Tag: Interview Page 2 of 16

For this next part of the tour, I have a quick Q&A with the author, Herman Steuernagel. I had to come up with these questions before starting the book, which is a different approach for me. I think it came out not-terribly-awkward. Either way, I enjoyed reading the answers and hope you will, too.

The words that got me to take a second look at the description for this book were “space pirates,” and I bet I’m not alone. Do you have theories (or just speak for yourself) about why pirates in general, or space pirates in particular, grab our imaginations the way they do?
I think there’s a rebellious part of all of us that sees pirates as these carefree individuals who decided to live outside of society’s expectations of us. There’s something in us that looks at it as a life of adventure, outside of the constraints of the day to day.

Space pirates, I think, is just an extrapolation of that, and definitely in Eclipse I’ve tried to make that comparison.
One our main characters, Mikka, left that life of piracy behind in order to become a responsible adult in her world. And I think in many ways many of us can relate to that experience. We grow up and suddenly we realize there are bills to pay and family to take care of, and part of us wishes that we could return to that life of adventure that we dreamed of growing up.

One of the side characters, Abigail Monroe, is almost a caricature of a sea pirate in a space setting. She provides a bit of comic relief in what would otherwise be a dark world. She very much represents that sense of
[The remainder of his answer was lost in cyberspace, sadly. Just think of this as an enticement to read the book. What does she represent?]

Looking over your website, it looks like you’ve designed three unique worlds at this point in your career. In general, and with this book specifically, what’s your approach to worldbuilding? Do you sit down and figure it all out ahead of time (setting, technology, culture(s), etc.?) or do you just make up most/all of it on the fly as you come across the need while writing?
There’s a bit of both actually. For Eclipse and the Fractured Orbit in particular, a lot of it was decided in advance. The world is set a couple hundred years in the future, I wanted the technology to be mostly feasible with the knowledge we have now. There are a couple of things that are a little more fantastical, such as artificial gravity and force fields that are currently outside of our capabilities, but it is far enough in the future that somehow we figured it out.

So with that in mind, I now have some constraints on what is feasible in this universe. We’re not traveling to different systems and galaxies, because we don’t have faster-than-light travel. The worlds in our system are not completely terraformed because we have no technological way to do that, so our colonies exist in pockets or bubbles.

Other things are constrained a bit to reality, so it’s more research than creation – like what exists on different moons and asteroids on our solar system. These types of things get passing mentions in Eclipse, but they’re talked about a bit more in future books.

Other things like how the Empire maintains its control on these colonies, there’s a bit more “on the fly” that happens within the drafting process. And then it’s just a matter of keeping track of everything so that it stays consistent. For that I have a combination of Trello boards, spreadsheets and documents where I keep this information stored.

For you, at the end of the day—creating believable characters, worldbuilding, or the story—what’s harder? What’s more rewarding? What do your readers tend to react to the most?
Ultimately characters are who the readers are going to relate to. It try to create my characters with realistic ambitions, needs and flaws. It’s that emotional journey that will draw a reader into the story and keep them invested in the plot. Pulling that off is definitely the most important and rewarding part of the process.

That said, building the world is a lot of fun, because, especially in a sci-fi or fantasy setting, you get to play a bit more. This is where you get to think about the “what if” questions. What if we colonized the moon, Mars? What if we had to abandon Earth in order to save it? What if corporate elites took advantage of that?

No matter how many books you have under your belt, as I understand, each novel/series tends to be a different experience than the one(s) before. What was the part what was the biggest surprise about the process of writing Eclipse? Either, “I can’t believe X is so easy!” or “If I had known Y was going to be so hard, I’d have skipped this and watched more TV”?
I got to the end of the first draft of Eclipse and realized the part one of the characters had to play in the story. Which sounds like a funny thing, but there was one side character who I realized had a bigger role to play, especially in the books going forward, so I had to go back and work that into the rest of the plot. It was definitely an “ah-ha!” moment at the end of the book for me that I wasn’t expecting.

The book has been out a few months now, is there a particular supporting character that your readers have responded to in a way you didn’t expect? Talk about them a little bit and how the reaction is different. What’s the key, for you, in writing a great supporting character, and how did that (if you can manage this without an essay) work with this particular character?
The side character that gets talked about the most is Abigail Monroe. This was kind of by design.

We meet Abigail in the Prologue of Eclipse, and it’s really the only chance we get to see her point of view. This is continued in the prologues of the sequels, but we’re kind of seeing a glimpse into her mind, and then we get to watch how other characters interact with her in the following narrative.

Abigail came to me as this female version of Jack Sparrow, who was really just your typical movie pirate. A lot of people love her, because she’s off the wall, erratic, and you really don’t know where she stands, if she’s a hero or a villain, and it’s really going to take the length of the series before we know for sure what she’s all about. But because there’s this familiarity about her, and what we’ve come to expect from a humorous type of pirate, I think readers are able to find something they can relate to in this otherwise dark and dystopian setting.

Readers either love her or hate her. She’s a lot of fun to write because she’s so enigmatic and erratic, but she also has a particular speech tic that some readers found over the top. Which is maybe a fair criticism, so it does get toned down a little bit in the following books. But even though she’s not a POV character, we also do get to see a bit of her character arc develop over the course of the series, and I think by the end people are going to have a very different opinion of Abigail and what’s driving her.

A supporting character reflects the main character, they highlight a main character’s strengths and/or weaknesses and that can take shape in either an antithesis to them, as a single part of their personality traits, or as a mirror. But it’s also important for a side character to have their own life to them as well. They need goals, needs and desires in order to make them realistic and believable. They also need flaws. And I think that the reception to Abigail has indicated that she does have all of these things. People love her because of her eccentricities, but they don’t like her flaws.

However, she does have a very important role to play in the story and Abigail is also very much an exaggerated mirror of Mikka in a lot of ways.

Thanks for your time and participation! I’m looking forward to seeing what Eclipse has to offer!
Thank you so much for including me! I hope you enjoy the book!

My thanks to Escapist Book Tours for the invitation to participate in this tour and the materials (including the novel) they provided. The opinions expressed by me are honest and my own.

A Few Quick Questions With…Rebecca Carey Lyles

By HCNewton

On September 6, 2023

In A Few Quick Questions With...

Rebecca Carey Lyles keeps popping up here this year—she’s participated in the Q&A about Writing in Idaho and in the series about Self-Publishing, now she’s here to talk about her latest book, Shaow Ranch (which I posted about earlier) and more. Hope you enjoy!

We’ve gone over your writer’s bio before, but I wanted to follow up on a couple of things. First, could you talk about your path to publication and what sparked your desire to write in the first place?
My path to publication was a long and winding road, ha. Like most authors, my desire to write began with reading. An amazing gift from our Creator, reading opens doors in our minds and in our lives. The thrill of holding that first Dick and Jane book in my hands in first grade remains with me to this day.

After reading multiple books in multiple genres and graduating from college with a degree unrelated to journalism or creative writing, I attended a six-week writing class. And got the writing bug.

From there, I enrolled in a how-to-write correspondence course and started writing articles and short stories. Some were terrible and some were published. Then I tackled books, both fiction and nonfiction. With the help of writing teachers, seminars and conferences, how-to books and magazines, and writing groups in Wyoming, Arizona and Idaho, I learned the craft.

But I haven’t stopped educating myself. I listen to writing-related podcasts and read articles, blogs, etc. on how to become a better writer, editor and marketer. I also rely on critique partners, beta readers and proofreaders to help me produce a quality product. Editing other authors’ work has enabled me to spot and address my own writing weaknesses.

Authors have dozens of ideas percolating at once (if not more), what was it about the idea that became Shadow Ranch that made you decide it was the one you wanted to focus on for a few months? Can you remember what nugget started that book? You discuss some of this in your podcast episode, “What Lurks in the Shadow Ranch Shadows” and I encourage people to give that a listen.
I don’t remember what I said on that podcast. Maybe I’m the one who should listen to it, ha. But as I recall my thought process, two things triggered the Shadow Ranch idea. First, I read Wife No. 19 by Ann Eliza Young (1844-1917). She married into a famous polygamous family at a young age and wrote about her personal experiences plus what she observed in other similarly trapped women, including her mother. Those women suffered incredible hardship and abuse, whether physical, emotional, mental, spiritual or financial. Usually, all of the above.

At the same time, friends were telling me about the Sister Wives television series. I haven’t watched the series, but to think a dysfunctional family’s illicit alliance has been glamorized for all the world to see is terribly sad. My personal opinion is that the adults and children in such “families” need our sympathy, not our adulation.

And that’s why I wrote Shadow Ranch. I wanted to show the emotional trauma “sister” wives experience as well as the control needed to ensure they continue to cooperate with the male-centric lifestyle. (It’s called brainwashing.) Today’s polygamists have all the problems their predecessors had way back when and possibly more. Yet, they continue to believe and teach that plural marriage ensures they’ll reach the “celestial kingdom” following death.

Talk to me about the research you did for this—I’d imagine it’d cover contemporary polygamy cults, some sort of trauma research—maybe some domestic abuse research? Possibly even research into some of the industries the compound used to fund themselves? How much time and effort does that part of the writing process does that take?
As I alluded to above, plenty of information is available online in news articles and documentaries. Books written by individuals who escaped polygamy and by authors who study plural marriage are also available. I just did a count and found 10 related books on my cult shelf, and more are out there. I’ve also researched narcissism and domestic abuse as well as cult mentality. Here are a couple of sites: https://psychcentral.com/ & https://www.icsahome.com/home.

Some say child labor and/or forced labor have enabled contractors in certain parts of the West to underbid competitors. Also, insiders say our taxes support thousands of polygamous women who don’t have marriage certificates for their unlawful unions. They receive food stamps, welfare payments, medical assistance, and other governmental benefits for themselves and their many children.

Regarding domestic abuse…all a person has to do is google “Warren Jeffs,” the imprisoned FLDS leader who’s still revered by thousands of followers. If you have the stomach for it, here’s a “true crime” report regarding his conviction. https://www.oxygen.com/crime-news/what-evidence-led-to-flds-leader-warren-jeffs-conviction.

