#AtoZChallenge: Nathaniel

Nathaniel Glanzmann is one of our very own Operation Awesome bloggers. Thanks for sitting down and answering so thoroughly!

Why do you write?

I’ve always been better at writing than speaking. In the beginning, I used writing as purely an escape. Something that I did to not think about certain things or express myself in ways that I didn’t know how to yet. Now, it’s to make myself happy and meet new friends.

What is your genre/age category of preference?

I tend to write Upper YA to Lower NA, although I have dabbled in MG. As for genre, I either write quirky slice-of-life stories or psychological thrillers. It’s pretty much exclusively those two things.

Are there any themes or tropes you find yourself returning to story after story? 

In almost everything I write, you will be able to find:

1. -Deep-seated family issues
2. -”Chosen family” or friends who act like family
3. -Trauma of some kind
4. -References to psychology and/or neuroscience
5. -An older sibling/younger sibling-type friendship featuring two people who are typically not related
6. -Mentally ill/disabled/LGBTQ+/POC characters
7. -An almost complete lack of romance
8. -A loving, albeit eccentric father-figure
9. -Gruesome deaths
10. -Wholesome jokes'

Can you talk a little about what Query Kombat is as well as what your experience during Query Kombat 2018 was like?

Query Kombat is a competition in which you submit your query letter and first 250 words of your completed manuscript for a chance to be entered into a 64-person tournament bracket. If you get selected to compete, the judges will give thoughts and constructive feedback to both people in the round and will vote on which one they think is stronger. You’ll advance if you get more votes than your opponent. It’s cool because you have the opportunity to interact with other writers and showcase your work to agents if you get far enough to make the agent round.

Would you recommend the writing contest to other authors looking for agents and/or feedback?

Absolutely! I met a lot of friends during QK, some of whom I became critique partners with. One of them is a fellow sensitivity reader who hooks me up with potential clients who are seeking sensitivity reading for characters who share my identities, and I do the same for her. I also got two full manuscript requests as a result of the agent round. And it’s crazy to think that, when I first submitted my work, I didn’t think I’d even be considered, let alone make the quarterfinals.

Do you write about mental health matters? Why do you believe it’s important, if you do?

I do, but with the exception of one Medium article that I wrote, I don’t do so directly because I don’t particularly enjoy writing about myself and feel that a minor in psychology is not enough education to diagnose other people. Instead, I tend to write about characters who share mental illnesses/disabilities with me, have experienced things that I have or display traits of disorders that I don’t share but have thoroughly researched. I have what we Autistics call a “special interest” in psychology and it’s fun for me to write about it. It’s also a healthy way of expressing things that I usually keep to myself.

How did you get your start in sensitivity reading?

I saw that it was a new and emerging field and that I felt I met the criteria for a successful one. I’ve done freelance editing in the past, I have a Bachelor’s in English and fall under many different marginalized categories--all of this made me, in my opinion, knowledgeable and versatile. I thought that I could help people while making enough money to pay for therapy and medication.

Can you give a brief overview, for those who may not know, of what sensitivity reading services you offer?

I mainly provide full manuscript reads, in which I will make comments all  throughout the word document and write a full report at the end about any stereotypes/microaggressions/offensive elements that I spot as well as what I think the client does well to represent their marginalized character(s). I also offer partial manuscript reads and sensitivity consulting, which is an option for people who are in the planning stages of creating a marginalized character, but need assistance on developing them. My website can go into further detail with that, as well as list all of the identities I am qualified to read for. :)

Everyone’s writing is informed by their identity; how does your identity as an Autistic Filipino transgender man inform your writing, from the stories you choose to tell to the way you tell them? 

It definitely influences the kinds of characters I create. I admittedly have to think harder when creating a White cishet abled character. Because of my experience as a child of an immigrant,  (My mother is from the Philippines) I tend to include themes of immigration, “otherness” and familial pressure to perform. While we’re on the subject of race, I’m actually half-Filipino--my father is mostly Ashkenazi Jewish. I remember being a little brown Asian kid walking around in public with my older White father and having the cops called on us because people thought I was kidnapped. I also have the experience of knowing just how alienating it is to be biracial “not belonging” to one group or the other, which is what I meant by “otherness” earlier. 

I include a fair amount of trans people in my work, and strive to make their transness relevant to who they are (As in, their identity influencing some of their thoughts and experiences) but not to the point where they are The Trans Character (™). I don’t write “issue books” is what I mean. I simply include people with my identities and make those identities relevant to who they are without having that identity define them.

