After I launched Ghost of a Chance out into the newly locked-down 2020 world, I intended to take a purposeful break for a few months. I would do some reading, particularly of old, gothic classics such as “Jane Eyre.” Maybe even take a class or two to polish my craft.
As I carefully picked through my towering To Be Read pile (ready to run, in case it came crashing down on my head) I came across a notebook that looked vaguely familiar. Upon opening it I recognized my own “handwriting” and realized: this was the notebook in which I had penned my 2019 NaNoWriMo project. I remembered, then! I had written it to explore the idea of what Christmas must be like at Vale House in Woodley, USA.
I won NaNo that year, by the way. The rough draft was nearly complete at just over 50,000 words. All it needed was a bit of revising, a few editing passes, and hey presto, I could publish it in time to give it as Christmas gifts to all my beloved critique partners and beta readers. Right?
As you might expect, it turned out not to be as simple as that. “Revising” quickly became “completely rewriting,” and I soon found myself turning my back on my long-neglected TBR pile. I was still determined to keep this manuscript short, though. Well, short for me. Just a bit of Christmas fluff. A Hallmark special to tuck into the boxed set as bonus content, someday, maybe.
I just couldn’t stick with the “fluff” part, though. I found myself getting really serious about making this tale as fully-developed a story as the rest. The final result turned out, I think, a bit too dark for Hallmark. But it’s just the right flavor for existing fans of Woodley, USA and its quirky denizens. And I did manage to keep it down to around 50K! That is quite an accomplishment, for me. I’m really proud of myself about that!
I also believe A Midnight Clear, while it revisits many of the town’s most beloved characters, fills out their storylines and answers many reader questions about them, has turned out to be a story which is able to stand perfectly well on its own, even for people who have never read any of the other books.
It’s available for pre-order now in All the Usual Places, and will be officially released for retail sale on November 16, in time to get you into the spirit of whatever midwinter holiday you may be celebrating. And now, I promise, I will get to that Reading Pile, and I will take a Masterclass or Skillshare class (or maybe both!) And then I will begin research for my next series, coming soon to a mysteriously enchanted border-town near you.
Whatever you are celebrating this midwinter, I wish you warmth and cheer and good health and, if possible, loved ones all around you. To your health!
It’s official! The release date for Moonlight and Moss is May 31, 2019. But you can pre-order it right now (see links below)!
Now, I’ve never understood authors who make their pre-order price higher than the regular price. It’s like you’re punishing your biggest fans for their enthusiasm. I think my Biggest Fans should be rewarded! Honestly, I’d make the Kindle version like 1 cent for pre-order but Amazon doesn’t allow anything lower than $2.99, so I did my best! The pre-order price is $2.99 – after June 1, the price will be going up to $4.99. Barnes & Noble has made the paperback available for $11.99; after release it will go up to the full price of $15.99.
My journey to deciding to self-publish was fraught with self-doubt and anxiety, but I’m glad now that I did it. The interior design stuff (especially getting the pagination to match up with my table of contents) was kind of a nightmare! But I really had a lot of fun being an active participant in the cover design. I’m really proud of the final product, and I hope you’ll like it, too!
Let me state unequivocally, here, for any other authors
considering whether to self or traditionally publish:
Fear of “loss of creative control” should never be a factor
in deciding whether or not to publish traditionally because, frankly, it’s a
complete and utter myth.
Even with traditional publishers, the author retains authority (that’s where the word “author” comes from, peeps!) and has final say over any and all suggested changes. Fear of “loss of creative control” was not why I decided to self-publish Moonlight and Moss. I chose this route because it became evident to me early in the querying process that it was highly unlikely any traditional publisher would ever be willing to pick up the second book in a series. Once I finish Cally’s story arc in the Woodley, USA universe (this will happen when Rivers and Roads is released in 2020) I will begin a new series. It will probably also take place in Woodley, but since it will be a whole new series with a whole new main character, I will be ready to begin pursuing traditional publishing again.
Because I have other things to do besides going crosseyed formatting text for PDFs and .epubs. I have many books to write before I sleep!
Oh, and that reminds me: Who would you like the main
character of the next series to be? Is there anyone you’ve already met whose
story you’d like me to explore from their own point of view? Or would you like
a new main character all together? Let me (as the YouTubers say) know in the
I’ll start, here, by thanking all the agents who have sent me rejections. I know agents have somewhere on the order of bazillions of queries to get through daily. They barely even have time to paste in boilerplate rejection verbiage and hit “send.” Many, nowadays, don’t even do that. So, when I get a rejection that gives me even the slightest hint of why the agent decided to pass on my project, far from being bummed about it, I am actually grateful.
I often feel like I’m working in a complete vacuum with regard to trying to sell my work. I feel fairly confident that my writing, itself, is good. Good enough, I mean, though of course any writing can always be improved and polished. The manuscript I am currently querying is as polished as I can make it, with critique partner and beta reader feedback. I am fortunate that I don’t have to work in a vacuum, there. On the other hand, the query letters I send out about said manuscript, well, really, the only feedback I can get about those, from real industry insiders, is through rejections.