Truth is, I spend way too much time doing research for my stories. Rabbit trails, you know… In all seriousness, I can’t say how many hours research demands, but it probably consumes at least 25% of my writing time.

How difficult is it to write a convincing character like Brewster? And do you have to do something to get out of that frame of mind once you’re done for the day to keep him from taking up residence in your consciousness? How about one/all of the wives?
I hate to admit it, but writing nasty characters comes fairly easily for me. Brewster is an example of unrestrained selfishness. Our basic natures are selfish, mine included. Although my job is to portray a villain’s self-focused behavior, I must restrain my own tendency. Brewster is totally about satisfying his narcissistic self, however possible. If he has to turn on the charm to do so, no problem. His bottom line is not the other person’s well-being; instead, he uses others for his own self-perceived well-being. And, no, he doesn’t haunt my dreams, thank God!

To be honest, after being married almost 50 years, I cannot imagine having another so-called wife or wives in our lives. Maybe another woman could be tasked with changing diapers, cleaning toilets and pulling weeds. 😊 But it wouldn’t be worth the jealousy, the arguments, the broken hearts and hurt feelings. Or knowing my husband was regularly sleeping with other women—or favoring a certain one, maybe a younger one, which happens.

Although I try not to emotionally plumb the depths of polygamous women’s despair, I can imagine myself in their shoes and think how I would feel. Yet, nothing about plural marriage appeals to me. I cannot picture anyone finding happiness or fulfillment in that lifestyle. As a result, I want to warn others away from the fake glamor, intrigue and supposed pathway to heaven touted by groups like the FLDS.

A scripture verse in Ephesians says, “Have nothing to do with the deeds of darkness, but rather expose them.” I trust that’s what I’m doing in all my books, exposing the darkness and warning people away from evil.

In our correspondence, you said Shadow Ranch “kind of a crazy one to start with.” (I probably should’ve asked for a sane one to start with). Why do you say that? How does this differ from a more typical Rebecca Carey Lyles book? (assuming such exists)
Ha, I’m not sure I have a “sane” series! 😊 My first series, The Kate Neilson Series, addresses human trafficking, and the second series, Prisoners of Hope, tackles religious cults. People I talk with at book events seem to be somewhat familiar with trafficking and religious cults. But not many know about modern-day polygamy. Americans tend to think plural marriage was outlawed over a hundred years ago, which it was, and assume it’s no longer practiced.

Online numbers, on the other hand, suggest our country has 30,000-50,000 polygamous families and somewhere between 100,000 and 150,000 individuals involved in those family groups.

This is one of those novels that comes with Discussion Questions at the end—is this typical for you? What’s behind your decision to include them? These are written by Pat Watkins—what can you tell us about her? Does it feel a little strange to read someone distilling your work into some talking points?
Pat Watkins, a retired educator, is amazing—and so are her questions! She “gets” my books better than I do, ha. I could never do what she does with the discussion questions, and I appreciate her willingness to compile them for my books. She came up with the idea to include questions for book clubs. I haven’t received feedback, but I trust the questions stimulate good discussion.

To answer your question about Pat distilling my stories into talking points, I’m fascinated to learn what she gleans from my writing. Every reader has a different take on a story because we have different backgrounds, world views and life experiences. Yet, she comes up with universal questions that any reader or group of readers can ponder.

What is it about storytelling/writing that keeps it fresh for you? Is this a compulsion to keep going, or is it more pleasure? Along those lines, are there genres you are still hoping to try, or are you sticking in the lanes you’ve picked? Are there genres you don’t see ever trying?
A couple things keep storytelling/writing fresh for me (other than the notion a true writer supposedly can’t not write). First, I do a lot of research. Learning about other people groups, historical background, contemporary cultures, locations, flora and fauna, etc. fascinates me.

Also, unlike many authors, I prefer to rewrite a rough draft rather than drag the initial draft out of my head. Maybe that’s why I’m an editor as well as an author. I enjoy fixing awkward or confusing sentences, paragraphs and storylines.

Will I write in other genres? Although I set my novels in the West, I’ll probably never write a true shoot-em-up western. And I doubt I’ll ever pen a murder mystery or fantasy or science fiction, but you never know. A few years back, three other Treasure Valley authors and I compiled a short-story collection titled Passageways. A couple of my stories in that book have fantastical elements to them. So, I can never say never. 😊

What’s next for Rebecca Carey Lyles, author?
The second book in the Children of the Light Series, Crimson Arches, is finished but in super rough form right now. If all goes well, it should be available before the end of the year. The third book in the series (no name yet) is percolating in my brain…

A reminder to readers re. all my books: No matter how grim the subject matter, every story has a happy ending. 😊

Thanks for your time—both now and before—I really appreciate what you’re bringing to this little corner of cyberspace.
Thank you! I always enjoy our visits, HC! 😊

A Few Quick Questions

A Few Quick Questions With…Hilarey Johnson

By HCNewton

On August 24, 2023

In A Few Quick Questions With...

As I said a bit ago, Johnson participated in my Q&A series about writing in Idaho and now she’s back to talk about Stone of Asylum and writing in general. In case you’re interested, I gave my take on that novel a little bit ago. I hope you enjoy this Q&A, and I do expect to bring you more from Johnson soon, so stay tuned!

We’ve gone over your writer’s bio before, but I wanted to follow up on a couple of things. First, could you talk about your path to publication and what sparked your desire to write in the first place?
I wish I had known that writing could be a career choice, I might have finished school instead of this long journey: I was a young mama with time to read, and my grandma passed all her Christian historical romance books through the family. They always ended with a kiss at the altar…I started to feel like the only significant point of life for a girl was to fall in love and get married. Therefore, there was nothing left for me at the age of 20. I was happy in my marriage, but disgruntled that I had nothing significant left to look forward to in life. I had no idea there were other genres in Christian fiction.

One day while my 6 month fell asleep nursing, I daydreamed a complete story arc about a white missionary who rescues a baby from a village just before he was killed by his dad. They raise him up, until they are martyred, and he eventually returns to the his father’s village with the gospel of reconciliation. It was told from the two mother’s perspectives.

I jumped up and scribbled the outline down. It took me ten years to type out the first draft of that story. It was 50,000 words. I thought I was called to the mission field until I finished writing that book.

When finished, I was confident enough to consider myself a “wannabe writer,” and I got a job in publications. I got mentors, I published in local newspapers. I became the assistant editor. I spent five years writing my second book. (Neither are published.) Then, in 2005, I went to my first writer’s conference and started the path to publication. I wrote Sovereign Ground in a year and it became a finalist in contests before it was published. The editors and agents who liked it told me that the subject was too edgy for the current Christian fiction crisis and economic downturn. So I self-published.

Authors have dozens of ideas percolating at once (if not more), what was it about the idea that became Stone of Asylum that made you decide it was the one you wanted to focus on for a few months? Can you remember what nugget started that book? It’s pretty different from your first two books in terms of genre and tone (at least from what I can tell), was it a conscious choice to look for something different?
I heard once that artists are not satisfied replicating—they desire to create and they need to stretch themselves. My first book was about a dancer and lots of people thought it was my story, because you are supposed to “write what you know.” I was in a tight-knit critique group and they asked my why I didn’t write about martial arts (more about that in question 5). Also, I knew romance would never be the genre I wanted to spend all my time in. I love fantasy.

Was this always intended as part of a series or was it a stand-alone that couldn’t be restrained? How do you go about mapping out the overall arc of a series and what parts of that arc go into an individual book.
I intentionally planned the main story arc to spread over three smaller story arcs. It is intended to be one story told in three parts. I was going for a balance of unfinished but satisfying. It was fun and complicated. I think that was part of stretching myself to build a story differently than I ever had. My critique group helped in the initial brainstorming session. Many of the finer details about the magic and consequences were deliberated with my oldest son—an avid reader, nearly as irresponsible as you.

I like him already 🙂

Talk to me about the research you did for this—you’ve got two immigrant-Asian cultures in the nineteenth century. Immigration to the Western US during that period. Idaho history/mining history…and so much more. Was any of this “old hat” to you or did you have to start at the ground floor entirely?
It was all research. I do not have personal inside knowledge. I read fiction and non fiction written from Chinese Immigrant POV to start to understand motivation and perspective. I visited the Chinese historical museum in San Francisco. And another museum in Coeur d’Alene. It is one of the things I like about being a reader and a writer—trying to feel what someone else would feel while setting aside your own experience (which can make you unable to empathize).

You’ve got some pretty convincing fight scenes in the book, too. How do you compose one of those? I’ve heard of writers using action figures or something to map enact them first, for example. Also—what kind of martial arts background did you have going in—or was this even more research?
Thank you. It was mostly done in my head. But I did have the ability to act out some of the flow. I started practicing a Korean martial art called Tang Soo Do with my dad when I was 7. I met my future husband when we tested for our blackbelts at age 17. When I wrote the Dance of the Crane Series, I was working toward a Master Belt and had a school in Meridian, Idaho. It has been half a dozen years since I stopped practicing/training in martial arts.

What is it about storytelling/writing that keeps it fresh for you? Is this a compulsion to keep going, or is it more pleasure? Along those lines, are there genres you are still hoping to try, or are you sticking in the lanes you’ve picked? Are there genres you don’t see ever trying?
I think for me, it’s learning. I like new. I have a few stories in my head, but they don’t spin like they used to. I feel satisfied for now. I have been spending most of my writing energy on non-fiction. For storytelling, I’m starting to narrate other author’s books.

We should absolutely chat about that sometime.

What’s next for Hilarey Johnson, author?
I hope to continue my blog, Intimacy with God for the Over-Churched >. I’m contributing regularly to IdaHopeChristianWriters.org. And, I would like to set aside a few months to rewrite a non fiction I wrote, and then decide what to do with it.

Thanks for your time—and thanks for Stone of Asylum—I’ll be back for more of The Dance of the Crane soon, I have to know what’s next.
Thank you! That is every writer’s hope.

A Few Quick Questions

LITERARY LOCALS: A Q&A About Writing in Idaho with Paul Regnier

By HCNewton

On August 22, 2023

In A Few Quick Questions With..., Literary Locals

Literary Locals logo
Paul Regnier’s fantasy novel, Bard Tidings, came out in June (and it looks pretty good–since Fflewddur Fflam, I’ve been a sucker for bards). You should absolutely give it a look. But we’re not going to talk about that today (hopefully soon)*. Today, we’re focusing on what being a writer in Idaho is like for him. Enjoy!

