A guest post by Quincy Allen.

Like so many born in the sixties, I was raised on television. In my case it was mostly cartoons, and I reveled in them because they took me “someplace else.” Even as a preschooler I found the real world to be banal. Something was always missing from the universe around me, a sense of purpose in crisis. To put it bluntly, suburbia was—and still is—a hive, one with few predators beyond shady car salesmen and cut-throat roofing companies.

By design, the culture of suburbia suppresses any sense of crisis, attempting to bubble-wrap existence at every turn. It strives to create cogs born and bred for the great machine that is our society. That’s not a condemnation, merely an observation. Such were my early stomping grounds, and many of us—particularly devotees of geekdom—have our roots in just such culture.

Interestingly, there is a misapprehension among many Americans raised in suburbia that the Chinese character for “crisis” is the same as the one for “opportunity.” While this is inaccurate, I believe many of us cling to the notion because it speaks to an inner-self that few ever explore in their daily lives. It is this same inner-self that appreciates the film Fight Club and why most of us remember the phrase, “That which does not kill you makes you stronger,” probably learned from the 1982 film Conan rather than from having read Nietzche.

These things speak to us because we’re all seeking something, and in suburban society we can only find it in fiction and films depicting the fantastic. What we seek is import and wisdom—a sense of participating meaningfully in great events that shape the fabric of existence—whilst going mindlessly along in whatever daily grind holds sway over our mortgages and rent payments. Yet we desperately hunger for the wisdom of the ages, learned through epic events that threaten our sense of existence, whatever that may be.

During my formative years—and thanks to my brother—I discovered a handful of authors who stole me away from the banal. Within their tales I was carried to the stars and bore witness to great events, learning from them as if I had been an active participant. I discovered places like Heinlein’s Mars and Zelazny’s Amber. I cut my imaginative teeth on stories spun by Asimov and Clarke, delving deeply into tomes like The Science Fiction Hall of Fame Volume I (printed in 1971 and sitting on a shelf next to me as you read this). They were my first real exposure to import and wisdom, and done in a way that was both intriguing and meaningful to a tenant of the banal.

Philosophers—and they were philosophers—like Campbell, Sturgeon, Bradbury, and Leiber shaped what was a very young, hungry, and naive mind. I was the chalice to their wine, and what I learned between those pages read so long ago still shapes who and what I am today. Zelazny taught me what a shadow walk is and how to appreciate the significance of journey, even when I’m just hiking the Rockies. Heinlein gave me a comprehension of what it means to “grok” and helped me understand why a human should know how to “change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly.” Thanks to Laumer I understand the difference between men of action and men of sophistry; I comprehend what loyalty is and have a sincere sense of duty in the face of personal sacrifice.

I am a son of many such fathers… and mothers like Le Guin and Sheldon who helped me understand the differences between the sexes and, more importantly, how shameful inequality in any society really is. I have many more such parents, but you get the point. These thinkers, these visionaries, shared with us their distinct notions of humanity, speculating upon “what if” we were to take current societal constructs and follow them to their inevitable conclusions. Either that or they took societal norms, turned them upside down, and held them up to the light for all to see.

And thus, having set out upon this journey of becoming an author in my own right, I find myself editing my second manuscript. In it I alter American history and explore bigotry, zealotry and sexism. I hold them up to the light and expose hypocrisy. I cast in harsh light those who would discriminate and subjugate, dealing with them via the heavy hand of a six-gun-packing privateer. It’s pure fantasy, to be sure, and pulpy, but under the surface there’s a theme of equality, of treating with other sentient beings in precisely the same manner we wish to be treated.

I can’t imagine that my work will be as highly regarded as those great visionaries who influenced me, but I can aspire to walk in their footsteps and—perhaps—make my own small contribution to what Arthur in Excalibur referred to as “future memory.”

It is a dream I have.

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Quincy Allen has been published in multiple anthologies, online and print magazines, as well as in one omnibus. His steampunk version of Rumpelstiltskin is under contract with Fairy Punk Studios, and he’s written for the Internet radio show RadioSteam. His novel Chemical Burn—a finalist in the Rocky Mountain Writers Association Colorado Gold Writing Contest—was first published in June 2012, and has been picked up by Fantastic Journeys Publishing. His new novel, Jake Lasater and the Blood Curse of Atheon, will be on sale this summer, and he’s writing an off-world steampunk-esque series. You can follow his ongoing exploits on Facebook and at his website.

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A guest post by Megan Grey.

In retrospect, the signs of my becoming a fantasy/sci-fi writer and proud geek were all there from an early age. The joy I felt Christmas morning when Santa brought my older brother and me Castle Grayskull—the perfect backdrop to any number of adventures with He-Man and She-ra. The summers spent in my friend’s backyard, acting out the rousing adventures of Link from The Legend of Zelda. Perhaps the most damning piece of evidence is the note I found from my late grandmother, which references a story I wrote at the tender age of five and titled “Battle for the Unknown Universe.”

Despite these auspicious beginnings, however, I remained mostly uninterested in fantasy or sci-fi through middle school. I was always an avid reader, but my books of choice were standard fare for the time—stories about girls and their horses, or girls and their babysitting clubs

All this changed in seventh grade, when my dad introduced me to a series entitled The Lord of the Rings.

I can hear you already. “Oh, wow. A fantasy writer who was inspired by Lord of the Rings. I’ve never heard that before.” And I get it. Fantasy is a field rife with Middle-Earth wannabes. In some cases, they are great novels all their own, adding their own unique perspective to the genre, and in others, well… not so much.

There’s a reason for all the Tolkien love, and quite simply, it’s because Lord of the Rings is awesome, in the truest sense of the word. But I’m getting ahead of myself.

I soon discovered that my dad didn’t bring home these books for me, the avid reader of the family. No, he bought them for my older brother, a high-schooler who played guitar in a heavy metal band and whose reading, I was fairly certain, consisted primarily of lyrics to Poison songs.

Surely my father was suffering from early-onset senility, thinking that my brother was the better candidate for this intimidating-looking series whose covers promised adventure and magic.

This couldn’t stand. So I, in an effort to show my misguided father who was clearly the smarter sibling, decided I would be the one to read those thick books filled with faintly archaic language and weird little poems first.

I swiped Fellowship of the Ring from my brother’s nightstand and started reading that very day. I admit I didn’t get into it right away. A birthday party for a one-hundred-and-eleven-year-old hobbit didn’t exactly pique my interest at twelve years old. But by the time the Ringwraiths showed up to attack our intrepid band of heroes at Weathertop, I was hooked.

For the first time in my life, I not only enjoyed and was entertained by a series of books, but I lived them. I stood beside Frodo, eyes wide with horror as Gandalf disappeared into the chasm in the mines of Moria. I trod silently through the beautiful and mysterious forest of Lothlorien. I rode on the massive branches of Ents, and triumphed in Saruman’s downfall. I swung my sword beside Eowyn and defeated the Witch-king of Angmar. I begged Frodo to cast the ring into the fires of Mount Doom. I stared solemnly out to sea, watching the ship that bore Frodo, Bilbo, and Gandalf from Middle-Earth disappear into the horizon.

And when I turned the very last page, I wept. I was certain I could never experience something that pure and soul-thrilling again.

Fortunately, though, I discovered that the bookstores had a whole section of fantasy books, full of worlds in which I could surround myself with wonder and magic. Worlds where I could discover who I really was, by living the lives of characters I wasn’t. I devoured every fantasy book I could get my hands on—books by great authors such as Margaret Weis and Tracy Hickman, David Eddings, Guy Gavriel Kay, Raymond E. Feist, Robert Jordan, and many more. Slowly but surely, I made my way across the speculative fiction aisle to discover the joys of sci-fi as well, beginning with Orson Scott Card’s excellent Ender’s Game.

What began as a healthy dose of sibling rivalry become an important part of who I am—not only a reader of speculative fiction, but a writer whose books will hopefully provide worlds that readers want to live in and characters they yearn to sorrow and triumph alongside.

Thanks, Dad, for bringing The Lord of the Rings into my life. And thanks to my big brother, for providing me the competitive push I needed to read it.

For the record, my brother is now a well-respected university professor with two master’s degrees and a PhD, so it turns out he was the smarter sibling, after all.

But I totally finished Lord of the Rings first.

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Megan Grey currently lives in Calgary, Alberta with her husband, two kids, and two yappy dogs. Her story “To Be Remembered” won the Editor’s Pick Grand Prize in a fiction contest for the Animism: The God’s Lake animated TV series and will be featured in an upcoming anthology. She has received two honorable mentions and a semi-finalist award for short stories in the Writers of the Future contest.

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 A guest post by Kim May.