OK, yes, I know: there is a ton – multiple tonnage, really – of Querying Advice on the interwebs. But much of it is conflicting or grossly outdated. Even AuthorTube videos by actual literary agents offer advice that conflicts wildly! I wade through all this cognitive dissonance and snatch desperately at what seems to be the most common advice. I do my best to incorporate it all into 350 words or less but, in the end, I’m totally winging it. I have no way of knowing – not really – whether or not my query letter is really the killer pickup line that will get me the girl, or just a slap in the face.
Most of the rejections I get are some form or other of the standard boilerplate: “This is not on my list.” And, if this is the actual reason for the rejection (rather than an attempt at the most inoffensive waffle possible) I can’t complain about it. My little world of Woodley, USA is never going to fit neatly onto anyone’s list – it crosses too many genres. Agents who rep Fantasy seldom rep Horror, for instance. Not that there’s any Horror in my work, but nowadays the word “ghost” is synonymous with “guts splattered all over the walls” and I totally understand why some people are not interested in that. God knows I’m not. And, sure, it’s not fair that when a Fantasy-inclined agent sees the word “ghost” in the second paragraph of my query, they roll their eyes and ball up their fists and hiss through clenched teeth, “Oh, FFS, why don’t these #^&$@ writers ever bother to look at my profile – I specifically stated I do not do Horror!”
But it is what it is, and until Western entertainment culture undergoes another sea-change (a sea-change I actually hope to help incite with my work!) I have to figure out how to deal with the situation as it is.
Two rejections I’ve received recently, though, contained completely new and different feedback! This gives me hope that I’m at least getting better at writing query letters. I mean, I’m sure these rejections are also copy-pasted – I can imagine agents need to send this particular one out a thousand times a day, too. But, honestly, I got a little giddy about these because they made me think the agents who selected this particular verbiage from their copy-paste choices had actually got past the word “ghost”!
They said, basically: “The concept of your story just
did not draw my interest strongly enough.”
Thank you, thank you, thank you, Dear Agents, for this
specific feedback! Even though it may seem like a slap in the face to some, it
was a gift to me, and I truly and honestly do appreciate your having taken the
time to send it to me.
My first response, of course, was to think, “Oh, OK, so what can I do to change my story to make it more gripping? Give it more pizzazz! How can I make the stakes higher? Maybe I should give in and put in some guts splattering across a wall here and there after all? Oh, I know: a climactic car-chase where the world will end if I don’t make it over the cliff in time to rescue the president from terrorist dragons from Alpha Centauri!”
And then I said:
My story is what it is. It is what it is because that’s exactly what it needs to be. It is internally consistent and beautiful. It gave itself freely to me from an eternal well of Story, and I will be true to it in return. The world does not have to be about to end in order to make the stakes heart-wrenching. Kittens and little children do not have to die horribly. I will not change the actual story itself, even if that’s the only way to get myself an agent. (I don’t believe it is, mind you. I just don’t know how to sell the damn thing, is all.)
Because I know it does, in fact, “draw my interest strongly enough.” I know for a fact that it does this to other people, as well. I am even reasonably confident that the kinds of people whose interest is drawn are not all that uncommon. These are the people I wrote it for. People who, when I describe it to them, say “Oh, I LOVE that sort of thing! Where can I find a copy?” Readers who say, “OMG I hope there’s going to be a sequel – I want to read more about this world!”
If I change my story in order to land a publishing deal, I will be betraying them. And I will be perpetuating the literary vacuum that led me to write this story in the first place because I couldn’t find enough of it in bookstores. There are people out there who want to walk down Main Street in Woodley, USA, and sleep in the Rose Room, and bump into George in the hall in the middle of the night, and jump the fence into the meadow and discover what lies beyond. Hang in there, peeps: I’m still trying to figure out how to reach you, but I am reaching!
All this by way of saying, I am grateful to all who have contributed the various data that has helped me make a decision. Thank you readers, critique partners, beta readers, and literary agents. I think I’ve made a decision? I’ve been trying to make this decision since last fall. I think I’ve decided I’m going to go ahead and self-publish Moonlight and Moss. Maybe. Probably. I will probably do this sometime in May 2019 (which is about a year since Seven Turns came out.)
On some level, it feels like I’m accepting defeat, but I’m not, really. I just don’t want to leave my readers waiting too much longer for the sequel to Seven Turns. My pride isn’t as important to me as loyalty to my readers – they’ve earned it! That’s the only thing of which I am absolutely certain.
I am fully aware that the second I hit that “Publish” button over at IngramSpark, I will turn to check my inbox and see I’ve just received an offer of representation. Because of course I will. Murphy is a real jerk, sometimes! OK all the time. Maybe I’ll kill him off in my next book.
Meanwhile, I’ll keep gathering data and polishing my querying skills so that someday when I finish this series and start a new one, I will – as I am still determined to – obtain agent representation.