Excerpt: Chapter one of The Dragon Shifters at Southgate

Copyright © 2018 by Sherry Leclerc

All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, without prior written permission. Brief quotations may be embodied in critical reviews and certain other non-commercial uses permitted by copyright law.

 

PART I:
The Champion and the Lord

Sometimes
I wish my heart were like a stone,
(Cold and hard)
Oblivious to the pain that it has known.

 

CHAPTER 1

Talwyn and her mother ran through the woods, her mamai holding her tightly to her chest. Tree branches and leaves took turns flashing by in a blur or hitting them as her mother ran as fast as she could. They had been following her sister, but then they veered off. Her mother placed her on the ground and started digging underneath an outcropping of rock.

Her mamai took her by the hand and pulled her toward the hollow she’d just cleared. “Here Talwyn, I want you to hide in here. No matter what you hear, don’t move. Don’t make a sound. Do you understand?”

Talwyn was scared. She didn’t understand what was happening. She didn’t want to leave her mamai. Why were those people chasing them? They hadn’t done anything wrong! Tears streaked down Talwyn’s cheeks and dripped from her chin.

“Do you understand?” Her mamai’s voice was urgent, panicked.

Talwyn nodded, and her mother placed her underneath the outcropping. Stones and twigs were soon added in front of her hiding place, shielding her from view. It got darker and darker as she was given more cover. Talwyn’s breathing rate increased and her heart pounded. When there was nothing left but a little sliver of light, her mother peeked in through the crack. “I love you, Tali. Never forget.” Then everything went dark.

The sound of her mother’s footfalls faded as she got further away, and more footfalls sounded in pursuit. Her mamai managed to lead them some distance away from her hiding place, but Talwyn’s people had excellent senses. So even though her hands were clamped tightly down over her ears and her eyes were squeezed shut, Talwyn still heard the clash of metal-on-metal and metal-on-bone. She still heard the screams of pain. Would they find her in her hiding spot when they were done? Her heart pounded fast and hard, and her silent tears continued to fall.

“Stop, please! Don’t hurt her. Please, I will do whatever you want, just don’t hurt her!” Her mother pleaded for her sister’s life.

Why were those people hurting them? Why wouldn’t they stop?

Talwyn wanted so desperately to go to her family. She didn’t dare move, however, because her mother had hidden her here; her sister had sacrificed herself to draw the humans away from her. She needed to honor those sacrifices.

It seemed like such a long time before the screams, cries, and moans of agony stopped. Even then, she waited, afraid to come out too soon from her hiding place. The humans might still be there, ready to grab her and hurt her too.

Once, she dared to open her eyes and peek out around the rocks and greenery that hid her to see if it was safe to come out. What she saw across the clearing, however, was blood splattered on the ground and the lifeless forms of the people she loved. So she squeezed her eyes tight again and stayed like that, shivering, as night fell.

Eventually, she heard footsteps, and she huddled closer to the back of her hiding place. Then a familiar voice called out to her.

“Talwyn Sevi, come here, child.” The man’s voice was kind and gentle. Soothing. There was some noise as the man moved the items that had kept her hidden and reached in for her. “You are safe now. Come, I will take you home.”

Home. Her home was her family, and they were gone. She had no home.

 

Talwyn bolted upright as she woke abruptly from her dream. Actually, it wasn’t a dream. Not really.

Universe save me!” Over three hundred years later, and she was still haunted by these memories.

She should have forgotten by now, since she only had eight years behind her when it happened. Her people could live for seven or eight hundred years or more and didn’t begin their adolescence until they had twenty-five or thirty years. This meant she had been barely more than a baby when those traumatic events happened. Unfortunately, her memory was even better than her senses, and this dark moment in her life remained clear and detailed in her mind.

Talwyn brought her knees up toward her chest, resting her arms over them and hanging her head, taking deep breaths and trying to calm down.

Why, oh why, did she have to have such a good, clear memory? Every time she had this dream-memory, she heard the screams rend the night, saw the gore covering the ground, smelled the iron tang of blood on the air, felt the all-consuming panic squeezing her chest and stealing her breath. It was as fresh as it had been more than three centuries ago. It was as though she was living it all over again.

She shook her head to try and clear it, then began folding up the light cloak she had been using as a blanket, even though the night had been warm. It was always warm and welcoming, summerlike, inside the Foraoise Naofa. Outside of the Sacred Forest, summer was threatening to turn to autumn. The evenings and early mornings would be crisp and cool to the north of the forest and warm the rest of the day. Here, to the south of the forest, the days were still hot enough to make physical activity uncomfortable.

Once she finished folding her cloak, she placed it in her pack before reaching into a second pocket and taking out some dried meat to chew on as she walked. She had a job to do. She may as well get to it.

She was about a day south-southwest of Southgate, one of the four fortresses and resulting castle-towns that were constructed to protect the keystones. She had checked in quickly with the King of Southgate, her fellow guardian of the south keystone, and so far, there seemed to be no suspicious activity. She knew trouble was headed that way, but she hoped it would not be for another week or two, giving her time to find some much-needed allies. Or rather, to convince them it would be in their best interest to help, since she already knew where to find them. Now she just needed a way to get them to let her inside their fortress.

Having just rested, she would not need to rest again for some time. So she began to run at a steady pace. If she walked at a human pace the whole way, it could take her a couple of days to get to her destination. That was more time than she could spare, so she would run until she got close enough to the mountain to potentially be spotted.

As she ran, the trees got fewer and farther between. She was so accustomed to having the trees overhead, blanketing her and all within the Foraoise Naofa, or the Sacred Forest as it was known in modern terms, that she felt naked and exposed wandering out from under its protection. Of course, given her role with her people, she had been outside of the forest many times, but she never really liked to leave. She did it because it was one of her responsibilities.

She ran until the green grasses became sparse, turning into low vegetation in uneven terrain. She slowed a little now to adjust for the pits, tufts and jutting rocks.

Even though Talwyn disliked leaving her forest home, she had to admit that she had always marveled at this area she was now passing through. Some people would look at this stretch of land and see it as harsh and barren. It was nothing but short, rough vegetation, stunted trees bent by the wind, and boulders of varying sizes.

But this last was what she found so interesting. The land was peppered with numerous boulders of many different shapes and sizes that looked as if they didn’t belong. How did they get here in such a random formation? It was if they had been rained down from the sky, and there was a particular kind of beauty in this wonder the universe had created.

She shook her head. She didn’t have time to think about this mystery right now. There were real problems that needed solving.

As she traveled, she had been thinking of a plan for how to get inside the fortress. Now, as there became less and less vegetation and more and more rock, she began looking for a good place to store her pack. Looking around and under the boulders, she found a large one with a hollow underneath. She checked for any signs of animals or reptiles that may have been denning there. Finding none, she stuffed the pack in the hollow along with her weapons and placed a pile of other, smaller rocks around the base to hide it from sight.

