I started 2022 working on the sequel to Carillon’s Curse and am enjoying being with Thomas and Hadrian again. I’ll get back to Jericho and Kincaid at a later date. Are you working on a book this year? If so, do you know what genre it is? Are you sure?
Something interesting that has come to my attention recently, is that sometimes writers don’t know the genre of the book they’re writing. That definitely happened to me with Carillon’s Curse. While I knew it was MM Romance, and a mystery with gothic and Western overtones, it’s also quite dark. It’s um…one might say…dark romance.
Bam! Did you know that’s actually a genre? I didn’t. I really think my Love Songs for Lost Worlds series might also be dark romance. In fact, that feels like my preferred genre these days. MM Paranormal Dark Romance.
I guess this is why reviewers keep saying my romances are dark. Makes sense. I didn’t know this, however, and was simply writing what I wanted to read. I love romance, but a lot of it seems sort of fluffy to me. Fluffy can be fun. It can be comforting. It can also be like cotton candy pink sequin booty shorts, however, and I’ve always been a little emo/goth creature.
Most of the music I love—like not just to bob around or clean the house to—but seriously want played while I’m dying kind of love—is dark. I love dark paintings, dark photography, dark series, dark movies, dark true crime, dark chocolate. I like things that seem realistic but are also beautiful. I love art films. I love grit. I love blood and gore if there’s a deep meaning behind it.
But I never knew there was such a thing as dark romance. I’m going to have to read some now.
Everyone makes a big deal of “writing to genre.” This always made me feel lost and hopeless. I don’t want to write traditional romance. There are already scads of people out there writing it much better than I ever could—mainly because it just isn’t my thing.
It turns out, I HAVE been writing to genre! I just haven’t been advertising to it. I didn’t name it or look for the right readers because I didn’t even know it existed.
So, if you’re feeling down because you aren’t writing to genre, look around. Maybe you just haven’t discovered your genre yet!
I hate negative reviews. I suppose no writer likes them. My latest book, Carillon’s Curse, doesn’t have many (so far) but the one it has on GoodReads has proven more of a blessing than a curse. Not only does it do a great job at warning people like this reader to avoid my book, something in it has ignited a spark of creativity for the next book in the series. (Yeah! I’m making it a series!)
The reviewer accuses Hadrian of being bipolar. At first, this was deeply hurtful. One, I have bipolar disorder. It sucks the way people throw this word around, usually with little understanding about what bipolar disorder actually is. Two, I wrote Hadrian as having PTSD. I didn’t spell it out because I couldn’t find exactly what it was called back in 1888, but I thought I wrote the symptoms well enough that people could recognize it.
I have PTSD, and forget that most people don’t know the things I know. Somehow, I thought PTSD symptoms had become common knowledge. I didn’t even intend it as an Easter egg. (I had a similar experience with Frank’s ADHD in the Love Songs for Lost Worlds series. No one ever mentions it, so I’m not sure if readers see it.)
Before I read this unflattering review, I had already decided I was writing a series and was stumbling around in the dark trying to figure out what Thomas’s and Hadrian’s wants and misbeliefs (or Lies, as K.M. Weiland calls them) would be. And then came this wonderful, horrible review! After I got over being butt hurt (that took a day or so), I realized that the reviewer had unwittingly given me a gift of writer’s gold.
I’m going to full on embrace Hadrian’s PTSD, name it, have the characters talk about it, and involve some of the (probably horrendous) treatments of the day. There will still be a gruesome murder—or several—to solve, but Hadrian’s internal struggle is going to be with his PTSD and how it affects his and Thomas’s relationship.
Thomas, my beloved, oft troublesome Thomas, has clubfoot. His disability is physical and visible. Hadrian’s disability, being mental, is invisible—and possibly even less understood during the time period in which they live. The whole thing really pleases me, and my fingers can’t type my thoughts fast enough. I’m no longer struggling with the gears of this plot, I’m heating the pavement.
So, if you get a negative review of your work, look for anything valuable in it. Not necessarily, as some people say, constructive criticism. I’ve rarely found anything constructive in a negative review. Those people aren’t your beta readers, they’re often people simply bent on being nasty. But see if there’s anything that sparks an idea. When something is painful, the best, most productive thing a writer—or any artist—can do is use that pain to fuel your next creative endeavor.
