebb and flow to these events that feels natural that you can only develop by actually writing. Still, if you do find yourself wondering “What comes next?” I hope this list helps jog your imagination.

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