Well, didn’t this seem familiar? Only at one time, she was the pack.

Shaking off this morbid thought, she moved on. The climate had been getting warmer as she traveled farther south. Changes in climate didn’t affect her people as it did most others—they were skilled at regulating their body temperature, as they were with many of their bodies’ functions.

That thought gave Talwyn an idea for the quickest way into the mountain fortress. Unfortunately, though she hated to do it, it would involve the use of deception. She went back and forth numerous times in her mind about whether she should use this idea, and she tried to think of another option—any other option.

In the end, she decided to do it because, while it was not the best way to start a relationship with a people you wish to be allies with, any other option would take too much time and convincing. And the realm did not have time to spare.

So Talwyn changed her gait and her behavior to match those of a human who had been walking alone, exposed to the elements for too long. She stumbled along the harsh landscape that was so much different than her beloved Foraoise Naofa. She continued zig-zagging, pretending to be weak and out of sorts, for some time.

She took a break against one of the many boulders that dotted the landscape. She looked up to scan the area, wiping her brow as she did so.

She carried no water, no food, no weapons—nothing but her wits and her determination. And maybe a couple of tools hidden in her boots. She had nothing with which to slake her thirst. This actually wasn’t so bad for a seer. But for the human she was pretending to be, it would be torturous. So she lay back against the rock and closed her eyes for a moment. After resting briefly, she set off again.

The scrubby plants and mossy ground cover under her feet often hid pits and holes. Dips and crevices between low rocks were made invisible by the short green, yellow, and brown blanket of flora. As she walked, she moved as though her weary feet were slipping often, but she kept staggering forward.

The wind suddenly picked up. It whipped her long, red hair across her face and stole her breath. It sent particles of dust into her eyes and mouth. She raised her arm to protect her face against it. She did not allow herself to easily deal with the climate, as her kind could do. Rather, she tried to think and react as a human would under these circumstances, and this short trip from the forest to the mountain would be treacherous for unskilled humans.

Talwyn knew that stories spoken about the dragon shifters, by those who had lived when they had wandered the realm freely, said the dragonkin were strongly on the side of good, almost to a fault. So, she hated having to start out with an untruth. However, the safety of the realm could be at stake if she didn’t succeed in getting inside quickly.

Her friend Anwyl, the greatest metallurgist the seers had ever known, was the only being she had heard of who was allowed admittance into the mountain. He did so to mine the rare metal that could only be found there. In return, he created whatever the dragonkin needed. He had even spent some time training dragon shifter apprentices when he was there. These allowances for an outsider were unheard-of during these last few centuries. Talwyn was a bit in awe that he was able to do this, even though he admitted that gaining their trust had taken some time.

Anwyl had confirmed that the dragon shifters were still staunchly on the side of good. So she wanted to use as little deceit as possible.

As it was, she was modulating her body and skin temperature, and thirst and hunger responses, to mimic those of a human. The dragon shifters would never believe one of the magical races of the realm would have such a difficult time crossing this expanse. But she needed a way into the mountain fortress quickly, so she was trying to evoke sympathy in them.

“Please, Universe, let the Stone Dragons be as noble as they were once known to be,” Talwyn prayed. “Let them be loath to turn away a human in need because of something their ancestors did four hundred years ago.”

She prayed often and hard for that as she traveled nearer to her destination.

When Talwyn was about a hundred meters or so from the base of the tallest peak of the mountain range, she collapsed to the ground. She lay facedown and motionless near the foot of the mountain for some time. As she waited, she concentrated on giving herself the appearance of being dehydrated and having heat stroke: she increased the temperature of the surface of her skin; she increased the red pigment of her skin, making it look flushed, yet dry; and she slowed and shallowed her breathing.

When the sun was going down and the air was beginning to chill a little, she finally heard the whoosh of great wings descend upon her. She had lain there for a couple of hours but, still, this was faster than she had expected. She hadn’t been sure they would come at all. Her dream-visions had shown it could go either way.

Soon, she felt the extra current in the air from the wing beats. It was gentle at first, then pressed down upon her more firmly as the dragon got closer. Finally, without landing completely, the great beast wrapped a clawed foot around her torso. Then she felt almost weightless as they ascended into the air, her body hanging down, limp and lifeless.

It was only a few short moments later that she felt herself being laid down, slowly and gently, on a smooth, cold surface.

 

Dreyken was extra-careful as he placed the female upon the ground. Once she was secure, he quickly shifted back to human form. He could not fit inside this area of the caves in dragon form.

He looked down upon the female, and the first thing he saw was the mass of fiery-red hair. Of course, he had noticed it when he went to collect her, but he hadn’t really had time to get a good look. Now, as it covered her features and flowed down over her back to her waist, he could see it was the redder side of auburn. He was quite fond of the color.

Kneeling beside her, he cupped the back of her head, grabbed her at the hip, and rolled her toward him onto her back. Her thick hair partially covered her face, so he brushed it away with a light touch, and when he did, his breath caught.

Though her features were not those typically considered beautiful by the males of his kind, he was immediately taken with her. Her nose was delicately proportioned and slightly upturned. Her lips were full and a deep-pink color. Right now, they were slightly parted, and he couldn’t help but think that they would be perfect for kissing. Her cheekbones and chin were finely sculpted and flawless, her skin fair and spattered with freckles. As he let his gaze travel a little farther down, he noticed that her shoulders were also freckled, at least the little of them that were not covered by her vest or hair.

He would never have guessed it about himself, but he found this to be very appealing, to the point where he could not help but have thoughts that were completely inappropriate. Especially considering that he did not know who she was or what her purpose was in coming here. Not to mention that she was lying here, unconscious, and he had just rescued her from possible death from exposure.

He let his eyes travel down her torso. She was clad in a leather vest that laced up the front, and supple leather pants that laced up both sides. There were gaps in these garments where the sides did not quite come together, leaving a small amount of her pale skin visible to him through the leather laces. She also wore leather boots that came to just below her knees.

He had never before had such a strong physical reaction to a female at first sight, and it was ironic that it was happening now, with an unknown female with an unknown agenda who lay unconscious before him.

When he finished allowing his gaze to travel down her body and back up again, he noted that she was tall, lean, and well-muscled, with the perfect proportion of curves. She was so tall, however, that this stood out to him. She had to be six-one or six-two, which was extremely rare for human females.

Maybe she wasn’t human at all.

Just then, a gust of wind blew through, sending the female’s hair across her face again and raising goose bumps on her exposed flesh. This brought him back to his task, and bending to scoop her up, he carried her inside.