I also include a good handful of Autistic characters, as well. In fact, it was through writing the novel that got me into Query Kombat that made me realize I was Autistic and should get tested. Most of the characters that I write are characters that non-marginalized people get wrong all the time and I want to show the general public how people like me actually are. (Although, I do believe that non-marginalized people can write marginalized characters--including the specific experiences of those characters--as long as they do the research, but that’s a rant for another day.)

At any rate, I am fully convinced that I am incapable of writing characters who are devoid completely of some kind of neurodivergence. I legitimately would have to do research on how to write a NON-mentally ill/disabled character. That’s how f’d up I am.

You've mentioned your high school English teaching career; why was that a career you were drawn to?

I wanted to help people. I wanted to teach people that their words are powerful, and to help them develop as critical readers and writers. I wanted to support and protect people like I was not supported and protected. There was just one problem: Nobody, including myself, thought that I could do it. From birth to the end of high school, I was told--with some exceptions--that I would amount to nothing. I was labeled stupid and lazy because I had undiagnosed developmental/learning disabilities that I wasn’t getting help for and floundered in school as a result. I was told that I’d be lucky if I could make it in food service. (Not that I think there’s anything wrong with food service--culinary arts are a thing. But I don’t think that’s what they meant.) I was conveniently in the mental hospital for the third time my senior year for more than a month during the time that college applications were due. As a result, I couldn’t send any in and ended up going to the local community college. This was the best decision of my life. Because once the shock wore off that I had received an almost-perfect GPA my first semester...I thought, “Oh, my god...I can actually do this.” And I worked my ass off until I graduated magna cum laude from a state university and gained international teaching experience through doing one of my student teaching placements in Australia. I wanted to help people believe in themselves because I learned how powerful it is when you finally do.

What happened with that career?

I’m not teaching currently, but I resigned by choice. I had been brought into the psychiatric hospital two times that school year, and I stepped down because I did not feel that I was what was best for the students. They deserved someone more stable who would be equipped to not have a breakdown once a semester. The good thing is that, when I signed the resignation paperwork at HR, they told me that because my administration was strongly considering hiring me for next year and that I left for medical reasons, I could reapply to the district when I was ready. I’ll be back in the classroom eventually--I just know that I need to get my mental health sorted out to the point where I’m no longer a danger to myself. But hey, all of this makes for good writing material. My dad always said, “Turn pain into art,” after all.

Thanks so much for answering these questions, Nathaniel!

#AtoZChallenge Marginalized Writers

What is a “marginalized writer” and what does #OwnVoices mean?

A marginalized writer is someone who belongs to a marginalized group, such as a person of color, a person who identifies as LGBTQ+, a person with a disability, etc. #OwnVoices is a hashtag to signify that the marginalized writer is writing about a character with an identity that they share. (Ex. A Filipino writer creating a Filipino character.)

Do marginalized writers get preferential treatment in publishing?

No. In certain categories (Mainly YA and MG) marginalized writers may be considered more “interesting” in the slushpile, which may grab an agent’s attention depending on what they are looking for. But simply being marginalized will not guarantee a book deal. If the book is something that does not resonate with the agent as something they can sell or it is not up to standard, it will be rejected just like everybody else’s. In short, being marginalized and writing an #OwnVoices book may intrigue the agent into reading the query, but it does not guarantee representation by any means.

Can non-marginalized writers write marginalized characters?

Yes! And they are encouraged to do so, particularly in the YA and MG categories. There is a debate, however, in how a non-marginalized writer is “allowed” to write their characters. Some marginalized writers believe that it is okay for a white cishet author to include characters who are not a part of their group as long as they do not attempt to write about the experience of what it is like. (For example, there is a huge difference between writing a positively-written supporting Black character and writing a character like Starr from “The Hate U Give.”) These writers claim that the stories of people like them should be written by them first and foremost, and that white cishet writers are “stealing” opportunities for marginalized writers to share their experiences through stories.

Some marginalized writers believe that people can write whatever they want as long as they do the research, while others think that white cishet writers should not be permitted to create marginalized characters at all.

It is an ongoing debate that, in today’s social climate, does not seem to be settled any time soon.

Why are some marginalized writers wary about non-marginalized writers portraying characters who are different than them?

At the end of the day, it goes back to white cishet writers being favored in the previous generation’s publishing world. People in all marginalized groups have struggled to get published since pretty much the beginning of time and have had to sit by while white cishet writers mishandle portrayals of characters like them over and over again. It is a problem that is still happening to this day, which, in part, caused many agents to look for #OwnVoices works.