For some people, the call to write came late in life. For me, storytelling has been a favorite pastime for as long as I can remember. Really, it has. Now, I’m not just referring to the stories that my folks read to me—though they do play a part. I’m talking about the stories I told as a kid.

That time I told my mom’s friend that I was chased around the house with a butcher knife? Much to my mom’s friend’s relief, that was storytelling.

All those times I lied to my mom so I could place the blame on one of my siblings? Yup. That was storytelling too.

All the hours I played Barbie dolls with my little sister? You better believe it.

You see, our Barbie dolls weren’t content to sit at home and mother all the My Little Ponies, She-Ra, and Rose Petal Place dolls. They had to have fantastic adventures in far-off lands. One of our favorites was a spinoff of Cinderella. First of all, since neither of us wanted to take a back seat to the other, everything was done in duplicate. That meant we had two Cinderellas and two princes (for some reason, we never doubled up on the villains). Rather than sit around and wait for the princes to find them after the ball, our Cinderellas snuck into the palace, knocked the princes unconscious with a thunder egg, kidnapped them, and had a Stockholm-syndrome happily ever after.

Now, you have to keep in mind that I was about eight years old and had no idea that what we were playing out was morally wrong. For us, it was just a fun and empowering twist on a favorite tale. The fact that it gave us an excuse to hog-tie Ken was a bonus.

When we weren’t infringing on the Geneva Convention, we play-acted/discovery-wrote stories that borrowed elements from our favorite books and movies. Those world building skills came in handy in the sixth grade when I had to write a short story for an English assignment. Most of my classmates wrote about their dog or about a stupid, annoying younger sibling that bore a strong resemblance to their own. I, however, had no interest in writing the same story as everyone else. After drawing on Barbie skills, my story ended up being about two talking flowers that were going to save the world after they finished having tea.

In high school, even though I hadn’t touched my dolls for years, I drew on those skills again for another short story assignment. This time I wrote a paranormal YA story—twenty years before it became cool, I might add.

You would think that I would have figured out by then that it was my fate to be a writer. Nope. That realization didn’t come until college. After bopping between eight different science majors, the only thing that didn’t change was my desire to minor in writing. Unfortunately, that was also around the time my life took a sharp turn for the worse. I won’t depress you with the details. Suffice to say, when life turned back around the first thing I did was sit down and write.

I love being a writer. I get to sit down with my characters—my imaginary dolls—every day and take them on fantastic adventures in wondrous places. If those adventures take a turn for the weird, and they most likely will, all the better.

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Kim May writes sci-fi and fantasy but has been known to pen a gothic poem or two. She works at an independent bookstore and dog/house sits on the side. A native Oregonian, she lives with her geriatric cat, Spud, and spends as much of her free time as she can with family and friends. She recently won The Named Lands Poetry Contest. If you would like to find out what she’s working on, please visit her blog.

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 A guest post by Martin Greening.

In seventh grade, a classmate of mine gave a presentation on his comic book collection. I had read a comic or two prior, but had never even considered collecting them in plastic bags with backing boards to keep them fresh and unbent. That Christmas, I asked for one thing from Santa, my parents, anyone: I asked for comics so I could start my own collection.

A few months later, while strolling through the aisles of the local comic book Mecca, I first discovered The Holt. What is The Holt, you ask? Only a gnarled tree in the midst of a great forest. Within the boughs of this tree lay magically shaped rooms that were home to a tribe of elves known as the Wolfriders. I had discovered Elfquest, by Wendy and Richard Pini, and it would be the start of a long and loving relationship.

The original story introduced such great heroes as Cutter, also known as The Blood of Ten Chiefs, his trusty companion Skywise, and twisted creatures like Winnowill and Madcoil. Cuuter and Skywise, along with their small tribe, are forced to embark on a trek from their idyllic woodland home. A trek that would eventually lead them on a quest to find their true origins. The story has all the makings of traditional Hero’s Journey. Joseph Campbell would be proud.

The Pinis shopped Elfquest around to the major comic publishers, but received no bites other than a tiny independent comic called Fantasy Quarterly. The first issue of Elfquest appeared in that comic in 1978, but the Pinis felt they could do better. They founded WaRP Graphics and published the rest of the story themselves. Since then, Elfquest has appeared under the banners of Marvel, DC, and now Dark Horse (for the upcoming Final Quest storyline). The Pinis’ tale is one of the great success stories in self-published comics.

Not long after devouring the four large graphic novels (which dominated the top of the fantasy and science fiction section at Waldenbooks) that comprised the original story, I came across a copy of the Elfquest Roleplaying Game by Chaosium. Yes, I was a roleplayer, Dungeons and Dragons and all that. It’s my brother’s fault. You try growing up in the same room as a sibling who is three years your elder and not absorb whatever he is in to. That game opened new doors for me. Along with my good friend Dennis, we created our own tribe of elves (called the Kindred). We created our own stories that featured the likes of Stormpoint and his daughter Springmist and the tribe chief Swiftscent (Dennis’s character). All kinds of things found their way into our stories, including a clawed glove that was exactly like the one Lion-O donned in Thundercats and even a dark elf (courtesy of R.A. Salvatore’s Drizzt) we named Orebender (because he could magically shape rock and metal).

On a side note, the Elfquest Roleplaying Game had character silhouettes so you could draw your own characters. My art skills have long deteriorated, but I’ve kept the drawings of many of the Kindred, which I’m happy to share below. Looking at them is a doorway into the past and brings memories of good times with friends, both real and imaginary.

Sadly, my friend and I never wrote down any of the adventures of Stormpoint, but I still dream of their tales and parts of them find their way into my writing every now and then. Perhaps someday I will get around to chronicling their story.

To bring my story full circle (which is sort of ironic, as one Elfquest saga is titled “Kings of the Broken Wheel”), in 2012 I was fortunate enough to attend the Superstars Writing Seminar in Las Vegas. During one of the evening meet-and-greets, I sat next to one of the faculty whom I did not know, James A. Owen (who also contributed a guest post here at the Fictorian Era). We chatted for a bit about how he is a comic artist and novelist and eventually the conversation turned to Elfquest. It turned out James was a huge fan, so much so that he wrote the introduction to the second volume of the Elfquest Archives, put out by DC comics (it’s the one with the dark blue cover in the below pic).

That brief connection has rekindled my love of Elfquest and the stories I created as a child. The first thing I did after that seminar was go home and dig out Volume 2 to read his introduction. (By the way, James is an inspirational guy who has written about his journey in a fantastic book called Drawing Out The Dragons).

So there you have it. Elfquest: one of the works that has influenced me. You can read it online for free at www.elfquest.com. Maybe it will spark something in you as well.

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Martin Greening hails from Southern California and has been drawn to fantasy and science fiction from a young age. He is currently working on a fantasy adventure novel and several short stories. Martin lives in Sin City working as a IT guru by day and a dreamer of the fantastic at night. He can be found at www.martingreening.com.

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A guest post by Brenda Sawatzky.

“I’m standing outside of Mindy’s restaurant alone about two a.m., thinking about nothing in particular, when it strikes me that I have not seen or heard from my friend Brenda for quite some time.”

Thus opens an email from my long-time friend, Jim. He is not inclined to banal salutations—“How’re you doing?”, “What’s new?” No, he’s too creative for that. Instead, the opening paragraph continues, inviting me into a short story set in a 1930’s gangster milieu. His cliché-riddled prose pours onto the page like a Damon Runyon tale, the protagonist—yours truly. It’s at this point that I long for a moniker more befitting 1930s New York—like Hazel Hubbahubba. Something with panache, edging on libertine.

It seems an odd place for a writer to get their start. But this is the exact moment where a sleeping writer-spirit awoke within me and took to the stage. For Jim, it was a clever way of saying “hello”; for me, it was a challenge. Within hours my fictitious riposte was complete, having dug deep into the archives of Google and Wikipedia for historical accuracy, and eluding loosely to the real protagonist’s life. Jim, I decided, would make a fine leading man. I hit “send” and giggled with schoolgirl delight.

Day in and day out, the exchange continued, the yarn growing more elaborate, cunning, and fantastical with every tap of the “send” button. The greatest challenge, you see, was building on a story that was being weaved, in part, by someone else. A plot was near impossible, the possibilities endless.

A few weeks in and I was hooked, like a fish to a worm, a carb addict to a bake sale. I found myself rushing to my laptop the moment my eyes opened to greet the morning. Had he responded yet? What would he do with the plot shift I’d dangled over the proverbial cliff the night before? Dinner burnt on the stove, the laundry piled up, and the dog sat forlorn next to me on the sofa, speculating over his self-absorbed mistress, wisely choosing to cross his hind legs rather than disturb her reverie.