He cradled her close as he wandered through the corridors, carrying her to the section where they kept unwelcome visitors and those who broke their laws. It was far from the main area where his people lived and socialized, and this section went mostly unused since they rarely had visitors or lawbreakers. He laid her down on a stone ledge carved into the wall. It was covered in animal fur, and he hoped it would be comfortable enough for her.

He did not immediately cover her so she would cool down in the chill air of the cave. He left her there for a few minutes and, when he returned, he placed a basin of water and a cloth on a ledge next to her, as well as a cup of drinking water and a hunk of bread in case she was hungry or thirsty when she awoke.

Dreyken looked down at the female’s features and brushed a thumb along her cheek, then along her bottom lip. “Beautiful,” he whispered.

He dunked the cloth into the water, then took it out again and squeezed out the excess. He placed the cool cloth on her forehead for a few moments, then he swept it gently down over her face. He continued his ministrations over her arms and to her hands, across her neck, and then over the exposed area of her chest, returning the cloth to the water from time to time to freshen it.

Dreyken warred with himself for a moment before he gave in to his urge and bent down to touch his lips gently to her soft, full ones. “I am sorry about this, but until I find out more about you, I cannot leave you free to wander through the tunnels. Good night and pleasant dreams.”

 

Talwyn tried to fight the urge to peek at the male as he turned to leave, but she lost her internal battle. She lifted her lids slightly, just enough to glimpse him as he walked away. He was still nude after shifting, and she figured he probably thought there was no point in dressing quickly since she was “unconscious.” He had thick, wavy, golden-blond hair that just touched his shoulders. It almost seemed to shimmer in the light of numerous candles. His shoulders and back were broad and well-muscled, and he had a firm, well-sculpted behind, and thick, muscular legs.

“Get ahold of yourself!” she whispered to herself. “If he wasn’t so attractive, you would find his behavior unnerving.”

The male’s coloring, build and gait were familiar to her. It only took a moment for recognition to strike. She knew him from her dream-visions. This was the Dragon Lord.

It would have been easier for her if he had been heartless and disgusting since she could never again allow herself to get close to someone in that way. As she had learned from experience, it left you vulnerable to having your heart and soul ripped apart. And she could not allow that to happen again.

Talwyn listened to the sound of the male’s feet as he moved farther and farther away. When she could no longer hear him, she continued to lie still, taking in the muffled sounds, foreign smells, and the cool feel of the air around her. A seer’s senses were second only to those of the shifters. The air felt slightly moist against her skin, and it smelled a little dank, but still clean and earthy. Listening carefully, she could hear sounds of life off in the distance. She could tell from the way the noise echoed that it was traveling down a tunnel from some distance away.

She continued to wait until the sounds of life died down, then she cracked her eyes open to look around her. As she took in the stone room, she noticed that the only furniture was carved out of large rocks. There was a bench in the middle of the room, and on the wall straight in from the door, which was made of thick metal bars, there was another bed-sized alcove such as her own carved into the stone wall. There was a thick, tall candle burning in an alcove carved into the rock on the other side of the room, and several smaller ones on various ledges jutting out here and there along the cave walls.

Well, no need to worry about a prisoner lighting the place on fire, so why not have a candle or two?

She also noticed that both her bunk and the other one had smaller alcoves carved into the wall next to them. In her alcove, her host had left a cup of water and piece of bread. She left these alone for the time being, however, not wanting to let her captor know she was awake just yet.

Talwyn sat up and threw her legs over the side of her bed, then she stood and moved silently across the room and blew out the candles. Seers were not considered true shifters since they could only change their coloring and skin condition and temperature. However, they had exceptional night vision, as most shifter species did. She would have no problem finding her way in the dark.

Moving over to the barred door, Talwyn crouched down and pulled a long, flat, narrow metal object from the inside of her left boot. She first tested the door by pushing firmly but slowly to minimize any noise. It was locked. Reaching through the bars, she inserted the narrow metal instrument into the key hole and turned it a little. The lock clicked open almost immediately.

Moving slowly and silently, Talwyn opened the bars and closed them behind her. She moved to the stone walls to her left. As she walked down the wide tunnel to explore, she ran her hand along the walls in an up and down sweeping motion. Inconsistencies in the stone might indicate a hidden door or some other kind of hiding place.

After some time, she came upon a division in the tunnel. Since she already had her hand on the left wall, Talwyn decided to take the left fork. After around the same distance again as from her chamber to the split, the passageway curved sharply to the right. Light spilled in from the opening at the end but, thanks to the sharp curve, she managed to stay hidden in the darkness.

Talwyn moved as close as she could to the tunnel exit, then she leaned out slightly, just enough to take a look. On the other side, she could see a large open space. It had several long, stone tables spaced out across the area, as well as a number of benches.

She could not see all the way to the right from her position, but she could see the end of the cavern to her left. There, she saw four other openings, which she figured likely led to other tunnels such as the one she was currently hiding in. Thanks to her dream-visions, she knew where at least one of them led.

Suddenly, Talwyn heard voices approaching from the tunnel immediately to her left. Two females appeared and made their way to a stone bench perhaps twenty feet in front of her. They were speaking quietly, but Talwyn could hear them clearly.

“The deadline is almost upon us,” a dark-haired dragon shifter female said. “He will have no choice but to decide soon.”

“We should go to the council and suggest they put more pressure on him,” the female with the lighter-brown hair responded. “We should stress that our species needs bolstering. That we need an heir.”

“There are several attractive and willing females among us who would make a fitting queen and mother to the heir. I don’t understand why the decision seems to be so difficult for him.”

“Maybe he has taken a liking to more than one female,” Brownie replied. This is how Talwyn was beginning to refer to the brown-haired dragonkin in her mind.

“He is our leader, and an amazing specimen of a male,” Blackie responded. “That’s a lot of male for one female to handle. Maybe the females would be willing to share,” she said, with a chuckle.

The other female giggled and said, “Maybe we’ll get lucky and he will choose us.”

“Maybe we can think of a way to make that happen.”

Talwyn rolled her eyes. She had listened to enough of this insipid conversation. Maybe the Dragon Lord wanted to marry for love and not just for duty. Then again, he’d probably be better off this way. It wouldn’t be so hard on one if anything were to happen to the other.

She shook her head. Stupid, morbid thoughts.

Talwyn turned until her left hand was on the opposite wall. Then, making the same sweeping motions as before, she made her back the way she came to her cell. She remembered the Dragon Lord as he walked out of here earlier. Those females were right about one thing—he was quite a specimen of a male.

Why, oh why did he have to be so attractive? She had already found out when she peeked at him last night that he was in extremely good physical form. Now she had seen his beautiful face. It was not what she had expected for the Lord of the Stone Dragons. She had expected him to be rough and wizened. Instead, he was youthful and beautiful, with his wavy blond hair that touched his shoulders, strong jawline, and beautiful blue eyes that reminded her of a clear sky on a bright, sunny day.

