Layers of Light is here!

Wahoo. The rewrite of c3 is complete, and the shorter, softer version of my story has been packaged with a gorgeous new cover and a far more catchy name.

Layers of Light is currently available for kindle, and so far it has retained its 14 Amazon reviews. The bad news is it is still linked to the old, out of print copies of c3 that somebody out there is trying to sell.

Who are these people? Why do they have copies of my book? And why is one of them actually trying to sell a new copy for $116?

I guess I’ll never know …..

It doesn’t really matter. The new and improved story is also available in paperback, under a new ISBN number (required with the title change) for $9.99 plus shipping.  I have to hope anyone who wants to read my book in paperback will choose Layers of Light.

As of this writing the Kindle and paperback versions are not linked together, so you don’t yet see both options on the same page. Hopefully that will be fixed in a few days.

So that’s what she really looks like?

My vision of main character Teddie was always ethereal, much like the triplicate vision of her on the first cover. She was 17 and attractive, with curly black hair and dark eyes, but that was about all I knew.

When I decided to rename my books, I needed new covers. Current fashion is to show the main character, so it looked like I had to find someone who could show the world what Teddie really looked like. I found a group called Deranged Doctor Design.

When we started the cover for Layers of Light, we’d just finished the long and sort of painful process of doing many iterations of the cover (and main character Alex) for the previous book, Twists of Time. Lucky for all, the fine folks at DDD had a way to deal with people like me, who didn’t know what they wanted till they saw it. They sent me six potential Teddie’s to choose from.

I ruled out the three on the right without hesitation. These young ladies weren’t Teddie, and in general they had a little more angst than I wanted. Model #2 was a little too glamorous, so I went back and forth between the sweet innocence of model #3 and the slightly more worldly model #1. In the end, worldly won out.

The brown haired, blue eyed model needed some changes in coloring. They turned out to be trivial for my book cover designers.

Teddie got high praise from my own personal focus group, though one critic pointed out she had a bit of a “Tomb Raider vibe” to her, but that wasn’t necessarily a bad thing.

When it came time to create the last cover, we needed Teddie to make a second appearance, but not with an identical face. This particular model had dozens of photos to choose from, but unfortunately many of them had to do with selling beauty products.

I needed the new tough Teddie, fully aware of her superpowers and ready to kick butt. The selection wasn’t promising. We ended up with a pose that wasn’t all that different from the one used on Layers of Light, but it was different enough and it worked.

When I saw Teddie standing there with the rest of her family, I knew I’d gotten it right. This was what Teddie really looked like.

 

A New Look

I’m so excited about this new cover. The original one was probably my favorite of the six, perhaps because I love the color green. And moonlight.

This one has taken it to a whole new level, with a beautiful new Teddie, an appropriately intimidating-looking Lhatu, and a Buddhist convent tucked into a cliff in the Himalayas. Just like in the book!

I’m also particularly pleased with the title of this one, and the way the fine people at Deranged Doctor Design added light to represent what Teddie insists on calling the world of mist.

Now, my job is to make sure the story itself is worthy of all this.

The first round of editing is complete and I’m pleased so far. It’s almost 15,000 words lighter and, more importantly, 15% better. (I’m joking. Obviously I have no way of knowing how many % better it is, but the point is I can see the improvement.)

It will get one more edit in March, followed by two passes at proofreading by two different people, then hopefully be released for sale around the middle of April. Wahoo.

But first I have to get Shape of Secrets out there this weekend, and Twists of Time next month. It’s going to be a busy spring.

c3 is dead

What prompts an author to kill her own book?

A few weeks ago my fourth novel, c3, was killed by own hand. It made me sad. I finished writing c3 in late 2013, and released it on Kindle February 6, 2014. I’ve been told its hero, teenager Teddie Zeitman with her exuberant heart and a talent for out-of-body experiences, is one of my best creations. Green happens to be my favorite color, and the ethereal cover for c3 was my favorite of all the six.

But times change. Goodreads shows only three people currently reading my novel. Sales have gone from small to nearly zero.

I’ve never totaled up the exact sales, because it’s hard to separate a sale from a give-away but I suspect I’ve been paid for about a hundred copies (if you don’t count friends and family.) I’d hoped for more sales, of course, but every time a stranger liked my book and let me know, it delighted me. No regrets.

A few months ago, I attended a conference of science fiction writers, and signed up for a mentor. It may have been one of my more useful decisions. This professional writer pointed out that I could still have a marketable product in this particular story, but I needed a more genre-appropriate cover, a much better title, and an updated and aggressive marketing plan.