Three months and fifty thousand words later a novella was born. The madness had ended. Jim and I shared a virtual high-five and then went back to our everyday. But the sun peaked over the horizon each morning and I had no reason to get out of bed. Kierkegaard said, “Boredom is the root of all evil—the despairing refusal to be oneself.” The doldrums had set in, but the writer-spirit was too fresh to be mummified just yet.

Employing the internet I began an arduous search for writer’s workshops, short story contests, anything to restore that feeling again. I wrote a novel and paid a prince’s ransom for a professional critique. I joined an online writer’s workshop pairing myself with an author-mentor, set up to teach me how to break into print. And I’ve started my own blog, a creative and fun way to flex my writing muscles.

I’m a bit of a late bloomer, I suppose. It took me a long time to recognize the voice inside my head as my imagination clambering to escape. I’ve been involved in a long-term love affair with words and have done a substantial amount of topical writing for committees, business projects, and the like, but I didn’t exercise my right to fictional storytelling until my kids were grown and life slowed to a manageable pace.

One of the most fallacious euphemisms in the world is, “You can’t teach an old dog new tricks.” I just turned fifty-one. I don’t aspire to a Nobel prize in literary fiction (although one can dream) or even a review in the New York Times. I’m just looking for an outlet for an inner voice. A voice that’s moved from vegetative to vociferous. And step by baby step, the giant awakens.

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Brenda Sawatzky is a relatively new, unpublished writer hailing from the wide-open prairie spaces of southeast Manitoba. She and her husband of thirty-one years are self-employed and parents to five kids (two ushered in by marriage). She is presently working toward fiction and non-fiction writing for magazines and manages a personal blog.

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A guest post by Stone Sanchez.

In my journey to be a writer, Anime has had one of the biggest effects on me. From the wayward storytelling of FLCL, to the completely epic outpouring that was Cowboy Bebop, the influence and inspiration it’s served for me has been phenomenal. In my last post, I covered how I was introduced to anime though Pokémon, and a lot of the different types of anime that exist. I’m not making a joke when I say that I’ve sampled and watched, in depth, almost every single type of anime that exists. Its presence has had a massive influence over my writing, how I perceive story, and the way my characters are presented.

When I started off watching anime, I was around six or seven years old. In those early developmental years, my common brand of story became a foreign form of storytelling. Goku (Dragon Ball Z), Heero Yuy (Gundam Wing), and Kenshin Himura (Rurouni Kenshin) were names that were just as big as Superman, Wolverine, and Batman. As I grew older, I delved more into this obsession that was slowly taking America by storm, and became one of those kids who flocked to the internet in search of anime. The why of it has to come into play at some point or another, and for me it was the storytelling. (Not so much in Dragon Ball Z, I have to be honest. Watching two guys beat one another senseless was all the story telling I needed in that one.)

In Gundam Wing, I discovered a sense of idealism that’s managed to still have an effect on me today.

“History is much like an endless waltz.
The three beats of war, peace,
and revolution continue on forever.”
—Mariemaia Khushrenada

Although I cite the quote above coming from the character who said it, the writers of Gundam Wing are the ones who put that view of the world in there. The idea of total pacifism, and the idealism behind giving your life for what you honestly believed in—no matter how old or young, really hit me. In the show, the characters portrayed were all teenagers, but they were fighting ardently for what they believed in. Honestly, my heroes were those five Gundam pilots.

Throughout anime I found characters like those young boys, like Kenshin. Hitokiri Batosai, The Manslayer. A wandering vagabond of a swordsman who, in his journey of repentance for the blood he’d spilt during the Meiji Revolution of Japan, took an oath never to kill again. In his story, this man was known as “The Strongest of the Imperialist” and had such a reputation that, if those who were hunting for him ever discovered where he was, they would take any opportunity they could to kill him. However, after he disappeared from the bloodbath that was the end of the Meiji Revolution, his past came back to haunt him. The current life he’s attempted to make for himself is invaded and he finds himself having to hold off the inner demon that exists inside him, while also defending those he’s come to love as his family; all of this with a reverse blade sword—a sword that is a symbol of his vow never to take another human life again.

In my own writing, characters like these have had a massive impact. Sure, Superman was always overly impressive, but there was a brand of awesome that came with characters that weren’t complete boy scouts. These characters knew the weight that came with having to kill, and often dealt with it in very unique ways—since there were times when killing their enemy was the only true path.

There were a couple of times where I’ve used the word “beautiful” to describe anime. The storytelling in it has left me speechless more than once, and in the case of Clannad, I was in tears. If anyone reading this has never watched a show called Code Geass all the way through, I suggest you do it as soon as possible. The idea of “destroying the world to remake the world” never meant as much as it did until I saw that show. The distorted perceptions of justice, peace, and the idea of flawed pacifism were burned into my mind by anime. I guess you could say that it introduced me to the idea of gray. Things weren’t always so black and white for the protagonist in anime, and sometimes those protagonist weren’t even heroes.

The main influence anime has had on me is that it changed my perception on how I viewed life in general. It sounds funny, but it’s true. I learned more than just story formats. In the same way that an author’s prose affected the way I write, anime’s storylines and passions had a heavy influence on me. Which is probably why some of the first stories I ever wrote was fan fiction of my favorite anime.

So, the Anime Effect has been that it was the format that made me love story enough to want to write stories. It made me want to be creative, and it led me down the path that would eventually have me writing stories of my own. In my own novels and stories, I can see hints of the heroes I had growing up, and traces of the scenes that I watched implanting themselves in my writing. Sure, it wasn’t the only thing that inspired me, but I have to admit it probably played one of the pivotal rolls. It got me writing.

Thanks, anime.

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Stone Sanchez is an aspiring professional author who has been active in the writing community for the past two years. Currently Stone is associated with the Superstars Writing Seminars, where he records and manages the production of the seminars. He’s also worked with David Farland by recording his workshops, and is currently the Director of Media Relations for JordanCon, the official Wheel of Time fan convention. Often referred to as the “kid” in a lot of circles, Stone is immensely happy that he can no longer be denied access places due to not being old enough.

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A guest post by Greg Little.

When I sat down recently and started thinking about which science fiction and fantasy inspired me to seriously pursue a career in writing genre fiction, I thought the answer was a simple one. But as I actually began putting it down on paper, “the tale grew in the telling” as they say. Nuances I’d nearly forgotten woke as I fired up their neurons. So forgive me in advance if this turns into a bit of a ramble.

Like many if not most of us, I read a lot of fantasy and science fiction as a kid. My mom read Lord of the Rings to me after I’d watched the wonderful Rankin-Bass adaptation of The Hobbit and asked about that last line: “Then you’ll see that the story of the ring is not over, but is only beginning.” (Thanks, Mom!) This was followed by The Chronicles of Prydain by Lloyd Alexander, most (but admittedly not all) of The Chronicles of Narnia, and others.

We flash forward many years to winter break of my first year of college, the moment where I finally caved and jumped on The Wheel of Time bandwagon at the behest of two friends. After devouring everything up through The Path of Daggers (the last book that was out at the time), I switched gears and began with A Song of Ice and Fire by George R.R. Martin (Game of Thrones to you HBO neophytes). More recently the fantasy uber-series I’ve found most challenging has been The Second Apocalypse, by R. Scott Bakker. Those three series’ collective use of intricate worldbuilding, foreshadowing, dark themes, and multiple viewpoints certainly influenced my writing style.

But the thing that actually got me started writing in the first place took place in between childhood and college. On the verge of entering my teen years, I began reading the Star Wars “expanded universe” novels. I eventually went on to read a great many of those (stopping only when I realized they were never going to end), but the ones that had the most impact were the Thrawn Trilogy by Timothy Zahn and the Jedi Academy Trilogy by Kevin J. Anderson.

At that time, my mom had probably noted that for several years I’d eased off reading in favor of video games (video games being a particular weakness and a habit I haven’t managed to kick even today) and so knowing I was a huge Star Wars fan she shrewdly picked me up the first of Zahn’s trilogy. Well, technically she picked up the third book at first, but we quickly sorted it out after a bit of confusion.

I was blown away and instantly hooked (thanks again, Mom!), quickly devouring both trilogies and looking for more. Not only did it get me back into heavy reading, but I quickly realized that I liked the best of the novels even better than I liked the movies, because the books delved so much deeper into story and characterization. My friends and I quickly began incorporating details from the expanded universe into a Star Wars role-playing game of our own design. We took turns as dungeon master, and that was where I got my first taste of how much fun it was to create narrative mysteries for other players to try and solve.