There are many phases to writing and publishing a book. I’m in my least favorite phase. The part right before the book releases. I’m trying to use this time to work on my next project, but it’s difficult. I feel sick and excited and scared all at once. I’m too emotional to get lost in the new story.
I never look for huge market success. I’m not Stephen King. I don’t sell millions of books and make fat wads of cash. What I live on are reviews. Every good review means I did my job—I connected with a reader. Every negative review makes me die inside.
I’m supposed to have a thick skin by now. I’ve been at this for a few years. I shouldn’t be bothered by negative reviews. One author friend advises against even reading them.
But the whole reason I write is to communicate with people. I’m shy. I don’t see many people. Being asthmatic and at high risk during the pandemic, I see even fewer of them these days. I talk to people through characters and stories. I hope they have a good time, that they were lifted from their normal day for a while. My only window into that are reader reviews.
It’s not simply fear of negative reviews that makes this time difficult, for something awful happens at this time with the characters. They leave me. Thomas and Hadrian have been my friends for months. Thomas, especially, has held my hand through some terrible things that happened while I was writing it.
Now, because the book is going to be published soon, he’s gone. I’m not sure why this happens, but I like to imagine it’s because they’re getting ready to visit the readers. It’s not exactly that they’re abandoning me, it’s just that they have other places to go.
I’m toying with the idea of writing another book with them, so they will have to visit me again at some point, but for now, they’re getting ready for a big adventure. I hate it. I’m afraid for them. I’m worried they’re headed into a bloodbath, and I exposed them to it. True, they had some harrowing adventures in this story, but I controlled everything. I was the monster pulling the strings. Now, anything could happen. I can’t protect them. I can’t even feel them.
So, if you see Hadrian and Thomas, tell them I miss them.
Raise your hand if you’re a writer who wants to smell like your characters! Or a reader who enjoys imagining what characters smell like.
This might not always be a good idea. I’m not sure I would want to smell like an orc or something with tentacles. I’m sure Frank Hope, the protagonist from my Love Songs for Lost Worlds trilogy sometimes smelled like BO and/or vomit. I kind of put Frank through the wringer. Poor guy. He was, however, the villain of the first book, so he kind of deserved some payback.
In the novel I’m currently writing, Carillon’s Curse, my Victorian gentleman (who happens to be a medium), Thomas, washes with lavender soap and wears violet water. I know what lavender smells like. My husband and I have used Jason’s Lavender Body Wash for years. (We had a cat who really loved it. He would be all over us whenever we were freshly showered.) But I had no idea what violet water smelled like. I have never even smelled a violet, let alone violet water.
The first time I ever heard of violet water was in Paul’s Case by Willa Cather. When I was researching Victorian colognes, I ran across an article that said respectable Victorian gentlemen could wear violet water. Since another popular scent, ambergris, is basically whale diarrhea, I decided Thomas would wear violet water.
I wanted, nay—needed—to smell it, so I found a shop on Etsy that creates and sells all natural cosmetics based on historical compounds, LBCC Historical Apothecary. You can find them at http://www.littlebits.etsy.com. I highly recommend trying their products. I bought some violet water, hair pomade, and lip balm and love all of it.
Violet water has a light floral scent, but I found it surprisingly gender neutral. I bought it simply to smell Thomas, but I’m going to wear it myself. It’s perfect for transitioning and suitable for a man.
Hadrian, my co-protagonist, smells primarily of leather and horse sweat. I had horses in my youth, and miss them, so I don’t need to buy anything to see what he smells like. All I have to do is remember. (Horses, in case you don’t know, smell wonderful!)
So, those are the sexy scents of my sexy men. What about you, writers? What scents define your characters?
Don’t forget to look for Carillon’s Curse, coming to Amazon in December 2021!
If you’re a writer, you’ve probably run into this hideous monster—the bland scene. I woke up to that sucker this morning. You know the one I mean, right? That ho-hum scene you don’t feel like writing? The one that needs to be there because it conveys some information or does something that moves the protagonist forward but is just…blah. Have you been there? I struggle with at least one of those in every book.
The hard truth is, if you’re bored writing a scene, chances are high your readers will be bored reading it. There’s an easy remedy for this. Before I start writing a scene, especially one I’m anticipating will be boring, I ask myself two questions:
1. What does the protagonist (or POV character) want in this scene?
2. What is the problem? Or what is the obstacle standing in the way of the character getting what he wants?
These two questions help me develop the conflict in the scene (if I don’t already know it.) Friction is the fuel of writing. Without it, everything is easy and perfect, and there’s really no story.