The way things are going around here, “soon” probably means February.

Before we get into things, why don’t you give the reader a brief introduction to you and your work.
I’m Paul Regnier. I’m a writer living in the Treasure Valley here in Idaho. You can find me online at www.PaulJRegnier.com.

Are you a native Idahoan? What brought you to Idaho in the first place? (answer whichever question applies) What is it about Idaho that keeps you here?
I’ve lived in Idaho for the last six years. I’ve heard once you cross the five year mark you’re an honorary native Idahoan. My family and I love it here. I love all the pine trees and the beautiful mountainous landscapes. Winters are mild and there’s very little humidity. I’m happy to call Idaho my home state.
I’m going to have to check the handbook on that five-year rule (is that akin the to 5-second rule?) and get back to you.

Are you tied into some sort of local author/bookish group/culture? If so, tell us about it and how it helps you as an author.
I’m connected with a group of local writers called Idahope (idahopechristianwriters.org). They have get togethers, conferences, and events all geared around writing. It’s a great group to be a part of.

I’ve been connecting with a few IdaHope members recently—what to you is the biggest benefit? Or maybe I should ask, why would you tell a local author to join up?
The writing journey can be lonely. Much of the time it’s just you typing away at the computer. It’s so refreshing to get together with other writers and creative people and talk about stories and books and movies and everything in-between. Online meetups are nice as well but nothing compares to face to face, personal interaction with fellow writers.

What kind of events in the area do you attend—either to sell/promote your books or to network with authors? Are there any outside of this area that you hit regularly and wish we had something like it here?
Besides the Idahope group I’m a part of, I’m looking into homeschool events that take place in the area. There’s one in Nampa that I plan on attending next year. Homeschoolers are big readers so the events are great places to connect as a local author.

That’s a great idea! And one that no one has mentioned before—a good fantasy novel and that crowd (at least those I know in that audience) sounds like a great combination. That’s not just a great market, but a fantastic way for readers to get to know you. Are you and your family part of the homeschooling community and is that why you thought of this, or did you get this tip from someone else? (thinking back to when I homeschooled, I don’t remember anyone doing this, but I’d have loved to see it)
We haven’t personally homeschooled our kids but my daughter had experience with online school and I was her learning coach so I got to experience it in a small way. I think homeschooling is such an amazing opportunity for families and if parents have the time and resources, I think it’s a great way to educate your kids, especially when it comes to imparting family morals and spiritual truths.

One of my favorite writing conferences is Realm Makers. It’s a conference focused on speculative fiction writing (fantasy, sci-fi, supernatural, superhero, etc…). Besides the annual conference, they go around to various homeschool events with their mobile bookstore. They always report on the great response they get from homeschoolers. That’s where I first realized what an amazing opportunity it was.

What’s the breakdown of your audience—do you have a strong local base, or are your readers from other parts of the world?
I would say my readers are more national than local. Generally people find me online through Amazon or from online recommendations. The internet is a wonderful way to reach readers around the country and around the world.

Do you have plans to change that—or is it early enough in your writing career that you’re still trying to see what works before you make solid plans?
Honestly, I’m open to anyone, anywhere that enjoys my books LOL. I’ve tried to go around to local libraries and give them free copies of my books but the response has been lackluster. With online accessibility, it’s just so much easier and quicker to “spread the word” to a wider audience.

Do you think there are particular challenges or advantages to being a writer in the Treasure Valley? (possibly both)
The latest series I’m working on is a fantasy series (the first book in the series is called Bard Tidings). Since the Treasure Valley in Idaho is filled with lush pine trees, hills and mountains, the scenic setting really helps in the creation of a fantasy world. I get inspiration for many of my scenes from the amazing locations around me.

Were you writing before you came to Idaho? If so, was the bookish community (writers or readers) noticeably different?
I lived in Southern California for many years but we moved here six years ago and never looked back. We love it here! I think my only tie to “local writing groups” in CA was a writing critique group that I was a part of. However, most of us are still in touch and we try to meet online as often as schedules allow.

Do you bring Idaho (or some sort of Idaho-sensibility, assuming one exists) to your work? Whether or not anyone else sees it, can you look at some aspect of your writing and think “That’s Idaho” or “I would do ____ differently if I was a Kentuckian or from Illinois?”
For me, the main aspect of Idaho that inspires my writing is the landscape. The trees, hills, and mountains. The beauty of creation. I created a fictious small mountain town in Idaho called Crystal Falls for my cozy mystery series. The setting was inspired by the area around Cascade Lake and Payette Lake.

One final question, is there a book (or two…or 18, if you get really carried away), that embodies Idaho/the Idaho spirit to you to recommend to my readers?
If there is, I haven’t found it. I think the “Idaho spirit” means something a little different to each resident and it probably varies in different parts of the state. For me, Idaho means peace, the beauty of God’s creation, and family.

Thanks for your time and participation! Hope you enjoyed it!

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Even More Quick Questions With…Matthew Hanover

By HCNewton

On August 9, 2023

In A Few Quick Questions With..., Matthew Hanover

Matthew Hanover’s newest book, Not Prepared, really wowed me and I’m so excited to share this Q&A about it today. Hanover’s no stranger to people who’ve read this site for any amount of time. I’ve blogged about all of his books and this is the fourth Q&A he’s participated in about his writing—plus a Q&A about Self-Publishing.

Here’s the latest with him—and the latest in my campaign to earn him some new readers.

In the past, your protagonists have been in roughly similar places in their lives/careers/emotional development. With Not Prepared, you’ve moved to an older, more mature character well-established in his career. Is this because of where you are in life? You just needed a change of pace, or something else?
After three books with 20-somethings as protagonists, I was more than ready to explore a story with a character at a different stage of life, closer to where I am. It may reflect my age or my growth as a writer, or just the fact that Neil had to be the age he is to make the story work. I started working on Not Prepared before I’d even finished Not Awkward because I’d come up with the idea and stuff just started pouring out.

Are you sticking with men at this stage of life or are you going to bounce around some more? (or have you even thought that far ahead?)
Writing for younger characters is increasingly difficult for me, but I won’t say I won’t ever write about 20-somethings again.

For Not Prepared, the story really dictated what the characters had to be. Chloe’s age came first because she had to have a certain level of maturity and resourcefulness, but also be right for coming-of-age story elements that would make their living situation ripe for comedy. Once Chloe’s age was established, that really helped establish what age Neil had to be. He couldn’t be in his twenties because he had to be a father figure, not someone who could have been her brother.

That makes a whole lot of sense—I focused on Neil because he’s the protagonist, but yeah, you need to start with Chloe and do the math from there for everything to work.
Exactly. Neil may be the protagonist, but Chloe is very much the main character of the story. She’s the one who drives the story forward. Neil’s romance with Jenna is incredibly important, obviously, but the most important relationship is between Neil and Chloe.

Speaking of careers for your protagonists (and/or other characters in the books), do you spend a lot of time thinking about those and what they say about your characters?
Sometimes, a character’s profession is based on what is most helpful for the story. In Not Famous, Nick was a self-employed web designer because his schedule needed to be flexible to make the story work. In Not Dressed, which is half a workplace comedy, I really had to find a profession that people think is really awesome, but isn’t so great in reality, so Jake became an architect. In Not Awkward, Scott’s profession was less important because was unemployed for the main action of the story because it enabled him to participate in the main arc.

What kind of research—if any—do you do to depict them? Let’s use Neil’s wedding photography biz as a case study, but feel free to use anyone else, too.
The most research I did was for Not Dressed because so much of the story took place at Jake’s place of work. I had to get insight from people who are or were in the field to get some of the technical details right. For Not Prepared I had to research a lot of professions to figure out what would be best for Neil, and a wedding photographer worked out great because it meant he could be home a lot during the week with Chloe, because of the awkwardness of their living together is really what drives the story. It took a lot of research to understand how these photographers work, what they charge, how they can make a living for a job that is generally occurring on weekends, how they keep money flowing in, what they do when they’re not actually shooting a wedding, etc.

Do you remember any professions that you considered for him and decided against?
I came up with the wedding photographer idea quite early, and once I thought of it, I knew that was the answer and stopped considering other ideas. Perhaps what I liked most about it, is how ironic the job is for him because he’s a guy who’s essentially resigned himself to being single, yet he’s constantly documenting weddings.

Neil and Jenna both have pretty serious anxiety issues, I think it’s safe to say. At what point did you decide that their anxieties were going to be a significant part of this book, or did that just come up as you write? What kind of thought/research did you have to put into them to make sure you depicted them right and/or they were good for the story? Did you start (with either of them) having a different kind of anxiety and have to backtrack and rework?
Neil’s hypochondria was perhaps one of the first ideas I had for the story. One of the things about writing an older character is that they are not only in different places professionally, but also have different attitudes about their own well-being. As you get older, you start getting screened for various diseases, and you’re more tired and prone to aches and pains. Giving Neil health anxiety was just the perfect way to exaggerate that.

As for Jenna, at some point, it made sense to me that what would make her and Neil a great couple is that they both have neuroses that have made them unlucky in love before, but allowed each of them to see beyond those issues and make their relationship work. Figuring out the right anxiety for Jenna took a lot of research. I wanted her to exude all the qualities of a strong, confident, professional woman, but to have a phobia that was not only real but something that most people would consider completely irrational.

My mother has a strong (very strong) preference along the lines of Jenna’s, so that’s the way I was raised (although my father tried his best to negate that influence). So I’ve got to say I get where she’s coming from, my feelings aren’t as strong as hers, but I sympathize with her. I can see where a full-blown anxiety like Jenna’s would be a real hindrance to a new relationship (friendship/romantic) with some people.
For sure. It was a fun thing to research because I really had to get an understanding of the phobia and research how people who have it get around it. It really made her character so much more interesting.