Shortly into high school, my friend Bryan and I began taking turns drawing crude stick figure comics. Each of us came up with one “character” and the comics basically involved increasingly outlandish ways for the characters to kill each other, our own personal Itchy and Scratchy from The Simpsons. But eventually we grew bored with the pen-and-paper carnage, so our characters teamed up and began having narrative adventures (always wielding lightsabers, of course). Then in our sophomore year of high school, we started passing a three-subject spiral notebook around between classes, trying our hand at our own fiction, which quickly morphed into Star Wars fan fiction (set a thousand years in the future from the original trilogy, natch).

It was… not great fiction. Now liberated from the limitations of our crude stick-figure art, the one-upsmanship that had permeated our comics ran rampant. Mostly we would use our turn to either invent a mystery to confuse the other author (perhaps not the best collaborative technique) or each try to paint the other into a narrative corner from which escape would be impossible (an even worse collaborative technique). It marked the beginning of writing purely for my own enjoyment.

We never did finish that first story. Bryan moved away halfway through high school and we saw each other infrequently after that. I toyed around with finishing it anyway (and two others, because all books simply belonged in trilogy form to my inexperienced eyes) but eventually just dropped it. But I still have both that notebook and the comics. In fact, writing this piece spurred me to pull them out of storage and look them over. The prose is even worse than I remember, but I’m trying to take that as a sign of how far I’ve come since then. And as bad as it is, it still puts a smile on my face. I feel like that’s the most you can ask for from your writing.

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A guest post by Sam Knight.

My grandfather and my mother are avid readers, so I came by that honestly. Writing, however, is a different story.

I have a tendency to get sick. I mean really sick. If everyone else in the house has a sniffle, I have a cold. If they have colds, I have the flu. If everyone has the flu, I’m at the doctor’s. The problem with getting that sick, that often, is you get bored really stinking fast.

Being a child in the 70s, I didn’t have video games until Pong came out, and I could play that for only so long. Television was only worth watching for about two hours a day, and then only on some days (except Saturday morning cartoons!). Books, though… they worked 24/7.

One particular illness sticks out in my memory. I was in fifth grade and down sick with what I was told was the “Russian Flu.” I was miserable sick—except when I was reading. When I was reading, I was in another world. I could literally forget about my own problems! I would be so engrossed, the rest of the world ceased to exist. That was a godsend.

That was also my first real introduction to the idea of a series, where the story continued on into the next book. The world didn’t come to an end when I closed the book, there was another one waiting!

I read Patricia A. McKillip’s Riddle Master Trilogy, Piers Anthony’s Xanth Trilogy (back when there were only three), a trilogy collection of Edgar Rice Burrough’s John Carter books, and three or four of Alan Dean Foster’s Pip and Flinx series. When I ran out of new books, I re-read The Hobbit.

It was quite an eclectic mix, and I read them all in a little over a week. And then I went looking for more. Everything I could get my hands on. Up until that time, I had been a “reader.” I had read The Hobbit and The Lord of the Rings in fourth grade. But now, after doing so much reading, so intensively, I had become addicted. I had become a biblioholic. I had to have more!

I raided my mother’s bookshelves and then headed for my grandfather’s. I came away with armloads of Andre Norton, Robert Heinlein, Kenneth Robeson, Frank Herbert, and more.

Some sucked me in, others not so much. I was searching for authors with a specific talent—the ability to make me forget I was reading a book. I was actually trying to recreate what I had experienced while I was ill.

Yeah, I read the things the other kids were reading. The Mouse and the Motorcycle, Charlie and the Chocolate Factory, and the like. They were good, but… they didn’t transport me into another world the way I wanted.

I wasn’t in the game to read about little problems with kid brothers, or mysteries about missing toys. I wanted the Hero’s Journey. I wanted books that let me see Star Wars in my head. (We couldn’t just buy it and watch it anytime we wanted back then. Not to mention that, if I remember right, Star Wars was around $100 when it came out on VHS five or six years after theatrical release, and a brand new book was only $3.50.) I wanted books that let me live a different life.

And I found them. I found a lot of them. I started with authors I already knew could make a movie behind my eyes, and I got everything I could by them. I read Piers Anthony’s older sci-fi stories, and then I followed all of his new series as they came out. I followed Alan Dean Foster’s Pip and Flinx adventures all the way until 2009 when he finally wrapped it up. I’m still waiting for David Gerrold to finish The War Against the Chtorr series. (I’m not holding my breath, though…) Along the way, I found Robert Asprin’s Myth series, Lawrence Watt-Evan’s Ethshar books, Terry Pratchett’s Discworld, among others.

I worked sixty hours a week while attending college full-time, and I still made time to read. I would exchange books with co-workers. I gave away my copy of Douglas Adams’ Hitchhiker’s Guide to the Galaxy just to convince someone to read it, and then I went and bought myself another. I did that three times.

After I graduated, I carried my book du jour to work with me and read it during my lunch hour. At first my new co-workers laughed at me, but by the time I left there were close to a dozen people doing the same thing.

Why? Because books are magic. A well-crafted book made by a talented author will cast a spell over a reader and transport them to a new place, a different time, another life.

That’s what I was looking for when I was sick. A different life. And those wonderful authors gave it to me, even if it was just for stolen moments at a time. They gave it to me. And as I lay in that bed so many years ago, a thought drifted through my mind, a thought that stayed with me the rest of my life: I wanted to return the favor. I wanted to write something that could bring as much joy to those authors as they were giving me.

Ideas began bouncing around in my head after that. When I worked physical labor, I would entertain myself by thinking up stories. When I drove long distance, I would stay awake by imagining new places, new worlds, and new people. Eventually, I found that nearly anything would give me a story idea.

And soon, very soon, I will finally move beyond my apprenticeship and craft a story that repays my heroes. I will inspire the next generation, and honor the previous. I will write because I read, and it was wonderful.

*            *            *

Sam Knight refuses to be pinned down into a genre. If the idea grabs him, he writes it. Once upon a time, he was known to quote books the way some people quote movies, but now he claims having a family has made him forgetful, as a survival adaptation. He can be found at www.samknight.com and contacted at sam@samknight.com.

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Artist, Jonathan Roberts

Guest Post by Jonathan Roberts

Let’s get one thing out of the way right now.

A map shouldn’t be pretty.

I know what you’re thinking – those posters of Middle Earth are gorgeous. Of course a map should be beautiful! But for worldbuilding purposes a pretty map is a Very Bad Thing. Beautiful things are precious, and we tend to want to leave precious things pristine and untouched. When we’re building worlds we need to break things, and often. So, out with any thoughts that we’re making a pretty map. We’ll be making a functional map. In fact we’ll be making many maps, one after the other. In exactly the same way that your notes are not the final manuscript, a map isn’t the final world. It’s a visual notepad, and you should be crossing things out, erasing sections and rebuilding from scratch as you go along.

So we won’t be needing photoshop today, we need a pad of scratch paper and a pencil. Ready? Right, let’s build a world.

First of all, think about the world you need to build. In many cases this is a defined area that’s much smaller than the planet you’re on. Very few stories truly span a globe, so let’s begin by cutting down to the area that the story explores. This keeps the work focused on a reasonable area, and means there will always be distant and mysterious lands to explore down the line.

In your tale there will be nations, city states or power centers of some form. Start by making a note of their relationships to one another. Are they at war? Are they aloof? Do they feud over resources or are they closely allied? Think over the things that make them stand out. Are they famous for their expansive grain fields? Their iron? Their navy? I’m sure you can see the theme here. Nations are defined by the geography they inhabit as much as we define the geography by the nation. A nation with a large navy needs sea access, but it should also have natural defenses like a mountain range that allows the nation to neglect other military forces in favor of its navy. Two countries at war need to be close, and need to have a means of attacking one another.

Focus on major terrain at this point–how much coastline and mountain range. Make notes about other terrain that comes to mind–the tulip fields of Alak’tor, the salt mines of Keshel. Those will come in useful later.

It’s now time to start our map. Grab a pencil and faintly draw in circles where your nations are. Nations that are allies or at war should be close. Those that rarely interact should be farther away, or have an insurmountable natural barrier between them. Drawing circles on a map may sound easy, but this stage can take a few tries to get the relationships right.

Stage 1: Circles. Yes, these are 6 interconnected nations!

But circles aren’t really a map. Let’s draw some coastlines. Think about which of your nations need large coastlines and which should be landlocked. Then let your pen wander. Really – avoid straight lines. Coastlines are jagged and broken things. If your line doesn’t look like it was plotted by a drunken ant, you’re doing it wrong.

Step 2: The coastlines. Keep them broken and randomized.