Marginalized readers have seen people like them being written in stereotypical and offensive ways, which only reinforced the public’s perception of them. Many of us are tired of other people telling our stories and getting it wrong.

What can I do to write a better marginalized character?

Before beginning to write a character and the plot to throw them in, do as much reading as you can about their identity. Talk to members of that group either in real life or online. Consult a marginalized critique partner or hire a sensitivity reader to go over your first draft with you so that you can be aware of any harmful elements in your story. Write a story in which marginalized readers will see themselves in your characters.

#AtoZChallenge Languages and Lingo

Languages and Lingo

Wil je in een andere taal schriven?

If you identify with either of those statements, this post is for you!

[Top: Do you want to write in another language? (Dutch)
Bottom: Perhaps you want to write in a fantasy language? (Elvish, English direct to Tengwar)]

Sometimes, we find ourselves wanting to write a story where another language is spoken. Maybe your main character grew up in a bilingual household, or they’ve studied another language in school. Maybe you want to add some slang. Maybe you’re going full Tolkien and developing a series of languages for your characters to use. Whether it’s a modern language or a full-fledged lexicon created specifically for your work, there’s one big question to answer: How will readers know what they’re reading?

Here’s a bad example. I read a contemporary book once that included text in two non-English languages (let’s pretend it was Swedish and Korean). However, the author rarely translated the non-English text, and a lot of it was necessary for understanding the plot. I’m lucky enough to understand Swedish and I have a friend who could translate the Romanized Korean and give some culture notes. Anything I didn’t get, or if my friend wasn’t free, I had to use the internet. As a reader, I was frustrated. How was anyone supposed to read this book without being glued to Google Translate? There was an entire page in Swedish and it was all written out as if the main character knew what was being said, but she didn’t understand Swedish! It didn’t make any sense to me.

Anyway. The point is, I was so distracted by all of the languages being spoken that I couldn’t focus on the plot. Fortunately, there are plenty of ways to incorporate other languages into your writing without alienating your readers.

Disclaimer: This post assumes that the main language being written in is English, although this advice also applies to any work where additional languages are used.

Glossaries

One way to clue your readers in to unknown vocab is to include a glossary. Two books stand out in my memory for their use of glossaries: THE CARBON DIARIES and ERAGON.

THE CARBON DIARIES, a diary of a fictional girl set in a world impacted by climate change, makes use of a lot of slang made up specifically for this book. Because it’s written in diary format, it would break the immersion for the main character to explain to herself what these words mean; they’re as normal to her as our common daily slang is to us. This includes words like chiller and cooler, which are slang for carbon credits. The glossary makes it easy for the reader to flip to the back of the book, find out what these words mean, and carry on.

ERAGON, on the other hand, is a high fantasy novel for which the writer invented a language. Most of the words are explained as they’re used, but after that, the reader is on their own to remember or reference the glossary. Use of fantasy languages should almost always coincide with a glossary for ease of reading. As much as we wish readers’ sole attention was on our work, writers can’t expect their readers to remember every new word as they go.

Be careful not to rely too much on your glossary, though. You want the reader to read, and not have to flip back and forth to understand what you wrote. I spoke with my dear friend Cinda Williams Chima (just kidding, I tweeted at her and she responded, I'm not actually friends with her) about her YA fantasy series, in which she based her "thieves' slang" on a dictionary of thieves' cant from England in the 16th-18th centuries. I asked whether she considered using a glossary, but she didn't think readers would realistically want to read a glossary. So, consider your audience. Do they have the patience for reference material?

Gloss Over

Another option is to gloss over foreign languages entirely. (See what I did there? Glossary, gloss…? I’m not funny.) If your main character doesn’t understand the language being spoken, you might write something like this:

Koen drew back and cradled his glass against his chest, jabbering in Dutch and waving away my bottle of beer.

Although the character doesn't know what Koen is saying, they can get the idea: He doesn’t want my beer. Just like in real life, body language can convey a meaning even when the character doesn’t understand the language being spoken. The character can recognize the language or not, it's up to you. This can create all sorts of comedic or tragic misunderstandings, so make sure to note just how much your characters infer.

Context 

This is a tricky one. Rather than explicitly translating what’s being said, you rely on the reader to figure it out:

“Everything will work out in the end, mèimei,” she said, reaching out to stroke my hair. 

