I currently have a fantasy novel out in print and Kindle format. A lot of people have followed me because of my fantasy book, as well as my comments regarding fantasy. I started writing because of my love for fantasy. Most people probably still think of me as a "fantasy author."
Why, then, did I start to dabble in horror? Why have I published a horror novelette, and why do I have a horror novella on the way? A while ago I saw a graph showing the popularity of various book genres. Amazingly enough, horror was listed near the bottom, while fantasy was near the top. The horror niche, while popular, isn't considered popular enough in terms of marketing. Certainly a lot more people have bought Gods on the Mountain than they have Raw Head, even though the latter is cheaper than the former. Clearly, if I want to make money, I should probably push more into the fantasy genre than horror.
The truth is, the reason I got into horror was I wanted to explore ideas and concepts I couldn't with fantasy. I wanted to explore supernatural and perilous elements that would be harder (though not impossible) to do with fantasy. It likewise permits me to explore stories set in our own world. Plus (if I may be excused for using a ten-year old's argument), I just felt like writing in horror.
The wonderful about being an author (especially an indie author) is that you can adapt your writing focus. You're not bound to write this or that. Granted, this can be seen within reason: if your fans want you to write a sequel to a popular book, it might be good to write said sequel; if you're seen as a Christian author, writing violent erotica might shock your fanbase and loose you readers. However, for the most you are completely free to explore and develop your style however you see fit.
And, frankly, authors should be permitted to do so, so long as they do it without looking down on their fanbase or forsaking those who supported and loved them during the early days.
Monday, July 13, 2015
Saturday, July 11, 2015
Horror Novelette: "Raw Head"
I know I haven't updated this blog in a while, and it's running dangerously close to the trope of yet another author's blog that's gone into Neglect Land. I apologize to my followers and those who visit this blog, and I'll try to update more often from now on.
One thing I did forget to post about was...well...I wrote something. I wrote a horror novelette entitled Raw Head, which is available on Amazon for $0.99.
The synopsis:
One thing I did forget to post about was...well...I wrote something. I wrote a horror novelette entitled Raw Head, which is available on Amazon for $0.99.
The synopsis:
A serial killer is brutally murdering children. Susie Hansen is nearing the end of her pregnancy, and is beginning to worry that the serial killer may be after her child. Worst yet, she thinks the serial killer may not even be human...It's available on Kindle here.
Thursday, June 4, 2015
Featured: The Inspired Writers
Gods on the Mountain was featured by Merrie Housdon on her blog The Inspired Writers. She's running a genre theme each month, which happens to be fantasy for June. Check it out!
Also check out the rest of her blog. She does a lot to promote indie authors and their work.
Also check out the rest of her blog. She does a lot to promote indie authors and their work.
Monday, May 18, 2015
Writing Characters with Depression
A character in Gods on the Mountain has at least three episodes of great depression described in the book, one of which is in a flashback. These happen after three separate incidents, including the death of a friend. When I say he gets depressed, I mean he gets depressed hard. He shuts down. He's unable to do anything. He wallows in misery. All self-confidence is zapped out of him. He sees his talents and his worth as being lower than dirt. Even though he's nominally one of the heroes, he doesn't see himself as a hero, and he doesn't bear any of the cockiness so prevalent in many fantasy or science fiction heroes.
I based this largely off of my own experiences with severe depression.
Let me clarify that I'm not describing bipolar disorder, which is something else entirely, and which I've been told I don't have. There are other (non-genetic) reasons for my habit of depression which I can't go into here without turning it into a whiny sympathy-fishing-fest. Suffice to say, there are factors from my history that lead me to get the way I often do, but with the help of my selfless wife and supportive friends, I've been steadily recovering and trying to manage it. However, it's something still very real that I struggle with every now and then.
When I try to articulate how I feel in such depressive episodes, I find it's a difficult condition to try to explain for others, because it's more than being "bummed out." Telling a person to "man up" in such a situation won't work. What's more, it's not possible to simply come out and say, "Yeah, I'm feeling down, and here's why." It's like your body just shuts down, mentally and emotionally. Whatever accomplishments you've made that day feel like nothing. It's like writing a 50,000 WIP in one day, only to have your computer crash with nothing saved - everything you've done, according to your depressed mentality, suddenly has no meaning. That's what it feels like.
I had one such episode this week, when during the evening I got into an argument with a friend. Without giving too much away, I said something poorly worded, and as a result they felt insulted and shut down the conversation. I felt bad because my intent wasn't to be mean or insult anyone, especially a friend. I didn't have anything else to say to the person, because my mind literally locked up, and I didn't know what to say. The guilt became stronger. I realized I couldn't get any sleep. I think I only got about two hours of sleep that night. Worst yet, I was struggling with myself on the inside, saying, "Just apologize," or, "Stand up for yourself." Part of me said, "This is stupid. You have bigger things to worry about. Move on with life." Even these internal voices fell on deaf ears. I'm writing all this as just as an example of how difficult depression can be for those who struggle with it.