She had seen the Dragon Lord in previous dream-visions, but his face had always been hazy. She had also seen what his own personal agenda was, but she thought she could come here and resist his charms by focusing on the very real dangers lurking in the shadows. Now, he would be that much harder to resist.

She shook her head. The entire realm was in danger, and she had a very short time to convince the Stone Dragons to help their cause. Once she left here, she would head to Southgate to help protect their keystone from the demonkin. Then, even if she was successful, she would head to the Great Gate.

She hoped against hope that if the keystones remained untouched, there would be no need to bring an army to protect the Great Gate. However, she and her fellow champions had foreseen that the possibility of a great battle at the Gate was very high.

So she needed to win the dragonkin’s trust. She needed them to come together with the others in the realm to protect their world. And she suspected convincing them that this would be in their best interest as well would prove very difficult.

Her time was limited. There was no time to consider romance, even if she wanted it. Which she didn’t. What she wanted was to refocus her mind. So once she arrived back at her cell to await the Dragon Lord’s return, she did what she usually did when she needed to calm and center herself—she practiced her martial arts skills.

 

 

Authors, Know Thy Craft!

Authors, Know Thy Craft!

You don’t need a degree to write a book but, authors, you do need to know your craft.

I’ve recently read a number of online blog and social media posts where people claim that you don’t need to have a university or college degree to write a book. I believe this is true. However, you do need to know about writing and editing–and about publishing if you’re an indie author.

The first time I wrote a book I thought to myself, “I have a language and literature degree. I can write a book. It couldn’t be any worse than some of the ones being published right now.” I should qualify that, at the time, I had just read two or three books in a row that were poorly written and/or edited, and it was ticking me off.

Guess what I learned when I wrote my first book? It’s not as easy as it seems.

Even though I have a degree in literature and language, I’ve been a French teacher for the past 18 years, so I hadn’t been exercising those particular mental muscles very much. I read a lot and watch movies regularly, so I have an understanding of how stories work, but this can only get you so far.

At the most basic, nitty-gritty level, there are questions like, what style guide is widely used in novels these days (hint: it’s the Chicago Manual of Style)? Where do commas go? How do you format to differentiate between narrative and flashbacks, dreams, letters, and so on?

On a slightly larger level, there is: Should you outline? What point of view should you write in? How many point-of-view characters should you have? When is it okay to switch between point-of-view characters? Are you including all the necessary scenes and elements for your genre? What’s the correct way to structure a story? Are your characters developed enough?

The list of questions goes on and on.

Some of you might think, “Wait. Isn’t that what editors are for?”

Well, yes and no.

As an author, it’s your job to make the story as strong as possible before it is sent to an editor. The better it is, the less time it will take for an editor to complete and the lower the cost will be for you. Also, there are many different levels of editing (which I will get into in a later post). You need to have an idea of where your story is to know what level of editing you need.


Study your craft

Here is a cautionary tale for you. I have two editions of my first novel. Why? Because as I started to learn more about my craft, I became convinced I could improve on what I’d written. I could have done better at showing versus telling, for example. So, when I decided to get a cover artist to create my logos and redo the cover so that the planned series will be uniform, I decided to improve the story as well. In the end, I added almost 12,000 words to my novel.

But, hang on. I paid an editor a lot of money to do a substantive edit. That means they were supposed to do a structural and a copyedit. So, why didn’t my editor tell me about my weaknesses and how I could improve my story before I hit publish?

Long story short, I used an assisted self-publishing company to help me publish my first book. While I was happy with most areas of my collaboration with them, editing was the one area that was lacking. I had a project manager through whom I communicated. I never had direct contact with the editor, and so had no place to ask questions or get clarification. I tried writing my questions in the comments section of the manuscript but, in the end, several of my questions went unanswered.

Now, this has much to do with me being new to self-publishing and not knowing any better than to accept what I got for editing. But I could also have avoided having to rewrite my story if I’d taken the time to learn more about the craft first. Knowing my craft better would have helped me figure out what questions I should have been asking (myself and the editor) to begin with.

I’ve learned a lot since then. And as authors, we should always be striving to improve our writing and to learn more. Does that mean you should wait until you think you’re an expert before putting pen to paper or fingers to keys? No, not at all.
But always be open to learning more and improving your craft.

      

*Since I have an interest in almost all areas of writing and self-publishing, I spend as much, if not more, of my time reading, watching informational videos, taking online courses and workshops, etc. than I do actually writing.

Here is a list of some of the books and resources I have found helpful:

Outlining Your Novel, by K.M. Weiland
Structuring Your Novel, by K.M. Weiland
Creating Character Arcs, by K.M. Weiland
Self-Editing for Fiction Writers: How to Edit Yourself Into Print (2nd Edition), by Renni Browne and Dave King
Manuscript Magic (for editing and understanding story) www.writingblueprints.com
The Story Grid, by Shawn Coyne
Story Grid Online Workshop and Resources: www.storygrid.com

**NOTE: This article is also posted on www.terniaspublishing.com

Commentary on Character Study of Newt Scamander

Today, I found this YouTube video that is a character study of Newt Scamander. In particular, it spoke of the character’s masculinity and how it affects his perceived worthiness to be the protagonist of Fantastic Beasts, as well as the upcoming movies. I wrote a comment below the video in YouTube, but found I had a lot to say, so I decided to write a post on it as well.

*Please remember, this is not my own character study, it’s just one that really spoke to me. It was posted by Pop Culture Dectective.

I loved this character study of Newt Scamander, and I loved Newt Scamander as a protagonist. Personally, I hope they keep him as the MC for the upcoming movies. I agree with Pop Culture Dectective, however, that he is not the typical Hollywood leading man.

I am the mother of boys, and one of my hopes is that society starts to recognize what men who are not your stereotypical “macho” males have to offer. MCs like this can be role models for boys, used to demonstrate and teach the value of empathy, and show how much you can learn and grow when you try to understand others and look beyond the exterior. This latter can be seen from both our own viewpoints in trying to understand Newt, and from Newt’s viewpoint in how he tries to understand others (and in particular, animals). It can show our boys, and our girls, that strength is not just physical, but also mental, intellectual and emotional.

I loved how Pop Culture Detective mentioned that Newt shows signs of perhaps being on the autism spectrum. But of course, as PCD says, it is not openly stated. I’m sure I’m on the spectrum somewhere as well, but in my youth this was not something commonly talked about or understood. I hope many others make that connection as well. I watched a video on Facebook today, fortuitiously only an hour or so before I found this one, that talked about neurodiversity (mental diversity). It spoke of how great it would be if those who are different were recognized for their gifts, not made to feel lacking or like they had to fit into a certain framework (I’m paraphrasing here).