I can change the title of my book? Apparently I can. I need a new ISBN number (no problem). I  need to acknowledge to the new reader what has been done (just in case he or she is one of the 200 or so humans who already read this story.)

And …. I needed to kill c3. That is, it had to go off the market completely. No electronic versions for sale, although those who have it obviously always will. No new paperbacks printed and sold, although nothing can prevent current owners from reselling their copies on Amazon and elsewhere.

Over the years, I’ve eliminated all the hyperlinks in the book, and the text that went with them. I’ve made corrections and done minor clean-up. Why not. But I’ve refrained from doing anything major.

Because this will be a new book, I have the chance to do some serious editing. So I am. I’m giving more attention to point of view. I’m taking the techniques I’ve learned over the past six years, at conferences, from other writers, and simply from practicing my craft for hours every week, and I’m doing my best to fold those learnings into telling my story better.

It is still a work in progress, but so far I’m pleased with the result.

So while c3 will soon cease to exist, it will give birth to a new and better novel, to be called Layers of Light. I’ll be blogging all about it here soon.

 

Designing your own book cover, part 4

My easiest cover by far came with c3. It was the most difficult of my books to write, so maybe some sort of universal balance was at work. I’d barely begun skimming through the Shutterstock collection when I found not one but two backgrounds I loved. Which to use? I decided I’d send them both on to Jen at Mother Spider and let her decide.

I knew I didn’t want the image of Teddie, my hero, to be a photo. This was a book about out of body experiences, and a clear likeness seemed too stark. I wanted something vague, more like a sketch. She had to be young, dark-haired, and there had to be green involved.  I didn’t expect a lot of results when I combined all these search parameters, and I didn’t get them. However, the one image I got had potential.

This drawing of a young woman possessed the ethereal quality I wanted, but didn’t fit the cuddly softness I felt was part of Teddie’s personality. I played with it a little, and was happier once she had a rounder face and the soft brown eyes I envisioned.

The next challenge was to find a way to show an out of body experience in a single image on a book cover. I thought of showing her face three times, each one more transparent than the last. Also, I wanted a white bird because, well, it was symbolism I liked. I took all that and came up with the two straw man versions below and sent them off to Jen.

Jen did three brilliant things. First, she layered one of my backgrounds over the other to create an orignal and beautiful backdrop. Second, she got rid of the bird. Third, she rearranged Teddie to look back upon herself, conveying the idea of out of body in a way my linear images never could.

When this cover came back, I loved it instantly. She humored me by adding in the crescent moon instead of the dove, and we dinked around trying to match the font of my two-character title to the previous three books, but otherwise not a single revision was made. There was no doubt in my mind this was the cover c3 was meant to have.

Recently, I did some light editing and clean-up on all of my books, mostly to remove the links from all versions as they have become impossible to maintain. I decided if I ever wanted to make a tiny modification to the cover, now was the time.

Was there anything I wanted to change? Anything at all?

Well, I’d never been entirely happy with Teddie’s porcelain doll white skin or her sensuous lips. I thought a faint pink blush would make her look more human, and thinner lips more age-appropriate. I tried a make-over and was pleased with the results.

The new Teddie, and her beautiful cover, are shown to the left. It’s a joy when something comes so easily and works out so well.

(For more on this topic see Designing your own book cover, part 1, part 2 and part 3.)

Sisters

My only sibling and I live far apart, so it requires money and effort to spend time together. Life is busy and it’s easy for months and even years to pass without face to face contact.

We’re alike in may ways, but different enough in others that we’re capable of irritating each other in the special way that only family members can.

This weekend, I traveled by car, plane and bus to make it from my remote house in the mountains of Western North Carolina to her remote house in a small town in Western Illinois. We ate, drank and reminisced , which was all well and good, but what matters to me is that we did more. We trotted out some of those differences and used the ways we’d grown apart to help each other.

My sister has more clothes now than I’ve owned over my entire lifetime, but I have got to admit that she really knows how and where to shop. It goes with modern country living that these places are all online, so part of one pleasant afternoon was spent sitting on her couch shopping for clothes. Oh, and for dishes. She’s really good with kitchenware, too.

I’m more at home with my computer, and had fun helping her manipulate music among her various devices. She and her husband have a new boat, which was great fun in and of itself, and now she is hopefully set up to enjoy playlists while she cruises down the river. And she is definitely getting a new mouse and keyboard for Christmas.