You’ve never shied away from some serious things in the pasts of your characters, but Chloe’s backstory and the events that brought her to Neil’s door are a few degrees “darker” (for lack of a better term) than you typically go. Was this a deliberate thing for you, “I need/want to start going deeper/darker,” or was it just what was needed for Chloe?
Chloe’s backstory was something I struggled with, and changed a few times during the writing process. Believe it or not, it was actually darker than the final version, but it never felt right for a comedy. I really wanted to focus on the struggles of her imposing on Neil’s bachelor life while dealing with the awkward challenges of growing up. To me that allowed for a lot of funny moments that were also realistic.

Dark-but-not-too-dark is a great way to think about it. Because, yeah, if you’d taken a step or two in either direction it would’ve been inappropriate for a comedy, or too light for it to seem real.
Exactly. And it worked out well. At first, it appears that Chloe is quite resilient and seems generally unaffected by the abandonment, but as time passes, it’s clear that it has had an impact on her. Had she endured more than mere neglect and abandonment, I doubt she’d have been as socially functional or emotionally stable to make the story work.

Let’s step away from Not Prepared for a bit before I end up asking you to break things down chapter by chapter (and don’t think that’s not a danger). Have you been reading anything lately that’s got you excited? Or do you have anything on your radar you can’t wait to get to?
I find it very difficult to read when I’m writing because I don’t like to feel too influenced by other work. So, I have a rather large pile of books to read that I gotta get cracking on. That said, Brian David Floyd has just finished the first draft of his next novel, and I’m looking forward to that. There’s more coming from Ian Shane and Wesley Parker that I plan to get into when they’re out as well.

My upcoming list looks similar—I’m waiting for an ARC for that Shane book to arrive soon—and cannot wait for that new Parker (it hurt me to decline a beta copy due to time). I’m off to look into Brian David Floyd as soon as I schedule this post…

But that brings up another question—when you’re writing, how do you spend your non-writing/not-work downtime? How does Matthew Hanover relax?
Well, right now I’m trying to enjoy the summer the best way I can. But, my best downtime is just chilling out at night binging my favorite shows from my youth.

When we talked about your previous book, you said that you’d written a bit of book 5—is that what you’re working on now, or have you changed to something else? Can you say anything about it and your timeline for releasing it?
I actually have two more books in various stages of development right now. One is the next book in the Wallflowers series, and another more experimental novel that will be set in the universe, but not part of the series. I’m not sure which will get finished or published first at this point.

That could easily lead to another batch of questions…but I’ll save those for later. 🙂
Thanks for taking the time to answer these—and for Not Prepared—I loved it, and hope others find it soon.

A Few Quick Questions

LITERARY LOCALS: A Q&A About Writing in Idaho with Justin Reed

By HCNewton

On August 8, 2023

In A Few Quick Questions With..., Literary Locals

Literary Locals logo
I met Justin Reed at the Treasure Valley Indie Book Fair back in March and am really glad we’ve finally gotten our ducks in a row to be able to bring you this Q&A. By a strange stroke of coincidence, I should be starting his book today. So you’ll be hearing more about him soon. But for now, let’s introduce him.

Before we get into things, why don’t you give the reader a brief introduction to you and your work.
My name is Justin Reed. I live in Boise, and I am an author, publisher, consultant, software engineer, and investor. I have published one novel—However Long the Day—a historical adventure set in 1918 NYC about two young men who switch places for a day and nothing goes to plan (think The Prince and the Pauper meets A Tree Grows in Brooklyn). People can find me at justinreedwrites.com, and on Instagram (@justinreedwrites), Facebook (@JustinReedWritesNovels), and LinkedIn (@justinreedwrites). People can buy a hardcover copy of However Long the Day at Rediscovered Books in Boise and/or Caldwell; from my website (in which case I’ll personalize the inscription); and at online book retails (bookshop.org, B&N, and The Great Smiling Beast). You can also borrow a copy from most of the libraries in the Treasure Valley (though they share a few copies, so you might have to put a hold on it). The ebook is available here, and can also be borrowed from Treasure Valley libraries (any of the Lynx libraries, I believe). And you can listen to the audiobook on Audible, Apple Books, B&N, libro.fm, and on Overdrive (if you have a local library card).

Are you a native Idahoan? What is it about Idaho that keeps you here?
I am a native Idahoan, born and raised in Boise. I went to Capital High School, and graduated from Boise State University with a Computer Science degree. Beauty, freedom, and family keep my Idaho.

Are you tied into some sort of local author/bookish group/culture? If so, tell us about it and how it helps you as an author.
I run a writers workshop of sorts at the Lake Hazel branch of the Ada Community Library. I call it Group Therapy for Writers, and it gives us attendees an opportunity to support each other in our writing goals. It’s nice to talk about the writing process with others who care about the process of turning thoughts into words on the page, and words on the page into something compelling to read.

First, that’s a great name. Have others in your group gone down the publishing road yet, and have they been able to help you through it—or are you the group’s guinea pig?
It’s a great group. We’re a mix of folks who have published and those who haven’t. Everyone in the group is experimenting with their style, genre, etc., hence the need for outside perspective. We’re taking a break for the summer but plan to start back up in September.

What kind of events in the area do you attend—either to sell/promote your books or to network with authors? Are there any outside of this area that you hit regularly and wish we had something like it here?
I’ve attended the Indie Book Faire at the Nampa Public Library, and I’ve attended several events at both the Boise and Caldwell Rediscovered Books locations. I would enjoy attending more events like these, as well as other author get-togethers.

What’s the breakdown of your audience—do you have a strong local base, or are your readers from other parts of the world?
However Long the Day is my debut, so I’m still in the audience building phase. My focus is older teens and adults of all ages. Most of my readers are here in Idaho.

Do you have a plan on expanding that audience? Or are you in more of a “see what works” phase of life?
I am definitely more in the see what works phase in which I try a bunch of ways to grow my audience. As you might expect, most of these come to a deadend, but I’m certainly learning a lot in the process.

Do you think there are particular challenges or advantages to being a writer in the Treasure Valley? (possibly both)
Boise is geographically isolated, which is both a blessing and a curse. I would love to more easily visit other metros and talk books (including mine), but that isn’t as easy in the Treasure Valley as it is in other places. However, the isolation is part of what makes our town—and the rest of Idaho—such a great place to live. I’m not very connected to the writing culture here in the Treasure Valley, but I suspect that is more because of my introverted nature than anything. I suppose we all have the chance to build the writing community if we take it.

Do you bring Idaho (or some sort of Idaho-sensibility, assuming one exists) to your work? Whether or not anyone else sees it, can you look at some aspect of your writing and think “That’s Idaho” or “I would do ____ differently if I was a Kentuckian or from Illinois?”
The first novel was set in Idaho during the earliest part of our existence as a US territory (1864 gold rush era), so in that regard I bring Idaho into my work. Unfortunately, that novel hasn’t been published yet because I just can’t get it right. Even so, I bring my Idaho sensibilities into all my writing, both published and unpublished. I try to mute my voice as much as possible and let my characters speak for themselves, but complete silence is an impossible objective.

Thanks for your time and participation! Hope you enjoyed it!

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Some Questions About Cover Art With…Elizabeth Peiró and Shannon Knight

By HCNewton

On August 7, 2023

In A Few Quick Questions With...

After Shannon Knight sent in that great Guest Post about the cover of her book Grave Cold, she asked if I’d be interested in doing a Q&A with her and one of her cover artists. The next thing I knew, I was in the middle of a conversation (or whatever you call it when you’re all interacting on a Google Doc) with Shannon and Elizabeth Peiró.

We end up talking about being a cover artist, hiring and working with one, AI, and more—with an eye to the snazzy cover to Wish Givers, the cover that Eli provided for Shannon’s upcoming re-release.

I typically call these posts “A Few Quick Questions”—but we leave “Few” and “Quick” in the rearview mirror. So I’m going with “Some” (because that’s as creative as I am today).

Wish Givers Wrap Around Cover
Shannon’s introduced herself to my readers already, so Eli, why don’t you give my readers a quick introduction to you and your work—including whatever titles, websites, links, etc. you’re in the mood to share
Hello, everyone! My name is Elizabeth, but I go by Eli for short. I’m a freelance artist from Spain working for different sorts of clients, from publishing to card games, tabletop RPGs, and briefly video games. I would describe my work as realistic fantasy, as it is the genre I mostly gravitate towards, and the things I like to focus on are storytelling with bold colors and light. You can check out my portfolio on my web page, Elizabethpeiro.com, and on Instagram and Twitter as @Elizabethpeiro. All my contact info is easy to find in any of those places.

Eli, how does someone get into the freelance cover design business (obviously that’s vague, so speak of your own experience—but if you can comment on what others have done, feel free)? I don’t imagine you just hang your shingle out there (virtual or otherwise) and start getting clients.
Getting in, at least to the point where it is sustainable, economically speaking, is hard, I’m not going to lie. It is not only about the skill level in terms of technique or speed (which is quite important; the faster you are, the better pay per hour you get), but also building a client list that keeps you busy all year long. I’ve only been working full-time as a freelancer since 2021. Before that, I had a non-art-related part-time job. That gave me a stable income while I kept improving and working for both private clients and publishers. When I saw things were going pretty well with art, I gave it a try at working as an artist full time and took a year off. Luckily, I haven’t stopped since. In my personal case, some years ago I painted a fan art of Vin, the main character from Brandon Sanderson’s trilogy Mistborn. That caught the attention of some small publishers and authors because it was highly shared in the fantasy literature community. My following grew, and, with time, more people found my work through that piece (and some others). So, many of my clients have found me, not the other way around. Like a lot of things in life, it is about being in the right place at the right time. You can’t have control over that, but you can keep sharing your work and improving to be prepared when the opportunity happens. As a freelancer, having a social media presence is important, but the numbers are not everything; getting to the right people is. Using hashtags, knowing your potential clients, and promoting your work in their circles—like in some subreddits, where you can find a different audience who might need an artist and don’t know where to look for one, or pages to offer your services like Reedsy. There are illustration agencies, cold emailing to publishers… Looking for work is a job in itself! There is a lot of rejection and ghosting, so you have to build a tough skin, but clients eventually show up if you are persistent.

Shannon, how did you set out to find an artist, and how did you come across Eli? Can you remember what it was about her work that made you interested?
I admired and followed Eli’s art long before I was in a position to choose my own cover artist. As a lifestyle choice, I enjoy following artists on social media.