Now let’s lay in some mountains. Mountains tend to form ridges. Avoid the temptation to fill in whole blocks of land with mountains. Instead, lay them out in wavy lines. They often follow the edge of a coastline (think the Andes). From a story point of view, they form obstacles for your heroes and they create natural boundaries between nations, or between nations and the great unknown. Mountains also create boundaries between climates. So if you need a desert in one area and a jungle in the other, you’d better place a mountain range between them to stop the rain from the jungle getting to the desert.

Step 3: Mountains – they shouldn’t be pretty, inverted triangles do the job just fine.

Next up, we have rivers. Rain falls on mountains and runs downhill to the sea. It always flows to the lowest point – and there’s always one lowest point. This means that rivers don’t branch as they flow to the sea, they only join. So – no rivers going from coast to coast. At some point that requires water to flow uphill. No lakes that have two separate rivers leading to the sea – remember, only one lowest point leading out. Think of a river like a tree. There’s one trunk where it enters the sea, but a panoply of branches reaching towards the mountains.

Rivers are also strategically important. There’s hardly a river mouth in the world without a town on it and most great cities lie on a river. If you know where your cities are going to be, make sure there’s a decent sized river flowing through them. Equally, rivers make great defenses. It’s hard to build a wall all the way along your nation’s border, but it’s almost as hard to get an army over a well-defended river as it is to have them scale a wall.

Step 4: As rivers run to the coast they only join, they never branch.

Add some hills to the edge of your mountain ranges. Lay in some forest and see how it looks. Remember, don’t be precious. If you don’t like it, start on a new sheet of paper. Sketch another coastline. Turn it upside down.

When you’re happy with the terrain, go over the pencil lines with pen, and erase the pencil–including your nation boundaries. Scan and photocopy the map. Go away and have some food.

When you come back, try the following experiment. Ignore your previous nations. Look at the virgin world with a new eye. If you were founding a country in the world, where would you start? What would be the key strategic choke points? Look at the world as if you were playing Civ. Where are the resources you need to defend, what lands would you try to annex? Use some colored pencils to sketch in different nations and boundaries. Edit the rivers if you need to, move things around. You’ve got lots of copies of the map–experiment.

Once you have a layout you like, we’ll add cities.

Step 5: Hills and Forests, add them wherever you see fit. These are easily moved.

Cities are where they are for a reason. They don’t just appear up in the middle of nowhere. Population centers need food, water, trade and security. Rivers can provide all of  these, which is why towns and cities tend to spring up at river mouths. Locate your capitals in places that are easily defended and that have good transport connections to the rest of the nation. Place smaller cities in key locations, whether that’s in the heart of a mining community on the edge of a mountain range, at a key strategic river crossing, or a market town in the middle of leagues of prime cattle-ranching land. At this point, also mark in major fortifications.

Step 6: Place cities, towns and fortifications.

With these indicated it’s a simple matter to place the roads. These will connect the major cities, the main food producing regions, and any other major trade routes.

You now have a perfectly functional map! But remember, nothing is set in stone. Each time you run through this process your map will be better. Each time you sketch the map you’ll have new ideas. As you continue to write about your world you’ll come up with new thoughts on what terrain you should have, how two countries relate across their border, where a great wilderness needs to be. Redraw the map – it’s there for you. Both your map drawing and your text will be better for the relationship between map and story.

And when your manuscript is ready to go from draft to final, your map will be ready to go from sketch to illustration. But that’s a post for another day.

Step 7: Colored and finished!

If you want to learn about the art of mapmaking, then check out the Cartographers’ Guild, or my own tutorials.

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Guest Post by Michael Rothman

Certainly the first major milestone in writing a novel is getting the first draft complete. Oddly enough, this is sometimes the best time to take a step back from the manuscript and give yourself a little time away from it.

The reason I say this is because when you want to go through your initial self-editing phase, you probably want to approach the manuscript as a reader. Try to get a bit of a separation from the book.

Ultimately, you aren’t writing for yourself (or typically you aren’t), you are writing for an audience and you want to scrutinize your novel as a reader would. Given that, there are many folks who can speak much more authoritatively about the editing phases than I can, but suffice it to say that self-editing is a skill that should be learned by any aspiring author, but that shouldn’t be confused with not needing an editor.

This leads me to the first of the five topics I wanted to cover.

• Editors – the folks who find the booboos, clean up the scrapes in your manuscripts, and teach you lessons you didn’t know you needed to learn.

Despite my relatively fewer years in the industry, I’ve been lucky enough to have worked with some of the best editors in the industry, you know who you guys are [Betsy, Pat, Joshua]. Given that experience, I can say that without a doubt, any author who hasn’t put their manuscript through professional-level editing is likely doing their readers a disservice.

o Authors Behaving Badly

 How would you react if someone told you your child was ugly, and stupid? Not well I’d imagine.

Well, what do you think your reaction would be like when you toiled over a manuscript only to get it back from the editor awash in red ink?

Many people’s first reaction is to throw a fit, call the editor all sorts of names, and maybe throw the nearest object against the wall.

Let me recommend something a little different.

• Consider the feedback, let it soak in, don’t write that nasty e-mail you were about to write, and wait a day or two.

o Authors are a defensive lot. In many cases, they find it difficult to accept criticism of their work.

o Let’s be realistic and say that unless you’ve hired a complete cretin as your editor, they likely make a point or two you should consider.

o Had you really achieved perfection in your manuscript, you wouldn’t need an editor, people would be waiting for your golden words to spill out as you type them.

 Realize that you don’t know it all

• Something that sounds good in your head, oftentimes doesn’t sound nearly as good in the written form.

• Editors will point out things that you were otherwise blind to. Many times it isn’t because you’ve written something grammatically incorrect; perhaps the editor noted that using the word amazing five times in a single paragraph might be a touch overkill. A thesaurus is sometimes an author’s best friend.

• A professional editor is simply trying to improve your manuscript inasmuch as helping it flow better, sound better, and be more intriguing to the audience that you’ve chosen. For instance, I had an editor point out a certain scene in one of my current novels that might have been too much for the age group I was targeting. After a fair amount of consideration, I agreed with her. And that leads me to the next point about the author/editor relationship.

o It is the Author’s book, not the editor’s

 As an Indie author, you ultimately control the words in the book. When you are with a publishing house, some of that control is not absolute.

 If an editor gives you feedback, they are oftentimes giving you either specific items that they felt were wrong or inconsistent, or they were speaking in general terms. Either way, it is the author’s decision if and how they act on that feedback.

• If you generally agree with the editor’s comment, then by all means, go ahead and fix it.

• However, if you don’t agree with the editor’s comment, make the call that you feel suits the story best, because sometimes the editor simply isn’t right.

o I’d note that I probably take 80% of the editor’s comments and do “something” with them. They usually bring a unique perspective as a different kind of reader that is invaluable in assessing your writing and the manuscript as a whole.
o Editors are the ultimate teachers of writing lessons

 I’ve learned more about writing from having to deal with the editor comments than I’ve learned from writing entire novels. I can’t stress enough how important a good quality editor is. Find one and don’t let go.

• Book Covers

o As an Indie author, you will find yourself in a position to control how your novel is presented to the world. In real life, we say that a first impression is always very important. Well, your book’s first impression will inevitably be its cover.

Given that, unless you are artistically inclined, you will likely need to consult with someone on the creation of this cover. What typically happens in the publishing houses is that publisher engages with an artist and hands them the story or a particular section of the story and oftentimes a scene from the manuscript is pulled to represent the book.

Below is an example of just such a scene in my second book, Tools of Prophecy.

You’ll notice that it is a landscape picture intended to serve as a cover for a print book, so the portion on the right would be the front cover, and the portion on the left would wrap around toward the back. In this case, the scene is from a climactic portion of the story that was pulled from the finalized story material.

Clearly, for an e-book, you wouldn’t need the complete picture, but only the right-hand portion of this. Below is an example of the same illustration, but finalized for production purposes.

• ISBN Acquisition

An International Standard Book Number (ISBN) is something you’ll inevitably have to acquire to sell your book. This is typically used to uniquely identify a book. Kind of like your driver’s license number uniquely identifies who you are, the ISBN number identifies what book a buyer or seller is dealing with. I’d note that even with a single title of a book (e.g. Tools of Prophecy) it likely has at least four different ISBN numbers. One for its paperback edition, another for a hardcover edition, another for a Kindle e-book, and another for a Nook e-book.

A very common purveyor of ISBN numbers is a placed called Bowkers. You can buy a single ISBN number from them, or 1000’s. The author’s/publisher’s choice.

• E-book formatting

One thing that isn’t obvious for most people is the need for special formatting in an e-book. Even though there are hundreds of articles that talk in detail about the formatting requirements, there are some software utilities that make things very simple, and I strongly recommend looking into them (especially since they are free.)