Who cares if Mr. Perfect with his perfect life goes to his favorite cafe and gets a latte with a perfect foam panda in it? On Facebook or Instagram that might be fine. In a book, it’s horribly boring. What if Mr. Painfully Shy goes to the cafe he kind of hates because that’s where his ex dumped him, but he’s there because he has a crush on the cute but arrogant barista who works there? Or maybe he’s being chased by the mob and needs a place to hide, but the barista is giving him a hard time for not buying something before locking himself in the bathroom? Maybe the barista turns into a flame-breathing dragon and starts cooking everyone in the cafe?
Okay, so those are really stupid examples, but you get the idea, right? By declaring to myself what the character wants and identifying what is standing in his way in that particular scene, the scene becomes more fun to write.
In the scene I’m writing today, my protagonist (yes, that would be Thomas if you’ve been reading this blog) must help his lover question the victim of a crime. The protagonist’s scene objective is to get information on the criminal, so he and his lover can bring him to justice. That’s pretty straightforward. And boring. Hello, ho-hum scene. Why? Because I haven’t identified an obstacle. If the victim is cooperative, and everything goes smoothly, what’s the fun in that? Why should I expect a reader to care?
So, the problem is the victim is severely intellectually challenged. He’s traumatized and getting him to talk is difficult. To make matters worse, my protagonist’s lover is impatient and brusque. His bad cop style isn’t useful in this situation. Now, my protagonist has two problems: getting information from an especially vulnerable, traumatized victim while protecting him from his hot headed lover—and getting that lover to cool down. (Really, I guess, that’s three problems.) Another monkey wrench I threw in here is that Thomas, being physically disabled, identifies with the disabled victim more than the average person might. This makes his internal reaction to his lover’s insensitivity especially painful.
Not only is this scene much more interesting to write, it will be, hopefully, more interesting to read. Is Thomas up to the task? Of course he is! But making it difficult for him is what makes writing the scene and reading it interesting. Making Thomas solve problems and giving him difficult things to do makes him a better person. He becomes more real, both to me and, hopefully, to readers.
There’s a scene where the protagonist, Frank, tries to get back with his ex, Jovan and fails. Earlier in the day, Jovan offered to stop by the restaurant where Frank works to help him with a problem. (Frank understood the demon they summoned in class and is deeply confused.) This could be a simple scene where Frank asks Jovan out on a date, and Jovan declines. After all, getting back with Jovan is Frank’s scenic goal, and failing is what I need to happen. But that’s a big snorefest.
So, Jovan doesn’t show up at the restaurant alone. He’s there with his new girlfriend. And Frank is busier than normal because he offered to take a large, hopping section of the restaurant for his sick friend. Frank has ADHD (something I don’t reveal in the series, but is sort of an Easter egg) and doesn’t always deal well with high stress situations. Basically, I’ve set him up for failure and taken away his ability to meet his scenic goal. He accosts Jovan in the men’s room and ends up punching a wall and hurting his hand. Jovan takes care of him, but doesn’t simply tell him he doesn’t love him—he says he feels sorry for him. Ouch.
This plunges Frank into the depths where I need him to be before something happens that changes his life forever. A setup scene that could have been pretty mundane ended up being an intense dramatic scene that I enjoyed writing.
With a little spice, bland scenes can become some of your favorites. So, spice it up and have fun!
This really should go without saying, but if you want to be a writer, don’t be a jerk—especially to people in the industry who are trying to help you.
I follow a popular writing blog by an author of some amazing fantasy works as well as a series of helpful writing books. For years, she has been helping writers and authors, trying to lift people up. When people comment on her posts, she answers them—even when the answer to the question should be obvious. She will even answer the old posts if they ask a direct question. She’s just a really helpful, nice person.
Some guy has been commenting on her latest post acting like he knows everything. I can almost guarantee you this dweeb has never published anything—either traditionally or independently. I’ve taken creative writing classes and been involved in writing groups and attended writing conferences for about thirty years. I’ve seen this type of writer before way too many times. The dilettante. The guy who doesn’t know what he doesn’t know—a walking illustration of the Dunning-Kruger effect. The bully who thinks he can elevate himself by dragging others down.
Don’t. Be. That. Guy.