In search of cover artists, I ramped up my art searches on Twitter. Artists share their own work and each others’ work there a lot, so it’s easy to dive into a lot of genre artwork.

Maybe years ago–I don’t remember when–the first work I saw by Eli was a piece called Strength of Ten, which depicts a woman hauling a Viking ship through ice and snow. I love so much about that painting: the colors, the lighting, the angles, the storytelling, the expression. Women in fantasy art have a long history of being depicted as sex objects. The woman in this painting is powerful and distinctive. She’s performing an amazing feat, straining her body. So many choices in this painting are commercially brave and interesting to me. I’ve watched Eli as an artist ever since I first saw that painting. [I just went to check out Strength of Ten, I can absolutely see why that would grab your attention]

For my Wish Givers cover, I needed an artist who painted skin tones that were not just white people. I’ve noticed many artists have a limited number of body types or skin tones they work with. Eli’s portfolio showed her skill there. I also wanted color, such as two different light sources with different colors, and Eli does that so well. Finally, I wanted a bold expression on my protagonist’s face rather than a neutral one. I know that’s hard, but once again, Eli’s portfolio proves her skills there.

The next step was to check her interest, availability, and prices to learn if we might be able to work together.

Eli, do you have any advice for those looking for an artist that Shannon didn’t mention? Obviously, the short answer is hiring you. But let’s pretend you can’t take on a client, what should they do?
Each project has different needs, and because of all the reasons Shannon listed, I was the right fit for her cover. She already knew what she wanted when she contacted me, so my advice to anyone who’s looking for an artist is to spend time thinking about what it is that they need their cover to convey, what style fits their story, and what will catch their audience’s attention the most. It’s not about your knowledge of art; you are hiring someone who’s a professional, who will bring your ideas to life, and who will help you make up your mind about what route you could take. But before any of that can happen, you need to be sure you are contacting someone who can do the kind of work you need. Also, having an idea of the timeframe and budget you have is ideal when you start your search. As for WHERE to start looking, places like ArtStation, Twitter, Instagram (well, any social media – Tumblr, LinkedIn, Reedsy…) or through hashtags- #Portfolioday, #Visiblewomen #DrawingWhileBlack… also Mari Naomi’s databases for POC, Queer or Disabled artists (to name one, there must be more out there). Those are also great places to find not only someone with the style you are looking for, but also people with sensibilities or knowledge about what you want.

Shannon, you’ve talked before to me about “standard fantasy cover expectations” and YA characteristics. how do you describe that kind of thing to Eli (or anyone) to make sure you’re on the same page?
You know, that’s an interesting question, H.C. It never even occurred to me to explain that to my cover artists. I assumed they would be even more deeply aware of conventions than I am. Also, I chose artists whose usual style matches the conventions I’m seeking.

Regarding expectations with Eli, I included a long description of what I had in mind for the cover, accompanied by reference images for each component. At the end of all that, I gave her a numbered list of my priorities for the artwork. Let me dig through my emails. Here it is:

My cover image priorities:
1) eye-catching image that makes a prospective reader stop and look
2) immediately identifiable as adult fantasy fiction
3) dark fantasy mood
4) Polynesian looking character
5) your specialties: color, light, character expression

Eli, any follow-ups to that? Any additional advice?
It’s pretty much what I said in the previous question: know what you want and analyze if that artist’s portfolio shows what you need.

Communication is so important from the beginning; artists know how to handle clients, how to turn ideas into images, and we know what we are doing. But for the process to be smooth, both parties need to be on the same page. If you are not sure about something, just ask (either if you are the artist or the client).

Shannon made her points very clear. She even had the references and made a rough sketch of her idea (which is not a must, but the more you provide to help the artist understand what you need, the better). On my side, I always want to be transparent from the beginning about the way I work, the process (I shared with Shannon the process of other cover pieces I’d done in the past), my schedule (because I work on various projects at the same time).

When pitching ideas, do you literally show existing covers by others and say “like this one, but without X” or “something that feels like/has the same vibe as this”? Or do you leave other peoples’ work out of the conversation?
Shannon: For Wish Givers, my cover design depended on the artist. When I considered different artists, I was considering different cover designs that matched their special skills. For Eli, I also had the mistaken expectation that I needed to arrive with a design, which I sketched (poorly) and accompanied with clarifying photos for each of the design elements.

Eli has been out-of-this-world from day one. She has continually offered and done more than I’ve expected on every level. Regarding design, she accepted my design and returned it to me in her style along with two other designs that matched the scene described. I got to look at three sketches by Eli and choose between them.

However, I do have a link to what you were asking about. The cover of Wish Givers includes ghosts. I didn’t know how to best handle them. When I was describing my ideas and possibilities, I included some existing paintings. One was a book cover from the 90s by Keith Parkinson for The Scions of Shannara [I remember that cover from when it came out in High School]. It has a stream of ghostly figures. Another was an ancestor painting by a Hawaiian artist called LeoHone with ghosts alongside their descendants. She’s painted a whole series of these, which are really cool–check them out! I also included a photo of an actor playing Maui standing in a dense mist. I wanted Eli to understand that I really didn’t have a set image in mind for how to handle this aspect of the painting, but I also felt I should share my general ideas. Then she could take it from there.

Eli: I always offer at least two options, even if, like in this case, Shannon already had a strong idea of what she wanted. It is a good way to see if that’s really the way to go, or to refine that initial concept with bits from the others. Each client and project is different; sometimes you have a lot of freedom, and sometimes there’s not so much room to explore. Neither is good nor bad, but it is always a team effort.

Shannon has talked about the ghosts, and they were the tricky point. The cover had to say “fantasy,” not “horror”. The character was the center point, but there were these big, human-size shapes above her, surrounding her, taking up a lot of space. So it was really challenging to make it all work out, and I thank Shannon for her patience with all the changes I made to them.

Something to have in mind as an artist as well is to keep it all under budget; that’s why the ghosts are more similar to The Scions of Shannara cover than to the LeoHone ones. Keeping them simple makes the cover work equally well (and even helps to keep the focus on Reva, the main character), and the price stays within her budget.

Shannon: Yes, when I shared the example paintings with Eli, I mentioned that as beautiful as the LeoHone style was, I didn’t think it would be within my budget for Eli to paint the cover in that style. I really appreciate being able to be transparent with ideas and also with my price range so that we could find a style that fit both.

Eli: As a professional, I find it important to be transparent about all that stuff, explain everything well, and try to find a middle ground that works for both me and the client.

Wish Givers Wrap Around Cover Image
Eli, are there genres that you won’t do/don’t think you can do at this stage of your career? Or are you at an “I’ll do anything” stage? Are there genres that you haven’t done a cover for that you’d like to try?
More than the genre, it is the subject that would make me say no to a project. For example, I’m not known for painting sci-fi, but last year I painted a few illustrations of the genre, and I really enjoyed them! But if you make me paint a cover where the only element is a starship, I would say no. There are plenty of people who would do a way better job than me, and I simply wouldn’t enjoy it. The same would happen if someone asked me to paint a fantasy illustration but with a really complicated composition and lots of characters. It is not my forte, so I should have all the details about what they need and think about whether it is something that I can really pull off. I’m lucky to be in a position in my career where I can choose (to an extent), and people usually approach me to paint things similar to what I show in my portfolio.

As for interesting projects, maybe something horror-related or with a pulp novel vibe would be fun to work on. But as I said, it is usually a matter of having an interesting concept to work with that fits my skills.
That makes a whole lot of sense–I’m used to thinking in terms of genre when talking to writers/readers or just thinking about books. But when it comes to great cover art, who cares about the genre of the book?

Are there examples of cover art/design recently that have made you stop and say, “I’d love to try something like that one day”
Shannon: I see all sorts of captivating covers. So many artists are doing amazing work. There are covers in styles I’ve long favored, and there are covers I see in new, distinctive styles that catch my eye. But mostly, my mind is on prospective stories rather than prospective covers.

I’ll do some name-dropping, though. Eleonor Piteir is a Portuguese artist I also considered for Wish Givers. Her style is really interesting. Carissa Susilo is a Canadian artist whose mixed media work is gorgeous.

Eli: I know Eleonor and she’s an amazing artist (and a great person too!). I love her style; it is one of those that makes me want to experiment and get out of my comfort zone. Carissa’s work is also really beautiful and inspiring to me.

There is beauty in variety, and I don’t prefer one style over another. (Well, I’ll be honest, I’m not a fan of big publishers doing those covers with a small stock photo on one side and a Helvetica Bold title on the other. Give me something! Haha!) 8-D

Shannon and HC: Haha!

Eli: Different stories and audiences connect better with certain things, and as an artist, I find inspiration everywhere.

Shannon: Yes, that’s true!

Eli: When reading the question, a cover that came to mind was the one for the illustrated edition of The Last Wish, the first book of the Geralt of Rivia saga, published by Tor Books. It is by Tommy Arnold, and the bold, red color in the background in contrast with the silhouette of the character, the dark and limited values… It is a mesmerizing piece, not only because I find it eye-catching, but also because it is magnificent from a technical perspective as well. [Assuming I just linked to the correct cover, that is an awesome cover, and I could spend too much time on Arnold’s website]

Shannon: Oh, Tommy Arnold! I loved his covers for Gideon the Ninth and Harrow the Ninth by Tamsyn Muir!

Eli: Same! He’s one of those artists who always end up in my reference boards.

Eli, could you walk us through the typical process (assuming there is one) of designing a cover? I wanted to break this down part by part, but I don’t think I know enough to try that. So I’m going to go with a broad question.
Things start with the typical approach of “I need an artist, here is what I want, are you interested?”

Ideally, the first contact email should contain enough information for me to be able to decide with that one email if I’m able to say yes or no. The main points are:
• Timeframe
• Budget
• Format/s (only front cover, full wrap, printed, e-book, etc.)
• Concept and elements of the cover

After the negotiation point and signing the contract, I usually ask for as many references as they can provide me, either quick sketches they can make, photos, other artworks, excerpts of the story… The more, the better. That way, I can make sure I understand their vision.