I don’t know how to share videos from Facebook, or even if it can be done. But I have shared this video on ‘Neurodiversity’ on my FB author page. If you are interested in viewing it, please go to my page to check it out. It certainly gives food for thought.

www.facebook.com/SherryLeclercAuthor

 

I am also a teacher, and have studied a little about exceptionalities, and a lot about diversity and inclusion. So, I am happy to see that mentioned here. If others recognize that in the character of Newt Scamander as well, I think it would be a positive thing, showing that, even when people are different, they still have their talents and strengths, and they should be encouraged to share them.

I also love how Pop Culture Dective points out that even though the Big Bad was destroyed at the end, Newt did not consider it a victory because he “failed to save the monster.” This act, or emotion, of Newt’s at the end helps to show the depth and dimensions of this character. It is also a good lesson to our boys about masculinity, as it shows that victory doesn’t always come from beating up the bad guys. Sometimes the victory is in recognizing that the bad guy needs help, and in being strong enough and brave enough to put yourself on the line to try and give them the help they need.

I realize that, as PCD says, Hollywood may decide to not keep Newt as the MC in upcoming movies, and from a box office profit standpoint I could see why that could be. However, I’m an author and a life-long student and lover of story and character, in both books and film. As such, I certainly hope he does remain the protagonist. It may not pull in the big bucks, but in my opinion, it will make for a stronger, more interesting, more diverse movie.

Now, don’t get me wrong – I love a good action movie, and I’m a huge fan of comic books and superhero movies. But, I love diversity in my reading (and watching) material as well. Newt may not be your typical Hollywood movie hero and would likely not fit in well with the Avengers, for example. But I believe Rowling did not intend for this character to be typical, and Fantastic Beasts is not the same type of movie as the Marvel movies. And not only is that okay, it is fantastic!  (See what I did there?  😉 )

What is your opinion on the use of the character Newt Scamander as the protagonist of Fantastic Beasts? Do you think he should remain the MC for the upcoming movies, as originally planned?

Please leave a comment below, or go to my FB author page to engage in a discussion of this topic.

 

Professional Editing: Another Service Indie Authors Can’t Afford to Skimp On

Along with cover design, professional editing is a service no indie author can afford to skimp on.

Beta reading, proofreading, copy-editing, line editing, content editing, structural editing – what do these terms mean, and do we indie authors really need to worry about all that? The short answer is YES, especially if you want to present your story in the best possible light.

 

 

Whew! You’ve finally completed that manuscript you’ve been slaving over, or lovingly bringing to life (whatever your process is). You can now crack your knuckles, sit back and relax, maybe even take a nap, because the hard part is over. Right?

Wrong.

There are still many things to be done before your book is ready to be published. One of the most important of these is editing.

As I mentioned above, there are many different aspects and levels to editing. Unless you are a trained and practiced editor, there may be things you will miss if you try to do all the editing yourself. Even if you are a trained editor, it is difficult for an author to edit their own work, since we know what we mean and where we are coming from. It is difficult to step back and look at our work from an unbiased perspective to see if there are sections that are unclear, repetitive, out of place, and so on. This is where having a third-party, unbiased and professional editor comes in.

Some questions you may be asking now are: What do all those editing terms mean, anyway? How much does editing cost? How long will the editing process take?

The answers to these questions depend on the length of your book, the level of editing you require and how polished, or self-edited, your book is before submitting it to a professional editor. It also depends on the qualifications and experience level of your chosen editor, and that editor’s workload.

Is it important starting out to have a deep understanding of what each of the above editing terms means? No, not really. But you should know enough to understand what you are signing up for when you hire an editor and to make your expectations clear. Also, if your budget is tight, you can decide on what you can do yourself and what you really need an objective, professional eye for.

 

Though the terminology might differ a little from source to source and between fiction and non-fiction, here are some basic explanations for the types/levels of editing you may require:

 

 

  1. Beta reading

I consider beta-reading to be a stage in the editing process and prefer to have it done early, soon after my first draft is complete – or second, depending on how I feel about my manuscript.

When hiring a beta reader, it is important to clearly outline your expectations for them. I tell my beta readers to read the novel as they would read any book and take note of places where the pace moves too fast or too slow, sections they were tempted to skip over, and any obvious plot holes. Also, were there any sections that didn’t make sense, or that did not seem to fit with the genre or story? Are there sections or scenes that just didn’t seem to work for them?

You could get friends and family to beta read for you, and I do. But I also pay people who beta read professionally and know what they are looking for. Getting friends and family to beta read your work might be budget friendly, but unless they are fans of your specific genre and know what they are looking for, there is no guarantee of how useful their feedback will be.

The main reason I get beta reading done early, before I get into the heavy editing, is in case there is useful feedback I can incorporate in my revisions. You don’t want to go through the time, effort, and cost of editing scenes that you will end up cutting or changing, for example.

 

  1. Story Level / Structural editing

I start with the bigger picture, the story level or structural editing. This is a good place to start because, like with the beta-reading, you might decide there are sections or scenes that do not work for what you are trying to achieve, or sections that need to be reworked. If you do your sentence or scene level edits first on sections that you end up deciding to cut when you get to your story level edits, then you’ve just wasted time, effort and possibly cash.

This level is a big-picture look at your work. Does it have a beginning, middle, and end? Is there a beginning hook, rising action, climax and resolution? Are there scenes that have no real purpose and do not move the story forward? Did you choose the correct character as your protagonist? Is your character development and world-building detailed without dumping information on readers in a way that will lose their interest? Do you “show” the readers more often than you “tell” them?

 

  1. Scene level / content editing

In this level, editors will go through each scene and ask: Does this scene have a beginning, middle and end? Is there a beginning hook, rising action, a climax and a resolution (this should be the case both at the story level and at the scene level)? Does the scene move the story forward? Is there conflict in each scene? And so on and so on.

 

  1. Sentence level / line editing / copyediting

Regardless of the term used for this level of editing, it involves looking at your story line by line, or sentence by sentence. Here, editors will look at sentence structure, spelling, grammar and punctuation. This is the level that should be done last because, again, you don’t want to spend a lot of time, effort and/or money inspecting and dissecting sentences or lines that you are just going to end up cutting or changing down the line.

  1. Proofreading

Proofreading is the inspection that takes place just before a manuscript is about to be published. It is a very close look at your story. Proofreaders look for any mistakes or problems that may have been missed earlier in the editing process. Like copyediting (and some may use the terms interchangeably), the focus is on grammar, spelling, punctuation and capitalization.