Look at one in particular; a software package called Calibre.

Another thing that I can comment on, that I’ve rarely seen mentioned in articles is the need for a manuscript (even when using Calibre) to be conscious of how they use fonts. For instance, I have on the title page, a font with shadow effects that I really like the look of.

However if I were to use it as-is, the Kindle/Nook platforms would make the title page look like garbage.

The trick for this is to take a screenshot of the font on your computer, and in the .doc file you use for your e-book creation, embed the screenshot of the title as a graphic. This way, the e-book viewers will read the content and not attempt to translate it in some funky manner. It will look like you want it to.

• Distribution methods

At this stage, you’ve written the book, you’ve gone through editing phases, and your hired gun of an editor has kicked you in the teeth and you’ve recovered. You have a cover that you don’t hate, and you even have an ISBN number, and the formatting of your book is complete. Pant…pant…pant… it’s been a long haul.

As an Indie author, I believe 90%+ of the volume you’ll likely see will come from e-book sales.

Why? Well, e-books are typically cheaper than print books, and in most cases, you’ll find it difficult to get print books in front of the noses of purchasers. Those are the facts as I see them.

Given that, I do have a few recommendations.

• I’m a huge believer in the Amazon venue of distribution. No, I don’t own stock, nor am I an employee, nor do I know anyone who is one. From what I can tell, I’ve see easily ten times the volume of material goods moving through Amazon compared to its nearest competitor. I’ve seen this with my own books, and I’d guess others see similar things as well. That being said, I’ll only mention the three most commonly talked about distribution venues. Amazon, Barnes & Noble, and Smashwords. Google is your friend for details on each of these things, and in the smash allotted, I’d look up the keywords I mention here if they are unfamiliar.Even though I have seen a very distinct majority of sales through Amazon, that doesn’t mean I wouldn’t take advantage of other venues. I would certainly use Amazon’s KDP service (Kindle Direct Publishing) for making an e-book available. Also Barnes & Noble’s PubIt service is their equivalent of the same thing, just a slightly different technical format, both of which are supported by the Calibre software I mentioned earlier.
• I’m personally not a big fan of Smashwords, though many people use it because of its simplicity. They take an extraordinary amount of money for services that almost anyone can do themselves – especially if you’ve gone through the trouble of getting an editor, cover artist, etc – I don’t personally see the advantage of using Smashwords for general purpose distribution. I would limit their use to target distribution areas that aren’t already covered by Amazon or B&N. In truth, you likely won’t be missing much if you don’t use them at all, but that’s strictly my opinion.

I hope this has been helpful, and if there are any questions, just let me know. As it is, I’m nearly double the word count that Joshua asked me to stick to–but I don’t always listen to my editors.

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Guest Post by Michael Rothman

 In this article, I plan on covering how an Indie author would go about taking an idea for a story, and cover some of the primary items an author should consider when they begin what might be a massive undertaking. Since there is a good amount of data that I’ll be covering, this article will be split into two bite-sized sections. The first covers topics such as knowing your audience, novel research, and realistic time allotment. All the things necessary when you consider writing that first draft.

The second part will cover the logistics of the publishing process: the author/editor relationship, creating of a book cover, acquiring an ISBN, and formatting of your manuscripts. I hope by the time you’re done reading the second article, you have a fair idea of what to expect, and sufficient pointers to get started on going from concept to completion.

For many would-be authors, the task of writing a novel may seem daunting. Let’s face the facts that 95% or more of the people who start writing a novel never finish.

“Why?” you might ask.

Well, I certainly can’t speak for most people — heck, I can barely speak for myself, but I do have a few opinions on the matter. A lot of this has to do with lack of pre-work and not realizing the investment of time that is required.

Let’s speak briefly about some of the things that a typical author needs to consider when they initially undertake the writing of a novel-length book.

• Initial Concept
  • Most books start with a concept, some kind of idea that makes the author go, “Hmm! I’d love to write a story around that.”
  • That’s usually the easy part.
• Who is your audience?
  • Some elements of what come next really depend on your audience.
    • Some people are confused about who they are writing for. Let’s realize that you are unlikely to write something engaging for a 2^nd grader that is also entertaining for a college-age student. Your novel is unlikely to target everyone, so keep in mind what the demographic of the typical reader is that you are shooting for.
    • The age of your audience affects some of the things you have to worry about as an author. For instance, if you are writing for young children, they might be quite forgiving that you don’t know the difference between an arc-welder and a brazing torch.
  • Understand that if you are writing for certain age groups, there are taboos.
    • The easiest example is the introduction of certain mature topics in a children’s book. For instance, if you are writing MG, the concept of alcohol use is usually a no-no. I’ve had people criticize my work because I had thirteen-year-olds holding hands and give an occasional kiss on the cheek, with lots of blushing tossed in. Most people in the United States don’t realize how puritanical their audience is.
  • Many caveats are cultural. Sometimes we can’t help but stumble into things that are considered rude in other cultures. For instance in Thailand, if you touch someone with your left hand, that is somewhat equivalent to sneezing in their face. It’s considered unclean and rude.
• Research
  • The older the audience, the more likely you are to have to research some things. Let’s face it, most of us aren’t experts in thirteenth century metalsmithing. However if you are going to write about someone who is a metalsmith, you can be guaranteed to find yourself being critiqued by readers who have been doing that stuff for forty years and feel you’ve maligned them in some core way by incorrectly describing the annealing process.
  • The thing to be certain about is your accuracy in the concepts you describe, and maintain a level of consistency across your story. If you are inconsistent, people will catch it and you’ll lose readers’ interest quickly. An example would be if Sonja’s hair is blonde in one chapter, auburn in the next, then back to blonde for the remainder of the story without any explanations. You’ll have readers harp on you incessantly. Rightfully so.
• Organization
  • Architects vs Gardeners
    • How you organize your story is a somewhat religious topic amongst authors. I’ve heard Brandon Sanderson use the terms architects and gardeners when describing how people organize or plan their stories, and I think that’s a very fair way of describing it.
    • As an architect, you tend to create an outline of sorts (the level of detail varies) which plots the inevitable storyline that you are creating. I find that this method is very useful for going through the mental exercise of where your story is going, and helps you avoid the pitfalls of writing yourself into a corner. Like Brandon, I happen to be one of these types, and can lay blame for my natural proclivity for it on my engineering background.
      

      Stephen King, gardener.

    • As a gardener, you start with a beginning and oftentimes a destination, and you grow the idea of your story more organically. You aren’t sure where it will take you, but you start writing and you continue to write until your story hopefully comes to a satisfying conclusion. I suppose the risk of this method of writing (which MANY people swear by) is that you are more prone to writing yourself into a corner. You might find a thread in a story that, once written, you realize doesn’t fit the rest of your overall book and either needs to be scrapped or rewritten.
  • As an architect, you’ll typically end up with a bunch of research, storyboarding, notes and miscellaneous fodder to begin the writing process.
• Doing it
  • Time
    • Most people don’t realize how much time it really takes to write a novel. It’s easily hundreds of hours, minimum, for an average 90,000 word novel. That’s why people oftentimes start, get a couple pages into it, maybe a chapter or two, then discover that they really enjoy fishing instead.
  • Real Life
    • Your real life must be able to support the time required for doing it. This means that family has to be supportive of your investing time away from them. Let’s not forget most authors have a day job when they are starting out. Heck, many authors have been publishing books for decades and never stopped their primary job.

Now that you’ve gotten to this point, as an indie author, there are several logistical hurdles and processes that you need to undertake to go from the first draft to a distribution-ready book. We’ll discuss those at length in part II of this write-up on Friday.

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Artist, Jennifer Miller

Guest Post by Jennifer Miller

I want to thank Joshua Essoe for inviting me to write an entry today! I’m going to talk with you about visual artwork for your book—for most, this means cover art. Unlike many bloggers here, I am a visual artist, and not an artist with words, so if you make it to the end, pat yourself on the back.

Before I begin, I wish to make clear that I am going to focus on those writers that intend to self-publish, or publish with smaller independent publishers. Large publishers tend to have their own artists that they work with; sometimes the author has little say in who illustrates their cover. Exceptions to this might be illustrated children’s books and things like graphic novels, that have a lot of art on each page. That is a subject for another post entirely. Pressing on….

You have a great story. You stand behind it, and you are ready to publish. Time to slap some art on that thang and call it done! The theory is simple; you want something that instantly tells the reader something about your book… perhaps a mood, or a key scene, or even just a mysterious glimpse to grab their attention. The cover is your product packaging, so some care must be considered beyond “put a nice picture on there.”