You might not know what mèimei means, but you can probably guess that it’s a term of endearment or way to address the main character. If you’re going to use this technique, there are certain words in other languages that are generally known by the English-speaking world and safe to use: yes, no, please, thank you, words for family members like father or sister, among others. If a word is a cognate to an English word, it’s probably fine – but be wary of false cognates. For example, the Spanish word librería looks a lot like library, but it means bookstore.

These words are best used in small quantities so the reader isn’t left guessing too much. Sprinkled here and there, they give the impression of another language without having to do too much translating.

Just Say It

Then there’s the easiest of all:

“You mean you didn’t ask her?” Delia demanded in French.

Easy-peasy. Note when a character is not speaking English, and if/when they switch languages. Done.

Most importantly, if you’re writing in a language that you do not speak, or that you do not speak well, be sure to consult a native speaker or someone who speaks the language fluently. Google Translate can be a useful tool for standalone words, but it’s not perfect and can mangle full sentences. The last thing you want is to write something that doesn’t make sense or doesn’t mean what you think it means!

¡Buena suerte!

#AtoZChallenge Karis

Karis Rogerson is one of our team members here at Operation Awesome. Thanks for sitting down for this interview!

What do you love to write?

Fiction-wise, my preferred genre and age category is YA contemporary, although someday I’d love to write any kind of fantasy as well. When it comes to essays/nonfiction, I go for writing snarky essays about relationship and heartfelt ones about mental health.

What’s your writing philosophy?

Honesty and vulnerability. First and foremost, above all. 

Are you an over-writer, an under-writer, or the unicorn: a perfect-length-writer?

Under-writer, unfortunately. I add words with each draft, though, so that’s amazing.

What makes a book important to you, or what would make you recommend a book to someone else? 

When it tells the truth. In its representations of phases of life, in the way it portrays the things we go through, in the friends we make and the loves we have.

What would convince you to put a book down and not finish it?

Misrepresentations of mental illness or gratuitous violence toward women, honestly. 

Honesty time: do you judge books by their covers?

Only positively — I think more highly of the pretty ones and may be more likely to buy them, but if it had an ugly cover I probably wouldn’t not buy it. 

Describe your ideal writing nook.

I super wish I had a writing nook! But ugh I’ve never been that person.

What are your writing goals for this year?

I want to fully, finally finish the novel I’ve been trying to finish redrafting for so long. 

What are you reading right now?

I’m about to start There’s Something About Sweetie and truly I could not be more excited. Sandhya Menon is one of MY FAVORITE authors, I’ve adored her and her work since 2017, so truly — I’m stoked. 

If you could have any superpower, what would it be?

Flying! 

If you could live anywhere in the world, where would you go?

To live full-time? Back to Italy! It’s where I grew up, so it’s absolutely home. And from there, I’d travel.

What’s something about you that others might find surprising?

Uhhh...I can’t think of anything, truly.

How do you decide what to write next? What to read next?

I just follow my heart!

#AtoZChallenge J

Operation Awesome's own J Lenni Dorner is an author of fiction and reference. Thank you for the opportunity for an interview!

1. You just wrote a book on writing book reviews. Is there any instance in which you feel that a review or opinion of a work is invalid?

Yes, I did. The book is called “Writing Book Reviews As An Author: Inspiration To Make It Easier.” There are instances where a review would be invalid, such as if the reviewer was paid to say nice things. Or if a reviewer was intimidated by someone, which sadly has happened in online bullying.

Another issue faced, especially by writers, is how reviewing a book negatively could impact one's own standing in the writing community. There’s a real fear out there that your opinion could be “wrong” and the cyber-trolls will “call you out on it.” We need to realize that not everyone likes the same things. If reviews are respectful and the reasoning for the poor rating justifiable, then it deserves to exist. What one person dislikes about a book might be what others enjoy about it.

2. How do you feel about authors reading their own (Or even responding to) their own negative reviews?

Reading your own reviews is a learning opportunity. If several people mention your book has typos, it’s time to get a better editor. But if what they dislike is an opinion, that’s their right to feel that way. The most frustrating is when someone writes a review about something they misunderstood.

For example, if one writes a book about roses. Then a reviewer writes a negative review because they were dumped by someone named Rose. “This book doesn’t say why mean people are named after this flower!” That’s really hard not to engage. To not defend yourself with, “the book isn’t about that.”

It is best not to respond to those. It’s hard. Sometimes you have to just write a note to yourself or vent to a friend. What posts on the Internet never dies and someone will judge you for it.