Then I would proceed to start drawing and send the sketches. Here, it varies from project to project, but I make at least a couple of sketches—sometimes black and white, sometimes in color, and once they pick one, I offer different color and light schemes. For Wish Givers, I sent Shannon three ideas in color, as the background and lighting were already discussed at the beginning.

Once one of them is approved, I start rendering. When things are taking shape, I send a WIP to the client to make sure I’m on the right track and apply changes if necessary. This can happen once, twice… It varies. The changes within the original budget are minor adjustments, if something major is needed, there’s an extra fee depending on the complexity. But that wasn’t the case here.

Once I find the work is done, I show it to the client, they approve it, and I send the final files.

For the payment, I usually ask for at least half in advance, that way, I make sure people won’t disappear halfway. But I’ve always had good experiences with clients and never had trouble with that.

Eli, obviously, the hot-button topic of the moment is the use of AI in art. For you, is it a blanket “no AI at all in my material”? Or is there a place for some limited use of it? How would you describe that use?
It is a complex topic because there are different kinds of AI and different uses for them.

One example of a good use is from the Into the Spider-verse film. It’s not my area of expertise, and I won’t use the right wording for sure, so here is a clip showing it: https://youtube.com/shorts/bskSiIdtjr0?feature=share
This helps artists with tedious work, and it is “trained” with material from the studio, not to steal but as a tool. That’s the point: for it to be a TOOL.

The kind of AI we are encountering on the internet that is gaining more and more notoriety is the “bad” one. The one that’s non-consensually trained with every dataset they find on the internet, and it is used as a way to create quick images (or texts, or whatever). Our society, our culture, is nourished by human experiences. This is how we evolve, in some ways. Literature, art, entertainment, etc. are mirrors and products of the time and place in which they are produced. If we let every mainstream piece of art be a regurgitated mix of already existing and stolen ideas, what value are we giving to our culture?

And besides all the jobs that will be potentially lost to this unless there’s regulation, there are so many terrible applications for that. Now, AI-generated images are (usually) easy to spot. But it is only a matter of time before it becomes hyper-photorealistic. Using people’s likeness to create fake photos, fake news supported by AI-generated images…

I don’t want to sound dramatic with all of this, but it is starting, and there should be laws regarding its use and how it is trained before it is too late.

I really appreciate the emphasis on AI as a tool. That’s the difference, really, isn’t it? Using it to aid and assist the human creative vs. using it instead of the human.

Shannon, do you have any follow-up thoughts on your side? Would you consider any kind of AI art on your books?
Generative AI is built on the theft of other people’s work, which is then reassembled according to the most common denominator. Consider all of the sentences used in a story inputted and selected based on which word combinations are most expected to be seen. Even with the magical thinking that systems built on theft would suddenly only contain work that has been ethically, in some dream manner, sifted through–that’s not quality. That’s not what art is about at all. I find it absolutely abhorrent on every level. Why would I ever want to produce something built of the averages of other people’s stolen work? I want no part of it.

Some writers have talked about using AI that has only been trained on their own work–a bit like the animation example Eli was sharing. But for writing, I don’t like that either. Each time I write, I aim to create something new. I also feel like I AM new. I’m not who I used to be–that’s how life works. Each story I write is made of something new that comes from inside of me.

Eli, there’s been a big backlash to AI art recently—but we know it’s already been used. After the initial fervor dies down, do you think AI is going to become an accepted element of covers? Are the ‘bots going to come along and take your job?
We live in a world where we are “disposable” as workers. The bigger the benefit, the better. I know there will always be people like Shannon, who appreciate human-made art. And I haven’t asked every person I know, but I highly doubt any of my acquaintances want to read or watch things written by an AI.

I want to think otherwise and not sound (or think) too depressing. I hope this is only a phase, and we will reach a point where this will be forgotten and used in ways that will really help people, such as applications outside of writing or painting.

Come to think of it, Shannon, that’s a fair question for you, too.
Generative AI is not the replacement for human creatives that some people imagine it to be. Capitalism presents the cheapest option of anything as the best. Misinformation, theft, and mediocrity are fine for capitalism. Biases are fed into the system and outputted even larger with the mind game that automation could only produce neutral content, so racism, sexism, etc. all get faux stamps of approval, and the status quo, with wealthy white guys on top, is further promoted. However, we are experiencing a major workers’ rights movement across many industries. It’s not a coincidence that these events are happening alongside a continuing pandemic and rising climate crisis. People are being crunched from all sides, with minorities and the poor facing the worst of it. All of us need to choose to take a stand together to protect each other and allow people to live in dignity. The alternative is not just a financial crisis and a rise in homelessness, but a deficit for all of us in the art that continues to be produced. Generative AI penalizes creatives in such a way that many fewer would commit to continuing to create in this hostile environment. Young people will be advised against building their skills and pursuing artistic careers. It’s not really a matter of replacing us. Generative AI as it currently stands does not even touch our skill levels. But already many writing and editing jobs are being presented as fixing the slop created by AI, paying hourly rates lower than those offered to work at my favorite grocery store. Corporations are refusing conservative pay raises for existing staff while offering hefty wages to AI specialists; these businesses would rather invest in problematic, experimental technology than their existing workforce. Meanwhile, students are submitting AI-generated homework. Why bother to learn how to think or write when discernment and critical thinking are not valued? Let’s not teach children that plagiarism is the path to the future. Undervaluing each other so that we can climb up each other’s backs is not the future we want. Pandora’s Box has been opened. Unless wide-ranging legal action is taken to inhibit generative AI, it will continue to be a criminal obstacle that artists must navigate so that wealthy tech bros can get richer off of stolen labor.

Eli: Shannon made excellent points here, I don’t think I have anything else to add. This is bigger than just “a computer making an image” or “writing a text”.

Absolutely. I think you two nailed it here…I’ve got nothing to add.

Thank you both so much for this. Hopefully, the readers like this as much as I did!
Wish Givers Front Cover Image

Elizabeth Peiró:

Mi nombre es Elizabeth Peiró, Eli para acortar, y soy una artista especializada en fantasía de Barcelona, España. Mis obras tienen como sujeto central los personajes y la narrative.

La mayor parte de mi aprendizaje ha sido de manera autodidacta, con libros o múltiples blogs, videos y recursos varios disponibles en internet, además de haber realizado una mentoría con el artista Donato Giancola. Tras ella me empecé a dedicar al arte a tiempo completo, trabajando mayormente para juegos de rol, cartas y el sector editorial, colaborando tanto con autores autoeditados, como Shannon Knight, como con grandes editoriales como Macmillan Publishers.

(in English) My name is Elizabeth Peiró, Eli for short, and I’m a fantasy artist from Barcelona, Spain. The main subjects in my work are characters with a focus on narrative.

Most of my learning process has been self-taught, through reading books, blogs, videos, and multiple resources I found on the Internet, on top of attending a mentorship with artist Donato Giancola, after which I started my full-time career as an illustrator. I’ve been working mostly for ttrpg, card games, and publishing, with clients such as self-published authors, like Shannon Knight, or bigger publishers, like Macmillan Publishers.

Shannon Knight:

Shannon Knight lives in the Pacific Northwest with her faithful feline, the best cat on this planet. Their adventurous lives include coffee, reading, ribbon games, and K-dramas. Prior to settling in the PNW, Shannon traveled to islands, living briefly on some and sailing from Java to Christmas Island on a small ketch. Much later, Shannon fell ill with the novel COVID-19 virus and became primarily bedbound for about two and a half years. The first thing she did upon regaining the ability to sit up all day was complete the publication of Wish Givers, Insiders, and Grave Cold.

Wish Givers can be purchased here.

A Few Quick Questions

A Few Quick Questions With…Joyce Reynolds-Ward

By HCNewton

On August 1, 2023

In A Few Quick Questions With...

Back in January, Joyce Reynolds-Ward was one of the first to participate in my Literary Locals Q&As, and I really enjoyed that. This morning I posted my take on her novel, Klone’s Stronghold (5 months after I’d hoped to). I’m pleased to welcome her back to this space to talk about her writing in particular. I focused on Klone’s Stronghold, but encouraged her to talk about her writing as a whole.

We’ve gone over your writer’s bio before, but I wanted to follow up on a couple of things. First, could you talk about your path to publication and what sparked your desire to write? Also, your bio mentions that your “work includes…(whenever possible) horses,” [in much the same way that mine would say (whenever possible) My first memory of writing was when I was about eight or nine years old, typing a fanfiction about Mighty Mouse. I don’t remember anything else about it, but a couple of years later, I started MY version of the Black Stallion story, featuring a girl and her palomino Thoroughbred mare. I’ve always told myself stories, whether they were about something I read or saw on TV, then, later, my own stories.

Horses? Well, I’m a person who has loved horses my entire life. My maternal grandfather was a chicken farmer who was a workhorse trainer on the side, specializing in rehabs and wild horses. Because he focused on workhorses, I don’t have the fancy backstory that some current horse trainers and show people do—or the connections. My old mare Mocha has been with me for eighteen years now, and I’ve learned a lot from her.

There’s also not a lot of adult-oriented stories that involve horses (Klone’s Stronghold is the rarity of my work that doesn’t have one wandering through it). The ones that do either have inaccuracies that make me want to throw the book across the room, or they focus on high-visibility equestrian sport that isn’t Western-oriented. Very little out there features normal, everyday people who ride horses and horses that are just normal, everyday horses. In the SFF realm, the only horses I’ve seen that really resemble actual equines I’ve known are either written by Judith Tarr or C.J. Cherryh (the Riders duology is absolutely perfect at tagging the twisted equine sense of humor).

Authors have dozens of ideas percolating at once (if not more), what was it about the idea that became Klone’s Stronghold that made you decide it was the one you wanted to focus on for a few months? Can you remember what nugget started that book?
Oh, this one is easy. Going over the Oregon Blue Mountains on Highway 204, there’s a little gravel road that’s labeled “Klone Lane.” I kept poking and poking at the notion of an isolated scientist doing genetic experiments in the backwoods of Northeastern Oregon, because it really did seem like an ideal location for a contemporary version of Frankenstein, The Island of Dr. Moreau, or other books of that ilk. It’s also a location for a LOT of Sasquatch sightings.

A second piece was attending multi-day outdoor music festivals at several venues in the Willamette Valley, along with the Oregon Country Fair.