Okay, so you knew this was coming: “You can’t judge a book by it’s cover.” This is, of course, true about the story, but it is hardly a good reason to dismiss the cover. While I am admittedly biased, I am sure that if you asked around, I am far from alone: people notice the cover. The book is not defined solely by its cover, but certainly a cover can greatly influence who notices your book, how many people notice it, and why they notice it.

Check out this quote: “The cover may very well be the single biggest piece of marketing that book will receive,” says Paul Buckley, the Vice President Executive Creative Director at Penguin Group USA. “For first time authors and writers that have not yet built up a big following, the cover may be the only thing that gets a reader (or reviewer, for that matter) to physically pick the book up.” (source below)

While e-books have started to pick up steam, both book types benefit from having eye-catching art on the front. In fact, some suggest that e-book covers are just as important than those on physical books, because online buyers are presented with a myriad of thumbnail images when browsing on the most popular sites. The most eye-catching images in the thumbnail soup can have a big impact on what pages readers open up to further investigate. In the physical world, I cannot begin to count the number of times I have picked up a book based on the subject matter on the cover. Whether I was delighted or disappointed with the contents of the book is beside the point–the cover got it in my hands and got my eyes reading that wonderful text inside….

For much more reading on the importance of covers, check out this article.

Well, you’ve decided you want a cover, and you have the freedom to select the artist you want. Where to begin? Some of you might have an artist in mind for years, or some of you might have no idea. One way to start out is to consider your genre and begin your search that way. There are many websites out there; some are direct galleries on personal artist websites, and some are a huge mosh pit of everything. Browsing and searching might take some time, so kick back and enjoy the visual roller coaster.

Jennifer Miller’s artwork for Song of the Summer King by Jess Owen.

Once you find someone that tickles your fancy, pay close attention to their subject matter and style, and imagine that style on your cover. Visualize what subject matter you want–is it radically different from anything the artist has in their gallery? One thing that surprises me as an artist is that sometimes I will have someone in love with my style, but pays no attention to my subject matter… or, someone that is in love with my subject matter, and pays no attention to style. By all means, artists do branch out, and it never hurts to ask! But… do not be surprised if the photo-realistic artist is not keen to paint an anime-style cover for you, or if the artist that paints landscapes says ‘no’ to your cyber-punk cover. You may be pleasantly surprised, of course, but observing the artist’s strengths can only help you find someone that will mesh well with your project!

Another important consideration is time. For some artists, rolling out a complete painting in a short period of time is no big deal, and some people do work better under stress. For most artists though, we have a great many projects that have deadlines throughout the year. Asking for a fully detailed cover painting just days before you hope to publish is a good way to get a “sorry, I cannot…” letter in return, or… at the very least, some pretty stiff “rush fees” to cover the all-nighters that such a project entails. Different artists can work at different speeds, but a really nicely-detailed piece can take me more than one hundred hours. This is not counting the investment of time in research, and communication to make sure everything is on track. It is not unreasonable to consider contacting your potential artist at least six months before you have a deadline; some high-profile artists might need more advance warning than that.

Cost is something I am only going to touch on lightly because, frankly, this is a wild variable. I like to think that artists and writers have a sort of brotherhood (I think of it as the Brotherhood/Sisterhood of Underpaid Creative Persons). We both know what it is to do something you love and probably not get paid much for it. We both know what it’s like to be self-employed, and how much of our money just flies right out the window to the tax man and bill collector. Just as you would hope that someone would be willing to pay fairly for your time, please consider paying an artist fairly for theirs. I have found that most writers are amazingly cool about this (go, Brotherhood!), but I have had a fair number of rude individuals that tried to convince me that my time and skills were worth nothing. There is an artist out there that will work for any cover budget you have, but you will probably get what you pay for. Investing in a good cover is one of the most important investments you place in your book. However, don’t be deterred if you can’t afford much. Look for artists whose work is simple and has less time invested. If your artist has any sort of following, consider the amount of traffic simply having them do the cover might bring you. Once they have art published on your book, they have an investment in your book now too.

Rights and contracts: this is something that a lot of authors don’t consider until their artist is asking, “What rights do you need to buy?”

Our Forests – Digital.jpg
by Jennifer Miller

Uh, what? Now, I am not a lawyer, nor do I play one on the internet, but this is always, always, always the time for contacts. It doesn’t matter if it’s your best friend, or your sister’s boss, or your grandma. Get a contract written. Be clear what is expected from the start, and who gets what rights, and what those rights cost. This can, and has, saved many a proverbial rear-end in the past. Authors don’t often think, “Well, this one will end up on the bestseller list, and get turned into eighteen movies, and will sell millions of action figures, and t-shirts at Hot Topic.” But… sometimes, just sometimes, this actually happens. Research some the high-grossing current authors and you will soon realize that they rarely knew something was going to make it big. Knowing who owns the art for what purposes is a big deal when this sort of thing happens, and the only thing worse than being enemies with your artist is fighting each other in court. Don’t do this. Be friends, and write contracts. If you need help with this, there are a lot of websites out there than can help you, and some even provide contract templates. When in doubt, ask a copyright lawyer.

Communication is always important. This is where an artist-writer relationship can be made or broken. Of course, be polite for goodness’ sakes… but don’t waffle. Be clear about your expectations from the start, what you want, when you want it, and if you want fries with that. Expect your artist to do the same; if you need to, ask them to please describe the process so you know what to expect. Don’t be afraid to ask questions, and remember that even if you have a very clear mental image of the artwork, the artist cannot read your mind. You are a writer, by George! Use your words to paint them a picture so they can paint you something you are pleased with.

When author and artist really mesh and have a good time with the process, it is a beautiful thing. Mutually helping one another through all parts of the process, and beyond, is part of the wonderful community building that bonds creative people together and keeps them from going completely off the deep end. We are the Brotherhood of Underpaid Creative Persons, darn it, so let’s make something wonderful together!

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Author, Jess Owen

A follow-up by Jess Owen to yesterday’s post on typography.

When I set out to self publish Song of the Summer King, I knew I wanted everything to look “traditional.” I wanted it to look polished and professional, like something put out by one of the Big Six. I invested in the artwork by hiring a freelance artist who’s well known for her fantasy, wild life and particularly gryphon artwork. I invested in an editor with a great track record who I believed understood my goals for the story. I had plans for a big Kickstarter fund raiser, and wanted to hire a printer instead of going POD.

With all that done, somehow, I still thought it was fine to slap some letters on the front in a free, “medieval-looking” font, and call it a day. Fortunately my friends had my back. Josh Essoe sent my cover art around for some critiques from some pros, and very honestly told me, “You’ve invested too much in this book not to get some professional lettering on the cover. Talk to Moses Siregar; he’s put the same kind of effort into his work.”

So thanks to the power of author friend networking, I contacted said successful self-publisher and he gave me the name of his typographer, Terry Roy. She seemed excited about the book, I liked her portfolio, and so she put together a package deal to not only do lettering on the front of the e-book and the hardback edition, but to handle the interior layout and format the books for printing and uploading to Amazon. And thank goodness she did.

I think sometimes we self-published authors think we have to do everything ourselves. But just as I would hire a professional to tune up my car, I now know the value of investing in professionals to wield their magic over my stories. It’s a matter of time, energy, and expertise.

I’m so happy with the final product and with the team that fell together to make it happen. I truly believe all writers need a master mind group to make their work really stand out, and I know for my book, I couldn’t have asked for more. Below you’ll find my cover before and after the professional typography and design.

AFTER

BEFORE

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Illustrator & Typographer, Terry Roy

Guest Post by Terry Roy

Many authors go on the extravagant hunt for the best cover art out there. And while cover art is an important part of creating an attractive selling package (your book), bad typography can ruin it. Without typography, it’s not a book cover. It’s just a photo, an illustration, a painting.

What is typography? Glad you asked! It’s the art of arranging letters and words attractively on a page. Whether or not that page is a book cover or an interior narrative page, a billboard on a highway or stamped on a grocery bag you take home from the market. Most professional graphic designers are trained in this. Many others creating book covers nowadays are not. If you’re hiring someone to do a cover (to me, this means the complete package), or add typography to the image you want as the background for your cover, make sure you look at their portfolio and like what you see. Forget the pictures. Make sure you like what you see even if the titles and author names were on solid color backgrounds. Great typography design can carry itself, images added or not.

I can write pages and pages on this, but to keep it simple, I’ll distill it to basics.

1. When you commission artwork or start your image search, remember you need to display large, visible type on top of it.
Too many people sacrifice the visibility of the book title or author name so they don’t cover up the art. In my opinion–that priority should be the other way around. The art shouldn’t interfere with the stand-out impact of the author’s name and the title of the book.