Proofreading is important because, in a novel of 90,000 words or more, for example, it is easy for little things to slip through. I personally have self-edited manuscripts numerous times, had them edited by a professional, and have still caught mistakes after all that.

 

If you are an indie author, hiring a professional editor is undoubtedly the way to go. When you are writing your first (and each subsequent) work that you wish to publish, make sure you budget some funds to cover editing.

You can easily find beta-readers and editors online and through social media. Here are a few sites to get you started:

https://www.fiverr.com/categories/writing-translation/proofreading-editing

https://www.booksandthebear.com/services/

http://selfpublishersshowcase.com/author-resources/

http://dominioneditorial.com/

To learn more about editing your own work, see the links below, which are sites/programs I have used to help me become a better editor and writer, and which have a lot of useful information on editing:

Manuscript Magic:

https://writingblueprints.com/p/manuscript-magic-power-bundle?affcode=31631_edrplfbo

The Story Grid:
https://storygrid.com/

 

Cover design: One Service Indie Authors Can’t Afford to Skimp On

Cover design is one service new and aspiring indie authors can’t afford to skimp on. We often start out with limited resources, trying to decide which services we need, and which we can do without.

There are many things you can do on your own if you are patient and willing to learn. However, unless you are an accomplished artist or graphic designer as well as a writer, you will want to choose a professionally made cover. A poorly designed cover can cause readers to overlook or turn away from a book that might otherwise have great content inside.

Your cover is the first thing readers will notice about your book. It needs to be attention-grabbing and indicative of what the readers will find inside. It needs to hook people. It is said that the cover is what gets readers to pick up the book and flip it over to read the synopsis on the back cover, and it’s the synopsis on the back that convinces the reader to look inside.

Aside from the art itself, there are other considerations that should not be overlooked. These include, but aren’t limited to, color scheme, font, text size, and how easy it is to see the art and text when the cover is in thumbnail size on Amazon. Get any of these wrong, and it could negatively affect your book sales.

    

There are different alternatives to book cover creation, and prices can vary greatly. You can buy a pre-made book cover from a reputable site by choosing from a large variety of options. You choose a cover that fits with your book, and the artist will add your author name and book title. You can find some relatively inexpensive covers this way, but the end price will depend on the artist and/or cover you choose, and whether you are looking for an eBook cover, paperback cover, hardcover, audiobook cover, or some combination of these.

The Book Cover Designer, https://thebookcoverdesigner.com/,  is a site where you can purchase pre-made covers from a large selection. You can choose from featured covers or browse by genre or artist. Once a cover is sold, it will never be sold again, so you don’t have to worry about another author ending up with the same cover as you.

I purchased my cover for my Seers Series short story collection, The Guardians of Sterrenvar from this site. I happened upon an attention-grabbing cover that fit perfectly with my series. I originally only ordered the eBook cover, since I intend to add to the collection before releasing the paperback version. However, the artist has expressed willingness to add the paperback version when I am ready for it – for a fee, of course.

Some other sites I have found that sell pre-made covers, but with which I do not have personal experience, are:
https://www.selfpubbookcovers.com/

https://www.rockingbookcovers.com/premade-covers/

http://www.thecovercollection.com/

There are plenty more out there still for those of you who wish to check out the options before deciding.

The other alternative is to find an independent book cover artist, which I did for the second edition of The Guardians of Eastgate. I found my cover artist on Twitter. I had seen her Twitter posts and examples of her work many times before I decided to contact her about contracting her services.

One benefit to this is that I will be using the same artist, https://willowraven.weebly.com/,  for the subsequent books in the series, so that they are all uniform. She was also able to help me create my author and series logos, which will be included in all the books in the series. Also, I was able to be in contact with her regularly so that the cover fit with my vision, while still having that professional input.

 

There are a couple of drawbacks for this method for new indie authors, however. First, you need to make sure you’ve done your research, checked testimonials and reviews, looked at portfolios and so on. You can probably find an inexpensive cover artist on Fivrr.com, for example, but that doesn’t guarantee you’ll end up with a quality cover. Do your homework.

Another drawback is that using a reputable cover designer to create an original cover from scratch can be more expensive and take more time than purchasing pre-made covers. The time and money cost will also depend on whether the cover designer works with photographs or creates original art.

One site I found where you can choose from pre-made covers or find an artist to work with to create your cover is https://damonza.com/ebook-cover-design/. They do formatting as well, which many cover artists will do.

In the end it comes down to what your budget is, what time line you are hoping for, and what you are looking for in a book cover. However, your book cover will be important enough, both for your professional reputation and your sales, for you to take it seriously and find yourself a professionally designed cover that is representative of both your book and yourself as an author.

 

Guest Post: LITERARY AWARDS for the LITTLE GUYS by James Gault

LITERARY AWARDS for the LITTLE GUYS

Last month, we published a survey of the main literary awards available to authors from the large established publishing houses. But how can new independent authors get artistic recognition for their work? The good news is that there is a wide range of competitions open to books from small independent publishers, including self-publishers. There is of course bad news: there is an entry fee for just about all of them, the prizes are small, and they don’t benefit from the wide publicity given to the likes of the Man Booker prize or the Nobel Prize for Literature.

Vox Lit wants to publicise these less well-known events. Not just because we love to champion the Davids against the Goliaths, or because we firmly believe that good quality innovative writing exists outside the closed world of the big names. We really want readers to know about these awards, and hopefully seek out the winners and short-listed authors and at least consider buying and reading their books. If we can encourage readers everywhere to expand their horizons, we’ll have done a good job in keeping the written word alive, flourishing and developing.

Most of the competitions are run by US organisations, and we’ve only found one currently active in the UK. The Rubery Book Award claims to be ‘the self-publishers’ and independent publishers’ answer to the MAN Booker Prize and the Costa Prize’. It offers awards in five categories (Non Fiction, Young Adult, Short Story, Fiction and Children’s) and the entrance fee is £36. You can find more on this competition at   http://www.ruberybookaward.com

In 2017, Amazon UK ran its Kindle Storyteller Award (more at the link below.) This was open to all previous unpublished books published on KDP, and unusually it had a significant prize (£20,000). Unfortunately, there is no sign so far of it being repeated in 2018.
https://www.amazon.co.uk/b?ie=UTF8&node=12061299031&tag=telegraph-digidip-21 )

That about wraps it up for the UK, but if any of our readers know of other UK competitions please use the comments box to let us know.

While there seems to a paucity of UK awards, authors who live in the US are spoiled for choice, and we have included only a small selection here. And ,even if you are based in another country, these competitions tend to be open to all English speaking authors who have their work on sale in the USA.

The Benjamin Franklin Awards, run by the Independent Book Publishers Association, offers a comprehensive publicity package to winners but no cash prize. Authors don’t have to be a member of the Association to enter, but it will cost them a whopping $225 as opposed to the $95 entry fee for members. The link is http://ibpabenjaminfranklinawards.com/ .