Part of being a writer, part of being an artist, part of being a decent human creature, is humility. Yes, we often feel like gods when we’re constructing that perfect outline or are writing in that heady flow where words and images flash in our minds faster than our fingers can type. But it’s also important to remember that we are, at the end of the day, mere mortals—fallible beings reaching for stars we might never catch. If we’re smart, we’re always learning. Eternal students forever striving to perfect our craft.
You don’t know everything. Neither do I. That’s the beauty of the struggle. That’s part of the excitement. Part of the joy that should wake you up every morning and encourage you to write your heart out.
Don’t hurt people who want to help you. Don’t thumb your nose at mentors and teachers. Every one of them will tell you they don’t have all of the answers, either, but they may well have some that you don’t. Don’t write angry letters to editors and agents who reject your work. It only makes you look bad.
Be gracious. Be humble. Be kind. The world has enough prima donnas, enough jerks, enough Dunning-Kruger morons. What the world needs are your stories—maybe now more than ever. It doesn’t need egotistical posturing.
So don’t be a jerk, be a writer! Soak up every bit of knowledge you can! And write, write, write!
Writers often tout the importance of writing every day—even if it’s a thousand words. Simply “showing up” is part of the discipline that allows one to become a working writer. I agree with this whole-heartedly. It builds a good habit and is also therapeutic.
I don’t always accomplish it. I have three autoimmune diseases and frequently cope with depression. Some days I need to sleep all day or simply recharge my battery in some other way. Other days, if I’m struggling to write, for whatever reason, I do research on different aspects of my WIP (that often leads to writing!) or play around with my outline to see if I’m stuck because something isn’t working on the skeletal level.
However, although I’ve become pretty good at “showing up” for my writing, sometimes I’m not great at “showing up” for my life. I’m an introvert and enjoy time by myself. I love writing—even when it’s driving me insane. Through the years, I’ve realized I need to pay attention to and be as disciplined about nourishing my relationships.
I realized this morning that I haven’t seen my best friend in about three weeks. Because her husband and I are immunocompromised, we waited to get fully vaccinated before seeing each other. I’ve seen her twice since then. Part of my hesitancy has been a fear of the delta variant, but a larger part of it has been this novel. (As usual, I’m blaming Thomas. *shakes fist at sweet Thomas*) Even on days when I’ve struggled with this novel, I’ve been completely absorbed by it. I’m vowing, as I write this, to make a concerted effort to see my friends more frequently.
One of the things that seems to help me is creating a schedule. Giving the people in my life the same importance I do my writing, helps me tame that elusive creature “work/life balance.” I’ve noticed the success of this with my husband. He has worked from home since the beginning of the pandemic. Because we were both depressed and anxious, I decided early on to drop whatever I was doing—including writing—at 4:30 pm, when he got off work—so we could hang out. We started calling it happy hour and included drinks and snacks and a relaxation video on YouTube in the background. We discuss our day, news, whatever and basically just enjoy each other’s company until it’s time to make dinner around six.
It has become a time of day I cherish. Now that it’s a habit, I usually find myself winding down a scene right around then. I’m basically using the same discipline I used to train myself to build a solid writing schedule to make time for someone I love.
I wonder if other writers, especially introverts, find balancing writing with life difficult, too.
If you like M/M romance, check out my completed paranormal series, Love Songs for Lost Worlds. You can find the first book, Know Thy Demons on Amazon here.
Sometimes writers feel like gods. At the moment, I feel like a fiend. My favorite character this time is Thomas, a shy gentleman who happens to see ghosts. He’s also a virgin when the story begins.
Plots are like roller coasters. With each scene I’ve been writing, I’m ramping up to a pivotal scene (the Midpoint) that will plunge my characters into a huge, stomach-flipping dip. It’s going to devastate Thomas. In the mean time, I’m watching him grow more in love, watching him venture farther out of his comfort zone and into a bigger, wider world than he has dared to imagine.
And I’m there, barely discernible in the shadows, whispering lines into his ear, telling him things that aren’t quite true. He’s such a gentle, good character. He has no idea I’m fattening him up for the kill.
It’s not, of course, an actual death—and I’ve already hurt him quite a bit—but this scene is going to wound him deeply. I’m not looking forward to it. I’m actually writing this blog to avoid it just a little longer. Unlike some writers, I don’t relish hurting characters—especially characters I love. And I love Thomas to bits. I hope readers love him at least half as much as I do.