When I wrote the depression scenes with the character mentioned before, I didn't just leave him depressed. There's a way out. Things happen that lift his spirits. I tried to show that there are ways out of depression, and we don't need to see it as the end. It's not the same for everyone, and for many it's harder than others. My hope is that it's carried across well in the story itself.
I based this largely off of my own experiences with severe depression.
Let me clarify that I'm not describing bipolar disorder, which is something else entirely, and which I've been told I don't have. There are other (non-genetic) reasons for my habit of depression which I can't go into here without turning it into a whiny sympathy-fishing-fest. Suffice to say, there are factors from my history that lead me to get the way I often do, but with the help of my selfless wife and supportive friends, I've been steadily recovering and trying to manage it. However, it's something still very real that I struggle with every now and then.
 |
| Is there anybody out there...? |
When I try to articulate how I feel in such depressive episodes, I find it's a difficult condition to try to explain for others, because it's more than being "bummed out." Telling a person to "man up" in such a situation won't work. What's more, it's not possible to simply come out and say, "Yeah, I'm feeling down, and here's why." It's like your body just shuts down, mentally and emotionally. Whatever accomplishments you've made that day feel like nothing. It's like writing a 50,000 WIP in one day, only to have your computer crash with nothing saved - everything you've done, according to your depressed mentality, suddenly has no meaning. That's what it feels like.
I had one such episode this week, when during the evening I got into an argument with a friend. Without giving too much away, I said something poorly worded, and as a result they felt insulted and shut down the conversation. I felt bad because my intent wasn't to be mean or insult anyone, especially a friend. I didn't have anything else to say to the person, because my mind literally locked up, and I didn't know what to say. The guilt became stronger. I realized I couldn't get any sleep. I think I only got about two hours of sleep that night. Worst yet, I was struggling with myself on the inside, saying, "Just apologize," or, "Stand up for yourself." Part of me said, "This is stupid. You have bigger things to worry about. Move on with life." Even these internal voices fell on deaf ears. I'm writing all this as just as an example of how difficult depression can be for those who struggle with it.
When I wrote the depression scenes with the character mentioned before, I didn't just leave him depressed. There's a way out. Things happen that lift his spirits. I tried to show that there are ways out of depression, and we don't need to see it as the end. It's not the same for everyone, and for many it's harder than others. My hope is that it's carried across well in the story itself.
Monday, May 11, 2015
Expanding a Character's Role: Or, How My Wife Influences My Writing
In Gods on the Mountain, there's a character known as Celia, who works as a tavern girl in the desolate city of Dubris. Without giving too much away, she eventually becomes the love muse, and romantic interest, of another character. Originally, she had a much more minor role. In fact, I don't think I even named her. She was simply going to be a brief source of temptation for the protagonist to want to quit the mission and stay in the city, only to continue on out of a sense of duty.
Then I started reading the incomplete first draft to my wife. You must understand that my wife is a hopeless romantic, and believes if a character deserves true love, they should receive it. In this situation, she started wanting me to write that Celia and the protagonist ended up together. I fought with the idea in my head, trying to think if I could make it work, or if it would be worth the long-term character development. Eventually, I decided to go forward with it, and started writing with this in mind. By the end, Celia became a character who will more than likely pop up in any sequels.
Herein lies the importance of beta readers, and why they can be helpful in catching things you don't. Two of my beta readers complained that the relationship between Celia and the protagonist, after they first part ways, felt disjointed. One said that it felt like they were separated lovers, when their first contact was awkward and brief. I had to laugh at this, because Celia was, after all, written as a character who wasn't supposed to be relevant to the story, hence the disjointed feeling. I went back and rewrote the scene between her and the protagonist, making it longer, more fleshed out, and with a more developed bond between them. I sent the rewritten scenes to the beta readers, and they both agreed it was an improvement.
This entire episode was an example of how an author should be flexible with how he sees characters progressing in a story, and whether or not there's room for change. It's also a fine example of why you should reread and review your work if you make any serious changes to the story.
Then I started reading the incomplete first draft to my wife. You must understand that my wife is a hopeless romantic, and believes if a character deserves true love, they should receive it. In this situation, she started wanting me to write that Celia and the protagonist ended up together. I fought with the idea in my head, trying to think if I could make it work, or if it would be worth the long-term character development. Eventually, I decided to go forward with it, and started writing with this in mind. By the end, Celia became a character who will more than likely pop up in any sequels.