Finally, I think Stronghold was intended to be my Zenna Henderson book. I really love how she folded her teaching experience into her stories and I tried to channel that mode when writing Stronghold.

Maybe this falls into the “are you a pantser or a plotter” discussion that everyone asks about, but given the elaborate—or at least widely varied—supernatural species (for lack of a better term) you have here, did you just sort of wing it and introduce ideas/races/abilities as you went along, defining them as you needed at the time—or did you work it all out in detail before hand?
I totally pantsed these supernatural species. That meant I needed to spend more time in rewrites trying to make it all fit, but it was my attempt to come up with something that wasn’t the same-old, same-old European supernatural beings transferred to the New World. It’s part and parcel with something that I’ve struggled with over the years. I don’t want to appropriate Native American beliefs even though they are more appropriate for the area where I write—they aren’t mine, I haven’t been brought up in those cultures, and coming from the settler background that I do, I believe that I need to be mindful of these things. That’s why you won’t see me writing about sknwlkrs or wndg. The cultures that those beings come from have asked that people not from their cultures avoid writing about those beings, including using their full names (therefore why I’ve disemvoweled them) so I’m trying to be respectful.

It worked in Stronghold. But I’m still wrestling with the idea in other worlds. One problem with making it all up myself is that I—have to make it all up myself. That can be daunting sometimes, especially when writing paranormal contemporary stories.

Who are some of your major influences? (whether or not you think those influences can be seen in your work—you know they’re there)
I read widely and I think that shows up in my work. I’m influenced by a lot of contemporary Western writers whose writing integrates the Western landscape into their stories. Steinbeck. Ivan Doig. Laura Pritchett (I have workshopped with her). Luis Alberto Urrea. Norman Maclean. Jamie Ford (another person I’ve workshopped with). But also, within genre—Ursula K. LeGuin. C.J. Cherryh. Aliette de Bodard. Phyllis Irene Radford. Patricia Briggs. Laura Anne Gilman. Zenna Henderson. And many others.

In our correspondence, you described Klone’s Stronghold as one of your “lesser books.” Is there anything in particular that makes you say that? Is that a verdict that you come up with later, or while writing are you thinking “this isn’t going to be my best, but let’s see how it goes anyway”?
I don’t issue that verdict in the beginning, but after I’ve put a book out. It also somewhat reflects a change in my attitude about the stories I tell, as well as how they started to become an idea.

Klone’s Stronghold is a standalone book that doesn’t seem to want to become a series. Oh, I have ideas, and notions, but nothing that coalesces sufficiently to become a story. That’s why I call it a “lesser book.” I’ve tried to make it the best book that it could be, but it doesn’t want to be anything more than that. Nothing like my Martiniere interrelated series, or the Goddess’s Honor series, or the Netwalk Sequence series. All of the first books in those series were clearly bigger than the one book, and those characters had more to say. Reeni—has pretty much said what she wants to say. She’s done with telling her story, even though there are more things that could be written about in that world. It’s also a nice little book, but it doesn’t break any new ground in storytelling. It’s not a big breakout book. It’s a story I wanted to tell.

I have another one of that ilk that’s simmering in development. Dragons of the Raven Alliance is a retelling of the colonization of North America, only with dragons as human allies. It’s one of those worlds that maybe could become a series in the hands of another writer, but for me—it’s a one-shot book that will tell a nice little story. But again, nothing big, not a breakout book. However, there’s room for the nice little stories both in my writing schedule and amongst the general public readership. Another one is my cli-fi novel, Beating the Apocalypse. Like Stronghold, it started around setting and moods, then developed into characters.

That might be the major difference. What I consider to be my big books started with characters, not setting or moods. They fit the mold of “breakout books” or “upmarket fiction” more than these books do. Because the big books are character-based, they end up becoming longer, bigger stories over several books. The setting and mood books don’t usually have sufficient impulsion within their story arc to tell anything more than the one book.

Your site lists a lot of titles—you’ve been pretty productive. What is it about storytelling/writing that keeps it fresh for you? Is this a compulsion to keep going, or is it more pleasure? Along those lines, are there genres you are still hoping to try, or are you sticking in the lanes you’ve picked? Are there genres you don’t see ever trying?
It’s pretty simple. I just like telling stories. That said, most of those books are tied into series, particularly the Martiniere books. Those characters keep coming up with more elements and pieces to tell about their world (technically, worlds, since those books are set in a multiverse).

I keep trying to venture into steampunk and Weird West. I would dearly love to write more Weird West. But. I keep running into roadblocks because I am a settler descendant and I am rabidly self-conscious about what that means and avoiding problematic stereotypes. I’m putting more romantic elements into my work, though I doubt I’d write a straightforward romance. The Martiniere books are probably the closest I’ll come to upmarket or literary fiction, though who knows? Possibilities always exist, and I do have a historical political novel simmering based on past experiences.

What you aren’t likely to see from me is a police procedural or mystery. I used to love reading that genre, but it doesn’t hold any appeal for me as either a reader or a writer these days. A non-cross-genre literary or upmarket book isn’t likely to happen. I’ve thought about writing memoirs, but they just don’t appeal. Or humor. I’m not very good at it, and I know too many people who are really, really good at humor to even give it a whirl. Or splatterpunkish stuff (now I’m dating myself!).

What’s next for Joyce Reynolds-Ward, author?
Right now I’m developing a Martiniere subseries called The Cost of Power, with book titles of Prodigal’s Return, Prodigal’s Trial, and Prodigal’s Redemption. Return is complete. Originally, it was just going to be one book but it became much more than that. Besides the usual Martiniere science fiction western with corporate soap opera, family discord, multiverse and mind control elements, I’m also adding in a fantasy element based on the legend of Melusine of Lusignan, hearkening back to events that happened during the fur trapping era of the Pacific Northwest as well as the French Wars of Religion involving Catherine di Medici. I’m hoping to release it next spring in one-month intervals—at least that’s the plan. However it turns out, it’s not going to be the Marvel Cinematic Universe, for sure!

Along with that, I’m also developing the series sequel to my first fantasy series, Goddess’s Honor, called Goddess’s Vision. The Vision series will focus on the deconstruction of the failing Darani Empire and the need for the nations of that world to unite to battle the Outcast God and the Divine Confederation. This is roughly set in a Pacific Northwest-type world—all of it, not just the wet side! And yes, it has magical horses, a breed called daranvelii.

As far as releases are concerned, my first short story collection, Fabulist and Fantastical Worlds, will be released on August 15th. Fourteen of the seventeen short stories have been previously published; the remaining three have not. I have enough published material to create several other short story collections, though some will need additions to fill them out. Those will be forthcoming.

A far future political space opera, Federation Cowboy, is now with readers and will probably come out in October. Cowboy may or may not have sequels. Like Stronghold and Apocalypse, it’s been sitting around the hard drive in one form or another for several years. I have several other ideas like that which are just waiting to take form.

Beyond that? Who knows? I might take the time to put out a collection of the ski blogs I wrote years ago. Or something further than that.

We’ll see what happens.

Thanks for your time—and thanks for Klone’s Stronghold, I loved that world and characters.
Thank you so much for your time, and I appreciate that you loved that world and characters! It did not get a great reception in the Self-Published Fantasy Blog-Off competition and really did not benefit from its entry, alas. But even though I call it one of my lesser books, I still am fond of Reeni and Strug and the kids, and I really, really like its cover. That interior needs work, so at some point I’ll reissue it, and that might be enough to stir the ol’ backbrain to whip up another story in that world. Or not. Nonetheless, it is a story I like.

The Inside Scoop—What Did We Learn? A Wrap-Up of Sorts

By HCNewton

On July 31, 2023

In A Few Quick Questions With...

Inside Scoop logo
Technically, Self-Published Author Appreciation Week is over (but it lives on in our hearts). I wanted to take a moment or two to look back at what I posted last week.

What Were Some of the Bigger Takeaways from These Posts?

bullet The biggest lesson I took away from this was that next time I do something on this or a similar scale, I really need to start putting the posts together much earlier than I did (and I did start early).
bullet Self-published authors want attention for their books (not unlike small-press or Big 5 authors, but more so). Not in a needy sense, or a “hey, look at meeeeee!” kind of way. But it is so hard to get anyone to see their books in the deluge of works published out there (2.3 million in 2021, for example), they will do a lot to put their name and books in front of a few eyeballs. We should all talk to people about their books in real life and online whenever we can—whether that’s what your online site/social media is about or not.
bullet The costs involved in putting out a good-looking book are significant. I’ve tried to be better about buying copies of self-published books I’ve been given to review. I’m going to get better about it. And they should all ask for more money for their books.
bullet The term “self-published” is a big misnomer. The number of artists, editors, and whatnot involved varies from “self” to “self,” but no one is alone in this thing.
bullet Most of these authors are uncomfortable with and/or don’t have time to do the marketing they should. Share/retweet/like/whatever their posts when you see them on various and sundry social medias.
bullet Their market really is international more and more. Which is just cool to see.
bullet Most of these authors like the autonomy/freedom/etc. given by self-publishing and wouldn’t want to get into the traditional publishing game. 20 years ago, I doubt anyone would’ve imagined that.
bullet These authors are highly self-motivated—but still, many of them have found ways to ensure they stay as productive as they want to.
bullet Mistakes and missteps are the best teachers out there. But advice and guidance from the community come in a close second—and it seems like everyone’s ready and eager to help others out.
bullet These people care about their work, they put blood, sweat, and tears into putting the best things out there they can.
bullet It’s been a long time since “vanity publishing” has applied to the majority of self-publishing. Readers as a whole need to get over that idea and recognize the quality of much of what’s being self-published today (I know too many hold on to the idea). But still, there are those hitting “publish” a little too early and should spend a little more time/money on their efforts.
bullet Along those lines, everybody judges books by their cover. Put in the effort to get something that looks good—the insides should look good, too, while we’re at it. You could be the next Hemingway or Atwood, but few will know that if it looks like your put your cover together with Microsoft Word.

Some Thanks

First, I want to thank Jodie at the Witty and Sarcastic Book Club for kicking this celebration off. Her enthusiasm for the project over the last 3(??) years is infectious.