She is also one of the few people I know with whom I share my books before they go to the editor. This visit caught her about half way through the draft of my latest novel. I understand that may writers are reluctant to share their work in progress with family members so I consider myself lucky to have relatives who are genuinely  supportive of my passion to tell stories. I’m particularly lucky to have this amazing genetically similar pal to give my stories a second set of eyes.

Is she enjoying my book? Of course she is. She’s my sister. Does that keep her from making  a few suggestions? Of course not. She’s my sister.

Am I writing sexist science fiction?

daxI’ve been a feminist since I was a teenager; longer than that if you consider wanting to be the chief science officer on the star ship Enterprise as a sign of early feminism. And yet, like other like-minded authors of speculative fiction, I struggle with feminism in my writing.

My first problem is that I define feminism as the radical notion that women are people. This means that some of them (women, or people if you prefer) are foolish. Some are selfish or incompetent, and a few of them are downright mean. All of them have flaws. I believe that to make every female character, or even most of them, models of virtue is to not treat my female characters as people, but rather as carriers pigeons for an ideology.

I recently stumbled on an online group discussion about a book I read years ago. Dreamsnake (a multiple award-winning 1978 science fiction novel written by Vonda McIntyre) defied the stereotypes of the genre way back then by putting a gutsy lady hero in the middle of a broken world. I wanted to like this book so much. But I didn’t, at least not all that much.

dreamsnakeThe main character Snake seemed two dimensional to me. She was everything a feminist hero should be, which was great, and she was never anything else, which kind of bored me. The rest of the women in her post-apocalyptic world were equally unwavering in their strength and capability. There may have been exceptions (it has been many years since I read the book) but my lingering impression was of a cast of characters carefully crafted to make a point. Interesting, but not engaging.

So, my female characters are all over the place. Most of my protagonists are strong women, but my novel y1 features a gay male shape shifter, and his friends.

I remember being so excited when a blog called The Future Fire agreed to review the book, and being so disappointed when the reviewer remarked “I do have to say, I am not really impressed by the depiction of women here. Of the two main female characters, one is shown to be foolish and unstable (where have we seen those words before?) and the other a child-like creature who runs from one daddy figure to another.”

y1-final-smallNo, I wanted to scream. That’s just two of the characters. What about capable Chloe? Resilient Raven? They are just as important to the plot. But of course one of the things you have to learn when you write books is not to scream at your reviewers, even in your own head, no matter how much you think they are missing the point. You just try to make your intentions more clear in the next book.

The other problem I have with my own sense of feminism and writing, is that I want my world to feel real to my readers. Sadly, our cultural stereotypes are internalized from childhood whether we like it or not, and they color our sense of what is believable. A writer can easily have one top surgeon at the hospital be female, and I think a good story ought to have a few of them. However, if the writer insists on making well over half of the doctors female (and more than half of the nurses male) then today’s reader will struggle to settle into the plot. This works fine if gender is supposed to play part in the story, or in the world-building. But if it isn’t, then you’ve got a bright light shining where you don’t want one, and you have to choose between making your point and engaging your reader.

A while back I read a fascinating article on a blog called Mythcreants entitled Five Signs your Story is Sexist.  This wonderful and helpful post included such gems as

“Patriarchy conditions us to think of men as normal and women as special exotic creatures. That’s why in many stories, particularly stories written by men, characters are only women if the storyteller thinks they have to be.”

Excellent point. If every female in the story is someones girlfriend, sister, daughter or mother, I think a good storyteller should seek out a few other characters and change their gender. You know, the helpful bartender who notices something that saves the hero can be a girl, and no, your hero does not have to fall in love with her. She can even be an old woman.

Here is another gem.

“Because most of us have a very skewed sense of what ratio of men to women is normal, the only way to ensure equal representation is to actually count them up and tally the total.”

This is an exercise well worth doing. While I think that a writer may not be able to achieve “equal representation” without making gender an issue in a novel meant to be about something else, I bet writers of all genders will be surprised by how far we all lean towards predominantly male stories. Yes, we can lean less that way and still tell a tale that sounds like it is real.

I’m already working on the novel I hope to write after I finish my 46. Ascending series. My protagonist will be a she, of course, and I already know that she will be smart, capable and kind. That part is easy. Now I’m working on what she doesn’t do well, developing the ways in which she is vulnerable. To me, those traits will be what makes her story interesting, and also what makes her fully human.