Giveaway Announcement!

Today through Thursday, both STAR THIEF and THE EMPIRE’S ORPHANS are available for free on Kindle! Please read and enjoy!

In my debut, STAR THIEF (now #5 in Kindle Sword & Sorcery Fantasy for teens!), one wish stops the tides, darkens the night sky, and freezes whole worlds in a jar.

THE EMPIRE’S ORPHANS, told from the voices of a conqueror’s son and a conquered lord’s daughter, follows two young people in a country simmering with national, racial, and class tension.

Happy reading!

Missing The Hope In YA Fiction

“Fear is a powerful emotion, and it’s driving current trends in YA publishing.” This is the leading line of a recent Publishers Weekly article, “Spotlight on YA.” Books highlighted here touch on timely topics ranging from illegal immigration to Islamophobia. The article also notes that teen thrillers are on the rise, saying that “today’s audiences crave dark, suspenseful storytelling and hairpin plot turns.”

I have absolutely no issue with books that take on current topics, and/or shed light on the difficulties faced by particular subgroups of society. I think reading across different cultural experiences and societal injustices benefits anyone’s worldview, and I also appreciate the concept of books like Speak by Laurie Halse Anderson, which explore traumatic experiences and help make these issues more public.

But for myself, I’ve always read darker, grittier, or grimmer books as a part of a palette that also includes escapism and hopefulness. My heart and my brain can only spend so much time focused on unrelenting pain and despair. Even though a book needs drama to stay engaging, one of the big draws for me to YA Fantasy always was the general sense of hopefulness that it tended to have. Young characters usually aren’t fully cynical yet. They believe good can defeat evil, because it should. They have grand plans for their lives, and believe they can change the world, or the galaxy. They have a contagious overall optimism, even in books about war, or in books where Lord Voldemort has taken over the government. Adults can learn a lot from that kind of fresh perspective and perseverance. Too often I think we (adults) fall into believing that the world can be no better than it is. And this sense of fighting a constant uphill battle against corrupt and self-serving status quos that will never improve feels like it’s bleeding even into fantasy novels.

Darkness in children’s fiction isn’t new. There have always been books like My Girl and The Bridge To Terabithia, which take on death and grief. There’s nothing wrong with books reflecting issues that kids might have to face, whether it’s death or racism or abuse. But I can’t help but feel like the balance of books offered with a focus on the harsh realities of life, or even the harsh realities of dystopian life, has been shifting. And to an even greater extent, the tone of the books has shifted. Somehow the hopelessness in so much of classic adult literary fiction (I’m looking at you, Tolstoy), seems to have spread. It’s not the difference of a carefree, pastoral (or suburban) existence versus an existence in the sewers living off of rats. Rather, it’s the difference between a character facing grand challenges surrounded by at least a few helpful friends, versus a character facing grand challenges surrounded by people who might or might not be trying to kill him, and surrounded more widely by people who have nothing but their own interests at heart. One type of story implies that there can still be some camaraderie, some trust, and some hope even in the face of colossal problems. The other story implies that the surrounding world has nothing to offer but selfishness and near-certain doom.

Or is this just me? Maybe I’m simply wanting to read more light, hopeful fiction lately. I admit, I’m a bit bemused by the general growth of looming dangers in the world fueling a desire for thrillers and dystopian settings in entertainment. I usually find enough dystopian stories listening to NPR—when I’m reading before bed, please give me a happy ending. Also, a set of characters who don’t seem completely self-serving or defeated from the start.

What do you all think? Is this just me, or have you been seeing this too? I’m also very open to any good suggestions of YA with a sense of hope still in it. Feel free to chime in!

Tips on Writing 3-Dimensional Characters, Part II

In my last post on writing, “Tips on Writing 3-Dimensional Characters, Part 1,” I talked about thinking through character motivations and what they want. I left off with the question of why they want what they want. Why do they want to control the galaxy? Why do they want to solve murders? Why do they want that mortgage loan to come through? If we really want to start wading into things, why do they want a turkey sandwich more than a hot dog or a salad?

Only you as the writer can know the answer to these kinds of things, but it’s important to think through them. Just as no main character or side character acts without some type of motivation, these motivations should seem grounded in something that’s not just from the character’s core personality, but also potentially by their history (just like real humans, characters should be shaped by both ‘nature’ and ‘nurture’). After seeing 500 years of bloody intergalactic war, a character might think that controlling all parties would finally bring peace, and end up saving lives in the long-term balance. Another might solve murders because an unsolved murder touched them directly (as in the television show Castle), to atone for something in their own past, or because they love the puzzle of it. And why turkey sandwiches? Maybe that’s the easiest thing to grab in the fridge and they’re in a hurry. Maybe they have a routine that turkey sandwiches have to be their lunch every weekday. It’s up to you!