Secondly, I want to thank my wife, kids, sister, and friends for their help in brainstorming titles and whatnot. Greg chipped in and improved some of my questions and added to them, making the whole thing better before I sent anything to the authors.

Lastly, I want to give heartfelt thanks to the authors that participated in things last week—I appreciate your time, effort, patience (especially when we kept sending each other the wrong files—or forgot to send them), honesty, and everything else.

In case you missed any (or want an easy way to find them again), here’s the list of authors and links to their Q&A About Self-Publishing:

JCM Berne
Jeremy Billups
James Lloyd Dulin
Andi Ewington
Jonathan Fesmire
Robert Germaux
(Germaux’s Guest Post)
Matthew Hanover
Shannon Knight

Rebecca Carey Lyles
Michael Michel
H.C. Newell
Raina Nightingale
(Nightingale’s Guest Post)
e rathke
Alex Robins
Ian Shane
Tao Wong

Remember these names—you will be seeing them all here again in one form or another. Hopefully soon. Definitely before the next SPAAW. For any of them that happen to be reading this. I seriously cannot thank you enough. And, as I said before, any time you’re in the Boise area—the first round of drinks (of your choice/preference) is on me, just let me know.

Self-Published Authors Appreciation Week Footer

The 2023 Self-Published Authors Appreciation Week Logo was made by Witty and Sarcastic Book Club

The Inside Scoop—A Q&A with JCM Berne About Self-Publishing

By HCNewton

On July 28, 2023

In A Few Quick Questions With...

Inside Scoop logo
I’ve talked about him all week, and now it’s time to hear from the man himself, JCM Berne. Without his help, there’d have been a lot less for you to read and me to post this week. And as anyone who has read his fiction, watched his Youtube videos, or has interacted with him in any way will expect, this particular entry in the series is as fun to read as it is useful and informative. Without further ado:

Before we get into things, why don’t you give the reader a brief introduction to you and your work.
I am JCM Berne. I write superhero stories. For grownups. No, they’re not silly. No, they’re not deconstructions. Or anti-heroes. Or gritty. Or hyper violent. Yes, they’re for grownups, I said that already. Yes, I’m serious. Yes there are bears, and sentient space stations, and giant bug monsters. No, really, none of it is silly.

It’s a story about regret and redemption, humor and happiness, coffee and donuts. Some people call it slice-of-life, but there are some war crimes and mass murders, so it’s not exactly cozy fantasy.

My website: jcmberne.com (shocking, I know!)

My books can be found at: https://a.co/d/5LoNrHZ

Best place to talk to me is twitter (my DMs are open!): @joeberne1

What are some of the biggest misconceptions you find that readers have about self-published books?
I’ll summarize it like this: people know that in, say, fantasy, Tor, Baen, Orbit, and whoever else you consider the ‘real’ publishers are releasing a certain number of books each month. People imagine that those companies are actually getting the BEST books. That if those companies release 50 books, the BEST indie book that month is, at most, the 51st best book being released globally.

That is incredibly far from the truth. The major publishers are finding, at best, a fraction of the best books according to their own editorial taste.

If your taste doesn’t exactly align with the Tor (or Orbit or Baen) staff (and it probably doesn’t), the BEST book for you that month might be one that those companies have all passed over. Maybe you want something more original. Or less original! Or litRPG. Or a non-ironic superhero story! The big companies are only releasing books in a very narrow window of genre and style.

Additionally, the process of getting a book through slush piles and into an editor’s hands is so onerous and so luck-dependent that there’s a good chance the best book in any given month was never even looked at by an agent, let alone an acquiring editor at Tor.

If you can find review outlets that you trust, you might find that THEY find better books than Tor can ever manage.

The second set of misconceptions is that self-published books are low quality – more typos, ugly covers, poor editing, etc. This is absolutely true some of the time, but it’s not hard to find self-published books of higher objective quality than trades. It just varies more (the worst self-published books are much, much lower quality, because there’s no gatekeeping at all).

What kind of costs are associated with self-publishing a book? Do you hire one or more editors, or one editor for a couple of passes? Cover artist? Anyone to help with layout, design, etc.? Beta readers? Or do you take it all on yourself? Are you actually making any money at this, or are you still focused on breaking-even while building an audience?
Cover: as low as $50 – but you’d have to be very lucky to find one that cheap that matches your book and still looks decent. Really good covers are very findable in the $1000 range. I spend over $4k on mine (which is probably a really poor investment, but I’m not a smart businessperson).

Editing: Varies. Most self-published authors writing GOOD books are hiring a line editor and copy editor and getting some developmental editing done (I am an exception, I don’t use developmental editors, because I’m just that arrogant). Minimum $1000 for a book and usually closer to $2-4k.

Layout and design – some people hire this out, but there’s software like Atticus ($100 lifetime purchase) that make it really easy to do.

Beta readers – people do hire beta readers, who cost a lot less than editors (usually under $100 for a beta read). Hiring beta readers is a lot less common than just trading with other writers.

Audio narrator: some people do this themselves, but a good audio narrator is around $200+ per finished hour. My book, for example, was about 13 hours. You can go higher.

Marketing: That’s the open-ended part. Blog tours, ads on amazon, newsletters, etc. You can spend absolutely any amount.

I am not making any money at this. Some indie authors are. Some support themselves doing this – more often those in high volume genres, like romance. I hear about indie authors hitting seven figure incomes (I assume that’s US dollars, not rupees or anything). I personally am eager to one day come close to recouping what I’ve already spent (nowhere near it).

Are there tools, mentors, websites you’ve found to help you through this process? Or did you stumble through blindly on your own?
I figured out a lot of it myself. I had early mentors in Ande Li and Maurice Alvarez, who I talked to because they’re friends in real life who had been publishing books for a while!

Once I got a foothold in the community, I got a LOT more help from authors on various Discord servers. I’ve found self published authors very willing to share advice and strategies. It’s a bizarrely supportive community.

How do you juggle marketing/PR/etc. with writing new work? (along with day jobs, family, hobbies, etc., etc.)
I keep telling myself it’s cheaper, and less time consuming, than a drug addiction. Not sure it’s true, but that’s what I tell myself. (that’s the second time someone’s said that—or words to that effect—today. I’m not sure if that’s a good or a bad sign that multiple people think this way)

What made you decide that self-publishing was the direction you wanted to go? How often do you question that choice? How do you get through the self-doubt?
Honestly, I spent a small amount of time trying to find agents that might be interested in my book and got nowhere. It’s possible that some are out there and I just couldn’t find them. Believe me, if I thought I could have gotten a contract from Tor, I would have. I also feel my particular book doesn’t pitch well. I’ve never been able to come up with a brief (1 sentence) description that sounded anything other than a bit dumb. My strength obviously isn’t marketing!

I almost never question that choice, in the sense that to this day I still can’t come up with a good pitch for my book, and I don’t think there’s a route to a traditional contract that would have ever worked for me.

If I had held out for that, I’d be waiting still, and I wouldn’t have the readers I have, who I treasure.

Have you thought about trying to get a deal with major (or indie) publishers for upcoming works, or are you planning on sticking with self-publishing?
I have an independent book coming soon that pitches well (Taken, if it starred Michelle Yeoh and was set on Cradle – a retired monster hunter wrecks a continent when her children are kidnapped.) I tried to get a deal and failed. I’m not sure the patience for that anymore – especially when I’m in a position where I can get literally hundreds of people to read my next book with a few tweets.

Odds are, you’re doing this from love/passion, not to pay the bills. What keeps you going? I’m assuming there are more “who”s than “what”s, actually—who is it?
It creates plenty of bills… not paying any of them yet! While I do dream of making a profit at some point, I’m pretty happy with what’s going on right now.

I love to tell stories. I love crafting them, the slow reveal, figuring out ways to change the emotional impact. I constantly make up stories, even if it’s just in my own head.

Writing is, for me, incredibly fulfilling for that reason!

I tell people this: if you don’t have to write, don’t. It’s frustrating, time consuming, and difficult. If you aren’t driven to do it, don’t punish yourself! But if you’re compelled to write, then by all means, become an author. Just don’t quit your day job!

Self-publishing tends to have fewer external deadlines keeping one accountable. How do you maintain your work process or work ethic?
I have a system.

I book slots with my line editor, who usually fills her schedule 4-6 months in advance. Then I am forced to finish my books to get them to her.

Because I love my line editor (she makes my books more authentically mine than I can manage on my own), I am deeply afraid of disappointing her, so it works!

I do not recommend this system. Do as I say, not as I do.

If you were to start the process over with the experience you have now, what would you do differently?
I would probably write a different genre. Superheroes are a tough sell, much tougher than I expected, and getting readers to take my books seriously is hard (I’m surprised you read it, HC, given what you generally review) [Really? I loves me some good super-hero stuff, I need to do better at talking about that]. On the other hand, this genre is what I really love, so maybe I’d have decided to go with it regardless, and just had lowered expectations.

Maybe that’s what I’d do differently: moderate my expectations.

How do you decide a book is finally finished and ready? (or how do you avoid “perfection as the enemy of good”?)
This is the tricky thing!

I set a deadline – usually announcing things on twitter, or booking a slot with my line editor – and just try to get it as good as it can get before then. But you have to couple that sort of process with a willingness to bail (and eat the editorial cost, or kill some of the buzz you’ve generated) if the product you have really isn’t up to par.

So far, I haven’t done that. It helps that my goal is a really fulfilling series, not a really fulfilling book, and I remind myself that every series has some subpar entries. But really it just takes an enormous amount of confidence, earned or not, to release a book, and you just have to do it.

Thanks for your time and participation! Hope you enjoyed it! And do know that there are many of us out here who appreciate and applaud what you do (and our number is growing)!
Thank YOU so much! Reviewers and influencers are all that stand between relative obscurity and complete obscurity for us authors! (Sorry, I wrote that sentence wrong, then read what it said, and it’s too funny for me to fix). Writing is inherently communicative. Having readers who really understand what I was trying to do in my books is what makes writing them worthwhile, and to be honest, I only KNOW they ‘got’ the meaning when I can read an actual review. Not that a buy or a star rating aren’t great – they are – but it doesn’t mean as much.

Be sure to give The Hybrid Helix (and anything else Berne puts out) a try!

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