2. The typeface you choose for the title can set the mood and tone of the book from the start. Choose wisely.
There’s a reason that many thrillers, spy stories, and suspense novels use a simple headline font like “Impact”—it denotes urgency, demands attention. Distressed or goth fonts get used on gritty, post-apocalyptic stories or dark vampire stories. (Be careful here, many distressed fonts won’t “pop” without a lot of help and unless you are a bestselling author, you don’t want your title blending in with the background art.) Fancy script fonts with lots of loops and swirls remind us of romantic invitations–so we see some of that on romance novels. These examples are generic. But please, don’t just pick a font because you think it’s cool. It has to match the story, and feel right with the title. Font sites often give you the option of typing in your title so you can preview it as you scroll through pages of choices. Just try it—see how it changes the mood and tone with each new look. (I spend hours trying fonts on titles, like some people try on clothes.)

Art & Design by Terry Roy.

Make sure your font choice–or the font choice of your cover designer– is legal to use commercially.
Please respect fonts tagged “for personal or private use only” and do NOT use them on your book covers. Often fonts at free sites were created to emulate a copyrighted, restricted-use font face. It is NOT okay to use these fonts on your books or anything you put out for sale or download in a public marketplace. (“Bleeding Cowboy”, which I see on a lot of vampire or paranormal books, is a good example. Lots of people are using it, but unless they got a licensed copy, or written permission from the designer, they shouldn’t be.) Go to a site like Fontspace and use the “Commercial Use Friendly” filter in the search. That way, free fonts that are cool to use on book covers and other projects will show up, without tempting you with the Personal Use Only fonts.

3. Visibility and Readability.
Now that you have the right font for your genre and title, and another for your name (a simple, non-fancy font will do in most cases) the third important thing is to make sure it’s clear, sharp, and readable. Remember, in the online market for both e-books and paperbacks, the reader is either spotting you first in a tiny ad or a tiny thumbnail image in a New Releases list. Even if your cover art loses fidelity at thumbnail size, the title, at least (if not also the author name) should stand out sharp and clear. Color choice is important here. It’s hard to go wrong with the classic choice of black (offset by white), or white (offset by black) when you’re just not sure. No matter what color you choose, contrast with the background is paramount. There should be enough contrast to “pop” that title even in small sizes.

Now… go out there and practice! One final tip I’ll leave with you today: study the bestsellers of your genre from the big name publishers. If you are a do-it-yourselfer, copy one of these covers. Import it into your graphics program and make it a locked layer. On a layer on top of that, challenge yourself to duplicate layout of the title, authorname, and any other print. You don’t have to match the typeface exactly, just get one close enough. (In graphic design courses, students are often challenged to duplicate the layouts on ads and product packaging–it’s a great hands-on learning exercise.) Even if you don’t want to tackle your cover typography on your own, studying what’s hot from the big pubs in your genre can give you a better eye for getting quality work from the person you hire to do it for you.

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Guest Post by Natasha Fondren

The question I get asked most by my clients is this: “What else, other than the text, should I put in my book?”

POD books and eBooks can handle extra pages, images, color, fonts, and content without any cost (up to a certain point, and even with Kindle, it’s marginal). When you’re done writing your book, you want to add content that will first, sell your book, and second, sell your other books.

SELL THIS BOOK

In eBooks, the front matter serves only one purpose: to sell this book to your readers.

In bookstores, readers check out books in this order:

1. They catch sight of the cover.
2. They turn it over and read the back cover.
3. They skim through the appropriate ad pages at the beginning.
4. They turn to the first page of the text and read a bit.

With eBooks, it goes more like this:

1. They catch sight of the cover on the website.
2. They click on the title.
3. They check out the average rating.
4. They read the synopsis and maybe skim the reviews.
5. They download a sample.

It’s important to note that once they download a sample, they haven’t yet bought it. You still have to sell your book with the sample: the first 10% of your book.

CONTENT OF THE SAMPLE

In a traditional book, the opening consists of ad pages, half-title page, title page, copyright page, list of other books by the author, dedication page, epigraph, table of contents, and sometimes acknowledgments.

In an eBook, we want to get rid of everything that doesn’t sell your book because it takes up space in that first 10% of your sample. First, the half-title page, a holdover from printing processes, is completely unnecessary.

The copyright page will not sell your book, nor will it magically prevent piracy. Send it to the back. The acknowledgments, likewise, should be sent to the back.

The list of other books by the author will only sell this book if you have a long list that proves you to be an author who’s had some practice at this. When in the front matter, this list does not sell those books; it only tells the prospective reader that you’ve some experience under your belt.

This list is better at the end, after they finish the book, when they’ll be looking for their next read. Probably they’ve already seen on the website that you’ve written other books, if you have.

The dedication? As interesting as it is to you, it should only stay up front if it’s truly going to hook the reader into buying your book.

The table of contents is accessed through a menu button, so it’s unnecessary to put it up front unless it sells your book, as is the case in nonfiction (telling the reader what is contained in the book) or in some fiction, where the chapter titles are so interesting that they hook the reader.

So what does that leave?

1. Ad pages
2. Title page
3. Epigraph
4. Text

Ad pages go first, and these should be an invitation to the reader. While you should take advantage of this opportunity, do not let the ad pages dominate your sample; you want to sell your book to readers, then give them enough of your content to hook them into your story.

There are several potential items that can go in your ad pages (I don’t advise using them all!):

• Reviews: If you have some exceptional reviews from respectable sources, or some funny, tongue-in-cheek reviews, then put two or three at the beginning. More than that, and you’re crowding out your sample.
• Synopsis: Reminding the readers what the book is about is not only a good sales tool, but it’s also one of the ways the human mind learns: big picture to little details. When readers sit down to a book, they want to know what it’s about. While this information may be on the website, they may look at the sample days or weeks later.
• Excerpt: A short excerpt, maybe one or two paragraphs, can work really well. There is an art to selecting just the right paragraph or two–make sure to get lots of feedback from your friends!
• Letter to reader: This is a bit of an old-fashioned technique that I’ve only seen in romance books. It’s been used quite a bit, so it must have some effect. If you pick this, please make sure your note to the reader is super good!

The title page sets the tone for the book, so embed a nice font and have a care for the design. The epigraph, as well, can set the tone for the book.

The text should be inviting: a nice chapter header, a dropcap, possibly some styling in the opening few words all help pull the reader into reading your text. Book design is important!

A PROBLEM WITH AUTO-CONVERSION

If you upload a Word document or use a converter to make a Kindle book, then when a reader opens your book, it will open to Chapter 1, skipping all front matter, ad pages, and even the prologue.

If you hire a professional, they’ll make sure your book opens where you want it to–except the cover. On Kindle, the book generally refuses to open to the cover, unfortunately. (Please do write them and complain, though! Maybe they’ll change it!)

THE BACK MATTER

From the very second your reader reads the last sentence of your book, you need to sell your next book, or your backlist.
The back matter can contain:

Thank You: First up, it’s nice to thank your readers. Make it short and sweet; this is not an about-the-author page. Perhaps a sentence or two informing about (and linking to) what you’ve got in the back matter for the reader. For example:

“Thank you for reading Great American Novel! I hope you enjoyed it. A list of my other books is on the next page, and then the first chapter of my upcoming novel, Pulitzer Prize Novel, to be released in the spring of 2014.”

Second, offer a link to a very simple html sign-up form for your newsletter. (You do have a newsletter list, right?) This should be simple and ugly, easy enough for e-ink browsers to handle, such as my newsletter (free book on Indie Book Production coming soon to all subscribers!). Please note that this doesn’t have to be your only newsletter sign-up page, but for this purpose, you should stick to a sign-up page that can be handled by the worst of browsers.

A List Of Your Other Books: This can go before or after the next section.

Your Next Book: Like the sample, this should be in three parts:

1. An image of the cover.
2. A quick synopsis or blurb of the book that hooks the reader.
3. An excerpt–you can make this substantial, such as the complete first chapter or two.

Other Ideas: I’ve seen some authors put a miniature version of their website in the back, starting with a home page that links to each section of the content that follows. Remember, the page count is nearly limitless, so be creative and give to the reader, and hopefully they’ll give profits back to you!

AND THEN . . .

After that, you can put an about-the-author page, so they know who you are. And then, (finally!) all the stuff you took out of the front matter that doesn’t sell this book or your next book.

Natasha Fondren is the founder of the eBook Artisans. Whether you’re a traditionally-published author looking to make an out-of-print book available, an indie author releasing a self-published eBook, or a publisher looking to make a backlist available, the eBook Artisans^SM is passionate about making your print book or eBook a welcoming and beautiful experience for your readers.

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