Herein lies the importance of beta readers, and why they can be helpful in catching things you don't. Two of my beta readers complained that the relationship between Celia and the protagonist, after they first part ways, felt disjointed. One said that it felt like they were separated lovers, when their first contact was awkward and brief. I had to laugh at this, because Celia was, after all, written as a character who wasn't supposed to be relevant to the story, hence the disjointed feeling. I went back and rewrote the scene between her and the protagonist, making it longer, more fleshed out, and with a more developed bond between them. I sent the rewritten scenes to the beta readers, and they both agreed it was an improvement.
This entire episode was an example of how an author should be flexible with how he sees characters progressing in a story, and whether or not there's room for change. It's also a fine example of why you should reread and review your work if you make any serious changes to the story.
Thursday, April 30, 2015
"Gods on the Mountain" Now Available!
As those who follow me on Twitter know, my new fantasy book, "Gods on the Mountain", was released yesterday on print and Kindle, and is available for purchase.
In the mountains of Calambria, the dwarf tribes have disappeared, and merchants have been expelled. Two are assigned to investigate this mystery: Edmund, a human and Magi, gifted with the ability to utilize the elements; and Diane, an elf and Dagger Maiden, who excels in close combat. As they attempt to uncover what has happened, they unearth betrayal and secrets not only from outside the continent, but from within as well. Soon they will discover a plot with dangers that go well beyond the mountains.
Monday, April 27, 2015
First Experience: Beta Readers
When I first entered the world of indie publishing, I heard about these strange things called beta readers. "Who are these strange people called beta readers?" I asked myself.
What I learned was that, before publishing your book, you gave copies of it to either friends or volunteers to read and give you feedback on what they liked or didn't like. It's similar to the practice of film companies using test audiences to see what they think of a film thus far. There are various opinions regarding what point in the publishing process you should use beta readers, but the one I've read that makes the most sense is when you have the book edited and in a format you believe would be publish-worthy. At that point, you send it to your beta readers to see what other people would think about your work.
I'll admit I probably did it in the most awkward manner. I basically just put it out on Twitter that I was looking for beta readers for "Gods on the Mountain", and advertised it like that for a while. Eventually, I got three people volunteering for the job. I sent them PDF copies of the book, and waited to see what would happen.
Overall, the experience was amazing. My beta readers were open and honest, telling me what parts they loved and what parts they hated. I came to really treasure their feedback because there was one part of the book that at least two of them said didn't work at all, and didn't come across as believable. I went and edited that part, and sent them the edits, and they all affirmed that it was much better. They likewise pointed out any grammar or spelling errors, including one embarrassing mistake where I completely left out the verb!
I definitely saw the value in beta readers from this. I felt like my book was being even more refined, and was beginning to come together as a fully functioning novel. I was happy to have people who could point out problems in the storyline, rather than simply throw my book out into the market and get it from reviewers who may not like the book as much as they could. The experience likewise permitted me to grow and learn to take constructive criticism with a thick skull, and take from others what could help my writing, rather than getting defensive or becoming far too attached to the story.
To any indie authors out there, I would definitely suggest looking up beta readers, or finding those who would function as beta readers for you. It is definitely worth it.
 |
| No no no...beta. |
What I learned was that, before publishing your book, you gave copies of it to either friends or volunteers to read and give you feedback on what they liked or didn't like. It's similar to the practice of film companies using test audiences to see what they think of a film thus far. There are various opinions regarding what point in the publishing process you should use beta readers, but the one I've read that makes the most sense is when you have the book edited and in a format you believe would be publish-worthy. At that point, you send it to your beta readers to see what other people would think about your work.
I'll admit I probably did it in the most awkward manner. I basically just put it out on Twitter that I was looking for beta readers for "Gods on the Mountain", and advertised it like that for a while. Eventually, I got three people volunteering for the job. I sent them PDF copies of the book, and waited to see what would happen.
Overall, the experience was amazing. My beta readers were open and honest, telling me what parts they loved and what parts they hated. I came to really treasure their feedback because there was one part of the book that at least two of them said didn't work at all, and didn't come across as believable. I went and edited that part, and sent them the edits, and they all affirmed that it was much better. They likewise pointed out any grammar or spelling errors, including one embarrassing mistake where I completely left out the verb!
I definitely saw the value in beta readers from this. I felt like my book was being even more refined, and was beginning to come together as a fully functioning novel. I was happy to have people who could point out problems in the storyline, rather than simply throw my book out into the market and get it from reviewers who may not like the book as much as they could. The experience likewise permitted me to grow and learn to take constructive criticism with a thick skull, and take from others what could help my writing, rather than getting defensive or becoming far too attached to the story.