Before you run up against every critical and non-critical decision in your character’s life, I find it helpful to make a character sketch of what makes them tick. This starts with a few sample questions I’ll list below on the ‘nurture’ side of things, but always also goes into what the character wants, as I described in the earlier post. Sometimes, a character’s past will create those wants before I even get to that step. With Bryna in THE EMPIRE’S ORPHANS, wanting financial stability and the safety that brings came easily from how uncertain her life had been up to the start of the book. It’s also all right to think backwards though, and I often do this with side characters. If someone’s embezzling something, I want to be sure that they’re not just a criminal. There should be a reason why they feel justified doing what they’re doing, whether it’s from desperation, revenge, or another rationale entirely.

So without further ado, here is a list of loose starter questions you might try in a character sketch. Not all questions apply to all characters, this is just a sampler!

  • What was the character’s childhood like? Stable, unstable? Loving, mixed, or survival of the fittest?
  • Who were the important figures in their early life? Are they still in touch with anyone from their early years?
  • What reminds them of childhood now?
  • What relationships are most important to them now?
  • What type of education did they have?
  • What is the most traumatic thing that ever happened to them? What is their happiest memory?
  • What did they expect to do or achieve in life, and how close to that expectation is their life now?
  • What do they feel is the most important lesson they’ve learned in life?
  • How much of their day to day life is about needs (e.g. food, shelter, safety), and how much is it about wants (e.g. nice clothes, popularity, designer coffee)? Has it always been this way?
  • What’s one thing they’ve lost that they’d love to recover?

After asking some origin questions and thinking through not only what your character wants but why they want it, you should have a good start on some layers to your character’s personality. There is absolutely more you can do, but after rinsing and repeating this process for my main character and major side characters, this is usually the point where I feel ready to start experimenting with characters in scene and seeing how things go. As more characters come along, or as the plot rolls out, I may revisit some of these layers later.

Best of luck with your own character creations!

My First Live Author Q&A: The Recap

My reading at the Davies Memorial Library in Waterford, VT this past Tuesday was great fun! I read from the first chapter of The Empire’s Orphans, doing my best to channel the wonderful authors who’ve come before me. After the first chapter was read, the night then moved into a Q&A session with my audience, who had thoughtful, truly terrific questions. In case you missed it, a sample of these questions are below!

Q: If you were to pick a time from our history of when The Empire’s Orphans takes place, when would it be? Why did you pick that time?

A: I set The Empire’s Orphans in 1530, albeit with magic and geography that I made from scratch. My reasoning for this was based on wanting to give one of my cultures a significant technological advantage over the other, and, after seeing the documentary Guns, Germs and Steel years ago, I settled on firearms, along with a different system of magic, as this advantage. By setting my timeframe at the early development of firearms, I hoped to keep this tech advantage somewhat in check, and to keep the muskets a little bit mysterious with their high volatility. Once I settled on 1530 for my firearms, I also loosely based other details, like Solinski clothing, on what might have been expected in Europe at that time.

Q: I like the level of detail that you use in this book. It gives the reader, especially this age group, enough information without bogging them down in paragraphs about basket weaving. As you’re finding this balance while you write, do you typically have to add detail, or cut it? Or does this come naturally?

A: Occasionally I hit a detail balance I’m happy with on the first try, but it’s pretty rare. I usually need to add details in as I’m editing, to give some action details to a section of dialogue, or visual details as characters are traveling. In my first drafts, my conversations can feel a bit like they’re floating, because they’re not always grounded enough in non-dialogue interactions or details of what’s happening around the people as they’re talking. I also have to work at letting readers ‘see’ the countryside or cityscapes around them, and fight the fear that readers don’t want to break from the action long enough to take in that kind of visual detail.

Q: Do you tend to see things in your mind’s eye as you write, or is it more distant as you’re writing the story down?

A: I see most of the book in my mind’s eye as it’s happening. Often I’ll see certain scenes many times before I ever get to writing them down, and they play out in my head a little like a play that I’ve cast myself in. I’ve done this with stories for as long as I can remember—it was always a great source of entertainment on long bus rides to school, or during chores like feeding calves. Fortunately my mom didn’t find my frequently-glazed expression too alarming while I was growing up.

Seeing this kind of play is one of the reasons I need to add detail in later, I think, because I see the world I’m writing pretty clearly, and I can assume the reader does too. Later, in the editing, things feel less like a play and get a little bit more scientific as I’m balancing pacing, weighing my subplots, etc.

Q: Was it difficult to write this in first person? Do you prefer first or third?