The IPPY awards ( http://www.ippyawards.com/  ) is another competition where the winners benefit only from publicity, with no direct injection  of cash into their pockets.

Eric Hoffer Award (http://www.hofferaward.com/ ) does offer a cash prize for the winner, $2000, and the entry fee is a more reasonable $55 (chapbooks $40). There is also the publicity benefit, as the award is covered by the US Review of Books.

The Independent Book Publishing Professionals Group organise the Next Generation Indie Book Awards (http://www.indiebookawards.com/ ) with cash prizes of up to $1500 in many categories. Authors pay from $75 to enter this one.

Shelf Unbound book review magazine runs a competition with a prize of $500 and an entrance fee of $50 per title. Over 100 of the best entries will receive publicity in the magazine. The link ishttp://www.shelfmediagroup.com/pages/competition.html .

For a $50 fee, writers can enter the Best Indie Book (BIB) Awards (https://bestindiebookaward.com/ ) where the prize is a package of publicity goodies rather than hard cash. The goody bag includes a rather smart digital winner’s medal that authors can put on their web pages and book covers.

Finally, in this far from comprehensive list, we’d like to mention the The Kindle Book Awards from the Kindle Book Review website. This offers winners in eight genre classes a publicity package similar to BIB and the added benefit of cash prizes up to $750, for an entrance fee of $29.https://www.thekindlebookreview.net/2018-kindle-book-awards/

Our survey talks about only some of what is available, but for writers and readers wanting to know of more competitions, there is a fuller list published by the Alliance of Independent Authors at     https://selfpublishingadvice.org/allis-self-publishing-service-directory/award-and-contest-ratings-reviews/ . This survey not only lists awards, but it rates them as well, so a big thanks to the authors of this page.

So there it is: a list of some literary awards you may never have heard of. Let us encourage you, as a reader or writer, to follow up on these competitions and widen your knowledge. It’s the best way to  participate in the fascinating and engrossing book world of the twenty-first century.

Acknowledgements: Thank you to Erica Verrillo  from  ‘Curiosity Never Killed the Writer’ (web site  https://curiosityneverkilledthewriter.com/) for her useful article on US awards.

Contributed by James Gault

 

 

James Gault

James Gault is an author of short stories, novels and English Language textbooks. He lived, worked and taught for many years in Prague, but now lives and continues to write in the South of France.

He also runs the blog Vox Lit, where authors post comments by their characters on aspects of real life.

His latest novel, The Redemption of Anna Petrovna, is due for release shortly.

 

Visit James Gault on Amazon Author Central: https://www.amazon.co.uk/James-Gault/e/B004JJOXW4/

Should You Edit While You Write?

Should You Edit While You Write?

Many first-time writers wonder if they should edit during the writing process. The simple answer, and the resounding consensus that you will hear online and in books, is NO.

 

Writing is an art. It is a creative process where you bring your story to life.

 

Writing is an art. It is a creative process where you bring your story to life. Editing, on the other hand, is more of a logical and methodical process, where you are looking at things like sentence structure, grammar, spelling, and the like.

I have read articles that claim that writing and editing use different areas of the brain, and if you try to do both at the same time it can be detrimental to the creative process. I have read other articles that say you actually use both the logical and the creative when writing.

I believe that the latter is true, but that the importance lies in what you are most focusing on in different stages of the writing and editing processes.

The general advice…is to put your nose to the grindstone and focus on getting your first draft done before moving on to the editing process.

 

 

 

The general advice is to put your nose to the grindstone and focus on getting your first draft done before moving on to the editing process. Of course, you are going to use some logic in plotting and structuring your book, but world, character, and story building – in other words, the creative aspect – will be your priority during the writing stage.

Once you go back to edit, you are going to focus on the details, such as spelling, grammar, structure, and so on, to make your creation as accurate and appealing as possible. It’s the cutting and polishing of the diamond you’ve just made.

There are certainly many benefits to approaching writing in this way. There will likely be less time to spend on worry and self-doubt as you just get your thoughts down on paper. Your mind will be focused on the story itself, thus allowing the story to flow naturally.

 

Is going back and re-reading the same as editing?

 

But what if you’ve been away from your book for some time due to work or family responsibilities or illness? Should you go back and read what you’d written previously? Is going back and re-reading the same as editing?

It depends on what your focus and goals are when you go back. If you go back and pick at the grammar and look for plot holes, for example, you would be venturing into the editing area. Try and stay away from the urge to do this before the first draft of your manuscript is complete.

To use myself as an example, I have a full-time day job where I often take work home with me. I also have two young children. There are times when I have to be away from my work-in-progress (WIP) for some time. Because of this, I will often go back and re-read sections of what I have written.

I do this to get back into the world of the novel, to re-acquaint myself with my characters, and to make sure I haven’t forgotten anything that I could accidentally contradict going forward (this can happen more easily than you might think when you are writing 70,000 words plus).

What I don’t do at this point is any line, content, or structural editing. I don’t nit-pick the grammar, fact check, or edit the content. I will leave these for after I have completed the first draft.

Of course, it goes without saying that everyone is different, and what works for most may not work for all. And that’s okay. The general advice, as I said above, is to approach the crafting of your story and the editing of your story in different passes, and this seems to work well for me.

In the end though, you need to find a process that works for you personally, and you will find it with time and practice.

 

In the end … you need to find a process that works for you personally, and you will find it with time and practice.

 

 

*All Images in this post are free photos from: https://stocksnap.io/

Sherry Leclerc is a science fiction and fantasy fanatic who lives in magical realms where swords and sorcery,

action and adventure, seers, shifters and sorcerers abound.

 

Click on the image to read my previous blog posts

 

Click to sign up for my author newsletter and recieve a FREE copy of my short story collection, THE GUARDIANS OF STERRENVAR

 

Click to purchase a copy of The Guardians of Eastgate on Amazon.