To any indie authors out there, I would definitely suggest looking up beta readers, or finding those who would function as beta readers for you. It is definitely worth it.
Monday, April 20, 2015
"Gods on the Mountain" Sample Chapter
The following is Chapter 1 from my upcoming fantasy novel Gods on the Mountain, set to be released on April 29, 2015.
Enjoy!
Enjoy!
Monday, April 13, 2015
Rules of Magic in Calambria
Last month, I came across an article by Eve Jacob on how to write magical powers. It was a good read that basically emphasized having a system, limitations, rules that can be understood and broken, etc. I've had a lot of questions from the beta-readers for my upcoming book Gods on the Mountain, regarding specifically the use of magic. Because of this, I thought I would take a moment to explain what role magic plays in the book, and within Calambria (the continent on which my book takes place) at large.
The word "magic" is rarely used in regards to special powers, and when it is, it is almost treated by other characters as a kind of slur. The powers themselves involve a manipulation and utilization of natural elements found within the world. This can include the dirt in the ground, or the flame from a fire, but it can also include clothing or metal armor. This is done by either manipulating the elements from their current state, or channeling those elements through your body. The important part here is that elements cannot be created ex nihilo from the caster themselves - it must already exist. Hence, an adapt user of "magic" must be ready to use whatever is available to them at that moment.
Two things should be kept in mind in regards to this: skill level and physical endurance. A magic user cannot simply do whatever he wants, but rather must harness and focus his skill, in the same manner that a juggler needs to practice to keep up (and advance) his abilities. Likewise, a weak magic user is not going to have enough endurance for what he needs to do, whereas a stronger magic user will be able to cast for long periods of time (and as a result, most magic users tend to be physically fit).
One final, and very important, factor to consider is that, in Calambria, magic and spirituality are connected. Magic is not earned through bloodline, nor through simple training (though training to lower levels is possible); rather, the Almighty (Calambria's monotheistic deity) grants "magic" to whom he wills. It is not inherited, but gifted. The major school of magic in the book, the Order of Magi, recruits by seeking out those who have shown, either at an early age or as a young adult, those who exhibit these powers. Of course, what a person chooses to do with these powers is up to them, and can ostracize them from the magic-using community at large, or grant them greater renown. Those outside the Magi who have exhibited powers for good tend to be seen as saints or holy people, while those who exhibited them for evil were seen as morally corrupt. All of this plays an important factor in the main plot for Gods on the Mountain.
The word "magic" is rarely used in regards to special powers, and when it is, it is almost treated by other characters as a kind of slur. The powers themselves involve a manipulation and utilization of natural elements found within the world. This can include the dirt in the ground, or the flame from a fire, but it can also include clothing or metal armor. This is done by either manipulating the elements from their current state, or channeling those elements through your body. The important part here is that elements cannot be created ex nihilo from the caster themselves - it must already exist. Hence, an adapt user of "magic" must be ready to use whatever is available to them at that moment.
Two things should be kept in mind in regards to this: skill level and physical endurance. A magic user cannot simply do whatever he wants, but rather must harness and focus his skill, in the same manner that a juggler needs to practice to keep up (and advance) his abilities. Likewise, a weak magic user is not going to have enough endurance for what he needs to do, whereas a stronger magic user will be able to cast for long periods of time (and as a result, most magic users tend to be physically fit).
One final, and very important, factor to consider is that, in Calambria, magic and spirituality are connected. Magic is not earned through bloodline, nor through simple training (though training to lower levels is possible); rather, the Almighty (Calambria's monotheistic deity) grants "magic" to whom he wills. It is not inherited, but gifted. The major school of magic in the book, the Order of Magi, recruits by seeking out those who have shown, either at an early age or as a young adult, those who exhibit these powers. Of course, what a person chooses to do with these powers is up to them, and can ostracize them from the magic-using community at large, or grant them greater renown. Those outside the Magi who have exhibited powers for good tend to be seen as saints or holy people, while those who exhibited them for evil were seen as morally corrupt. All of this plays an important factor in the main plot for Gods on the Mountain.
Friday, April 10, 2015
Book Trailer: Gods on the Mountain
I know I had previously posted the book teaser, but here now is the book trailer for my upcoming fantasy novel, Gods on the Mountain.
Artwork used in the trailer comes from the book cover itself, which was done by the wonderful artist Mari. Check out her Twitter account and her website! She's a marvelously talented artist!
Artwork used in the trailer comes from the book cover itself, which was done by the wonderful artist Mari. Check out her Twitter account and her website! She's a marvelously talented artist!
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