I didn’t find The Empire’s Orphans difficult to write in first, but I have found first person limiting in the past, particularly with the first book I wrote while I was in high school and college (this book is now in a drawer). My decision to write Star Thief in 3rd person was directly based on that experience. When I began the framework for The Empire’s Orphans, though, I decided that it needed to be in first because I wanted to be able to explore internal arcs of feelings, biases, and reevaluating what the characters know to be true. Particularly for Rogan, I saw this as important enough to try the first person perspective again, and I’m happy with that choice.


If you have any other questions yourself, please don’t hesitate to reach out through the site! I’d love to hear from you!

Author Reading In Waterford, VT

My debut author reading is coming up in just a couple of weeks! Readers and writers of all ages are invited to the Davies Memorial Library in Waterford on April 3rd at 6:30pm for a reading and Q&A. The night will start with a reading from my YA fantasy novel THE EMPIRE’S ORPHANS, and then shift into a discussion with readers and aspiring writers on the process of creating the novel and advice for writers working on their own projects. I’ll also be offering refreshments made with my own two hands. RSVPs on Facebook are very much appreciated!

Read more about THE EMPIRE’S ORPHANS!



Old Themes, Modern Books

I’m always fascinated to see how often common themes are shared across literature and through history, back to Greek tragic plays. I don’t often read true “literature” for pleasure, (my favorite class in high school was history, and my patience for James Joyce is limited), but I was still very struck by this recent article at the Literary Hub, “10 Books To Read By Living Women (Instead Of These 10 By Dead Men)” by Emily Temple. I don’t have any problem with reading books by dead authors, some of whom are terrific, but it is wonderful to find new writers! It’s also a sad truth of English class that a lot of traditional “literature” is written by men (usually white men), so the perspectives it offers can be unbalanced. “10 Books To Read By Living Women” gives a great set of suggestions for newer books written by women, with parallel themes to A Portrait of the Artist as a Young Man, Moby Dick, Infinite Jest, and 7 others. Check it out!

Tips On Writing 3-Dimensional Characters: Part 1

What makes a character feel like a person? This is a question I’ve heard from many beginning writers. It’s not easy to make up a whole human being for a story. People are complicated. We’re multilayered, we have emotions, we have quirks and bits of ourselves that might not always seem consistent. We don’t always speak in grammatically correct sentences.

While I’ve taken some terrific writing classes, where I learned the most about developing characters was in an acting class. In this class I learned very clearly that everyone has some sort of motivation at all times. These motivations create actions that are visible to the audience of a play or movie. No one walks across a stage for no reason. There’s always a purpose behind it. That person wants something, and they’re working to get it.

What the character wants might be momentary motivations like being hungry, (visible action: make a sandwich), or they might be more over-arching motivations, like wanting to become the world’s best surgeon (action: go to med school, but also self-discipline yourself to work and study and save on the path to getting you there), or wanting revenge (action: kill that person who killed your father, but again, there’s also the planning and behaviors that get you to that point). Motivations might also be less tangible, like seeking a parent’s approval, or a sense of belonging, or redemption.

Thinking through what your characters want, both in the moment as they make themselves breakfast, and in the long-term as they interact with other characters and plan their actions, is my first advice to writers thinking about how to create believable, relatable characters. What actions would a redemption-seeking character use to convey that goal if they’re in a room with the person they’re begging forgiveness from? What about when they’re in the room with a friend who still thinks well of them? What about a passing stranger? Or, if a stranger starts chatting a protagonist up on the bus, the writer should think about why they’re doing that. Are they lonely? Are they bored? Are they nervous and trying to distract themselves? If someone were watching this in a play, what physical cues would they see that give a hint of that stranger’s motivations?

If it can be seen in a play, it can be written in a book.

Thinking through motivations helps writers avoid side characters who seem to float in and out without purpose, and it gives energy to protagonists’ actions that helps drives the story forward.

Now, where do those motivations come from? Why was my protagonist’s father murdered, and why does she still want vengeance? Thinking through backstory is part of what I’ll touch on in future posts. Stay tuned!

Tamora Pierce’s Latest

I read my first Tamora Pierce book, Wild Magic, about 20 years ago. From that point on, I was hooked. I read through The Immortals series, the Song of the Lioness (I know, I know, I read them out of order), and then moved on through my teens and beyond to the Circle of Magic, Protector of the Small, The Circle Opens, Daughter of the Lioness, and finally Beka Cooper. All were wonderful, though if I’m truly pressed I’d say that The Protector of the Small are my all-time favorites. I love Kel’s sensibility and her strong commitment to justice, as well as her rise to leadership and the growth of the relationship between her and Lord Wyldon. In any case, I’m greatly looking forward to seeing the latest from this amazing author I’ve followed from childhood. Here’s to Tempests and Slaughter!Tempests_Cover!