GUEST POST by JAMES GAULT

GUEST POST

March 1, 2018

The following is an interesting article by guest author, James Gault, and was originally posted on The Voices of Literature website:

http://www.voxlit.co.uk/writers-notes-and-comments.html

 

Concise Characterisation

Name of Books :
Hard Times, by Charles Dickens and Ogg by James Gault

The extracts:
The beginning of Dickens’ Hard Times, where we hear Mr Thomas Gradgrind’s speech to the pupils of the school.
‘NOW, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir!’ 
from Hard Times by Charles Dickens

Ogg and Antonia have been transported in time and place to a shady night club in fifties USA.
A squat balding fifty year old tuxedo with a cigar stood before them. 
“You havin’ a good time?  I ain’t seen you ‘round here before.”
“We’re from out of town,” Ogg drawled, and Antonia choked on her sparkling water.
“Well, you sure picked the right place for good entertainment. I’m Harry. Harry Biaggi. This is my joint.  D’ya like it?”
“Well, yeah, Harry, I do. It’s a real nice place you got here.”
“We try to be classy. Howd’ya find us.” Harry snapped his fingers as he said this and a bow-tie appeared and slid a seat under him. He sat down.
from Ogg by James Gault

The explanation:
If we read the opening few pages of Jane Austin’s Emma we see a common way for authors to introduce characters. Emma’s family, biography and character are presented to us in intimate detail, and before we start her story we feel we know her like a good friend already, and we can sympathise with her successes and failures and feel the delights and angst which follow. For this particular novel, the detailed early establishment of the character is important because the author needs to arm us with the tools to judge Emma.
This kind of approach to characterisation is out of fashion now: it slows up the action and needs inspired writing to keep the reader’s attention, and is especially distracting for any but the very main characters.

Nowadays, we expect to discover our characters rather than be asked to judge them. We expect to get to know the characters slowly as we read their story. We form first impressions, then we develop these impressions and sometimes we misjudge and need to correct our assessments. The discovery of the characters is as important to us as the development of the plot.  The characterisation is drip fed to us, and the personality of each individual has to permeate each part of the story.
For protagonists that first impression is of prime importance, while for minor roles it is the only information we get. So we expect the author to imbue our first meetings with the characters with indications of what kind of people they are: by what they say, by what they do or by both.

The excerpt from Hard Times is only six short sentences of dialogue, but how much does it tell us about the speaker? He is self-opinionated, he at least claims to be rational, he expects to be listened to and obeyed. He speaks in short sharp sentences, in commands and assertions. No debate is permitted. We don’t know what he looks like, we don’t even know his name, but already we don’t expect we’re going to like him very much.

In the second extract, all the elements are employed to create an impression of Mr Biaggi: description, dialogue and actions.  All of this is condensed into a short dialogue. Biaggi is presented as middle aged and overweight but well dressed. He has the strong accent of a man from the gutter who has made it to the top – others jump to satisfy his every wish. But he also has an aura of feeling inferior: he is anxious to please and be liked and appreciated. In the novel his is a walk on part, we never meet him again, but he leaves an impression and sets the tone for what follows.

The point of both extracts is to note the denseness of the character information which is presented at the same time as the plot is developed. The reader has to work hard to catch all the points, but the ongoing development of the story never flags. This is what I am calling Concise Characterisation.

Contributed by James Gault

 

James Gault

James Gault is an author of short stories, novels and English Language textbooks. He lived, worked and taught for many years in Prague, but now lives and continues to write in the South of France.

He also runs the blog Vox Lit, where authors post comments by their characters on aspects of real life.

His latest novel, The Redemption of Anna Petrovna, is due for release shortly.

 

Visit James Gault on Amazon Author Central: https://www.amazon.co.uk/James-Gault/e/B004JJOXW4/

HOW LONG SHOULD A DEBUT NOVEL BE?

How long should my debut novel be?

 

When I was writing the first edition of my first novel, a big question for me was how long should a debut novel be?

One of the first places I went to try to figure this out was Wikipedia. What I found out there was that writing over 40,000 words is considered a novel, but beyond that, it can vary greatly.

 

Classification Word count
Novel 40,000 words or over
Novella 17,500 to 39,999 words
Novelette 7,500 to 17,499 words
Short story under 7,500 words

https://en.wikipedia.org/wiki/Word_count

 

There are a number of factors that can affect the length of your novel, such as genre and whether you plan to self-publish or are looking for a traditional publisher. If you are looking for a traditional publisher, it is also important to note that different publishers may be looking for different minimum word counts. On the flip side, if your manuscript is what they consider to be too long, the publisher may ask you to cut some of it out.

During the process of writing my first book, I read articles and spoke to people in the industry that suggested that a new, unknown author keep their first novel short, for a couple of reasons.

 

First of all, many publishers are looking for shorter novels for untested authors due to cost and so on, and longer novel lengths are typically reserved for authors who have already proven themselves.

 

I also read that a shorter novel might better entice readers to give your book a try, as they won’t have to commit to buying a longer and potentially more expensive book by an author they have never read before.

For the first edition of my novel, then, I kept it short at about 60,000 words. However, I felt it needed more fleshing out, and this thought was echoed in a review or two of the book.

When I decided to hire a graphic artist to do the book covers for the entire series, I also decided to re-do the cover of the first book so that the series would look more uniform. This would mean publishing a second edition, and I took this opportunity to develop my story a little more.

In the end, my second edition ended up at around 72,000 words and is, in my opinion, much improved from the first edition. This is still on the short side for my genre, which is fantasy. However, I followed the advice I was given or had read in the beginning concerning first novels and decided to keep it on the short side.

On the flip side of that, I recently read an article that listed publishers who consider new authors. Each of these had minimum word counts well above the numbers I had originally been given or found. However, I have read numerous other articles and books since that repeat this advice.

And, yet again, there are still many publishers who don’t seem to recommend a particular word count.

 

What take-away messages did I get from all this?

  • Length is linked in large part to the genre you are writing in. 
  • There really is no true consensus.

 

Here is a list of some do’s and don’ts that I learned along the way and would like to pass on to aspiring authors:

DO base the length of your novel on what feels right for your story.

DON’T base the length on factors such as how much the per word cost for editing is.

DO think of the submission guidelines of traditional publishing houses you may wish to submit to or are hoping to catch the eye of with your self-published novel.

DON’T assume all publishing houses are looking for the same thing.

DO think of the purpose and audience of your book when deciding word count. Are you writing fiction or non-fiction? If fiction, which genre, and what age group?

DON’T write a super long book for children, or super short for adults.

 

And the biggest DO of all:

DO what works best for your particular story.

 

Below is a list of links to some articles I’ve read relating to word count:

https://en.wikipedia.org/wiki/Word_count

http://manuscriptagency.com.au/word-count-by-genre-how-long-should-my-book-be/

https://www.writersandartists.co.uk/writers/advice/33/preparing-for-submission/how-to-find-a-literary-agent/how-long-should-my-ms-be

http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/word-count-for-novels-and-childrens-books-the-definitive-post

https://fantasyhandbook.wordpress.com/2015/03/31/how-long-should-your-fantasy-novel-be/

https://thoughtsonfantasy.com/2017/02/14/how-long-should-a-fantasy-book-be/

http://greatstorybook.com/publishers-accepting-submissions-from-authors-now/

 

Sherry Leclerc is a science fiction and fantasy fanatic who lives in magical realms where swords and sorcery,

action and adventure, seers, shifters and sorcerers abound.

 

 

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