I guess it’s time to slink away and break poor Thomas’s sweet heart. What’s worse, perhaps, is I give him the terrible advice afterward. Like some cruel, sabotaging friend, I’ll turn him in the wrong direction and give him a push. I feel sickened just thinking about it.
But I’m doing it because it wouldn’t be much of a story if everything was perfect. ( I suppose there are stories like that, but I don’t care for them.) If you, like me, enjoy riding an emotional roller coaster, check out some of my gay romances! None of my HEAs come easily.
When I write, I’ve noticed I’m often sifting through my baggage. Writing is fun, it’s my vocation, and it’s also therapy. I usually don’t realize how a work symbolizes some part of my life, either something I’m working on or something I need to work on, until I’m already into it. This time, I’m about midway through my current story, Carillon’s Curse, and starting to tease out its theme. (I start out with some vague idea of a novel’s theme, then zero in on it as I write.)
I’m still piecing it together, but a component of it slapped me right upside the head.
I’ve always been a people pleaser. I gush over strangers, have few boundaries, and put the wants of others ahead of my own. I shrink in unfamiliar—and sometimes in familiar environments—trying to take up as little room as possible. A friend once said, “Do you realize how many times you say you’re sorry? Why are you so sorry?”
Basically, I’m sorry I’m alive. I’m sorry for the space I take up on this planet. I think this stems from growing up with a physically and emotionally abusive parent. I always thought if I was good—if I could be oh, so very, very good—I wouldn’t be hurt. I guess I also internalized her anger and resentment toward me.
Three months ago I started transitioning from female to male. After saying I was genderqueer for a long time, I finally realized that I had been saying that because I didn’t think transitioning was a real option. The pandemic hit, and my shell cracked wide open. To my surprise, my husband was fully supportive. We’re closer now than ever before. (And we were pretty obnoxiously close before.)
I don’t know if it’s the testosterone, the pandemic, or my age, but I free and alive and valid. I’m not putting up with crap anymore. I’m not going back to that person who has to smile even when I’m feeling shitty. I don’t need to go out of my way to make everyone comfortable. I’m not sorry for being here. For the first time, when I celebrated Pride Month, I felt truly proud. I actually, maybe for the first time ever, really like myself.
Okay, so what does this have to do with a gay Western paranormal romance? Both of the main characters, in different ways and for different reasons, feel flawed and unworthy of love. These two good men, tied to their pasts and unable to attain true happiness, are chasing a serial killer who thinks he’s freaking awesome. This guy believes he’s helping his victims and society. He’s a narcissistic creep who, in his arrogance, is sure he has all of the answers.
My job, as the writer of this story, is to send these two good guys down the paths they need to stop this killer and find the love of their lives. Sometimes writers feel like gods. So often, as with this book, I feel more like a shepherd, guiding my heroes to a happily ever after.
Who knew shepherds sometimes learned from their lambs?
I had to think about that longer than I would have guessed. I write because sometimes I need to hide from the stresses of the real world, the wolves at the door that howl for blood and bone. Writing allows me to sink into an imaginary world I can control with characters I create who are braver than I am. At the same time I’m hiding, I’m also processing things that are happening in my life, or things that happened in my past. So, it’s a different kind of hiding than covering my head with a blanket, although sometimes that’s good, too.
Recently, I released the last book in my Love Songs for Lost Worlds trilogy, Infernal Hope. (The whole trilogy is available on Amazon.) I had traveled through three books, a horrendous presidency, a global pandemic, and an insurrection with Frank and Kasimir. I watched them grow at my fingertips, watched their love blossom. I saw my sweet (okay Frank’s not always that sweet!) boys grow into young men. They were not only my friends, they became a part of me like few characters ever have. I finished their story and let them go.
And then I became quite depressed. I had a new book outlined and waiting for me, but, after writing furiously while the world seemed to collapse, I found myself unable to write now that things were calmer. I wondered for a while if I truly had any more books in me. And if I did, would anyone read them? None of my books are best sellers. They’re such odd little things, they’ll probably never be.
Once I thought about it, I realized that I did, in fact, need to write no matter how many people read my books. I need to write for me. Being able to share my works with the world is a bonus, and I’m grateful for all of the people who read my books and connect with my characters. At the end of the day, though, I need to write to calm that feeling of static that rises from my skin. Writing doesn’t simply keep the wolves from my door, it gives me the power to make them my friends.