3. What do you think are the advantages and disadvantages to readers receiving ARC’s and reviewing them on the Internet before a book’s release?

The disadvantage for writers is that giving away an Advanced Reader Copy means donating your work. That’s a sale you won’t get. And the reader might pass it out, which means another sale you won’t have. And it could be ripped to certain websites which break copyright laws. Plus, the reviewer might not get around to writing a review.

The advantage is that people are more inclined to buy a book that has been reviewed. So the trade-off for not making a sale with an ARC is the “advertising.” Plus, if the reviewer is a professional, they know to “market” their review by sharing it on social media. This helps to build up hype for a book. One study suggested that an average reader has to see a book online three times before they’ll consider buying it.

Another drawback of advanced reviews though is that some sites don’t allow them. So a reviewer might post a review to several places. But once the book is actually out, there’s no guarantee they’ll go back to the other spots to post there as well.

4. The first thing I thought of when I read the premise of “Preparing to Write Settings That Feel Like Characters” was your heritage. When I read the description and what was found in the Amazon sample, it deals with viewing the Earth (Or fantasy world) as a living being. Do you think the concept of treating settings like characters has any connection with your Native American background?

Great question. I do view our planet as being alive. And you might be right about my background being useful in this scenario. Actually though, I learned to harness this skill from years of RPG. That’s why I titled it as “Preparing to” instead of “How to,” because one has to approach creating that type of setting the same way as one does when making a character.

Writers have several different methods for creating characters. What I did was give some questions and ideas that could be used to create this additional “character” in a story. It’s the jumping off point for these deeper types of settings. But, fair warning, it isn’t a book about how to write settings. Dozens of those exist. It’s about taking a setting to another level so the story couldn’t possibly take place anywhere else.

Hogwarts is a character. Torrance High School is not a character, it’s an American high school that is recycled by Hollywood as a set under various names and places.


5. Can we expect more books in the Existence Series?

Absolutely! There’s a whole plan, including a high-fantasy series where a character will crossover and encounter other characters that mirror those of this urban fantasy. I’ve been working on book two and three for quite some time. There are some scenes in book two that need more punching up because they’re really powerful and important in ways that are difficult to show. But I’m working on it! Always working on it.


6. Do you prefer writing fiction or non-fiction?

I definitely prefer writing fiction as it’s more fun. But non-fiction comes out a lot faster. And I feel if I know how to do something well, and people have expressed a desire to learn it, I’m obligated to share my knowledge.

That is slipped into my fiction, too. For example, in Fractions of Existence, there’s a leveret instead of a bunny. In book two of the Existence series, there’s a “Romulus and Remus” celebration for the Fifteenth of February.

7. Do you have any advice for non-Native American people writing Native American characters?

Native American people are vast and diverse. There are many different tribes. A lot of history and culture was destroyed, especially with the Eastern tribes. The term “Indian-giver” is offensive, and portraying millions of people as swindlers is foolish.

And, hey, did you know…
Totem poles are a kind of statue, and statues are known for being permanent structures. Teepees/ tipis are a kind of tent. Tents are not permanent structures. That’s the sort of home for people who move around, migrating in a natural pattern.
Now, brace yourself because this is shocking -- the two don’t belong together.

While that sinks in, let me drop some more truth bombs:

Not every tribe had the same feathered headdress.
And they didn’t all speak the same language.
Or have the same religion.
Or use the same currency.
And the thousands of tribes didn’t all have names related to nature, like “Dancing Bear” and “Tree Tall.”

In fact, there were many tribes that never even met because North America is a huge landmass. Even if you divide it up into just America, it’s still a huge area of land. I have access to a car and airports and I haven’t seen it all. But some think a guy with his horse and buffalo traveled everywhere back in the day. I mean, really, come on.

And don’t forget that Native Americans were a big export when the slavers first came to this continent. (The survival rates were far lower.) The Emancipation Proclamation of 1863 only applied to humans. It wasn’t until 1879 that most Native Americans had their classification changed from animal to human. And in 1924 they were finally allowed to become citizens. (If you’ve seen “The Terminal,” picture it lasting about 450 years. Tom Hanks dying in that airport, but his great-great-great-great grandchild finally having citizenship with some country after a bunch of wars wrapped up.)

So my biggest tip is to do your research. Don’t just have a “Native American” character. Pick a tribe. Research that tribe. Stop writing characters who wear wooden shoes while eating spaghetti on an Eiffel Tower dining table to celebrate their Portuguese history on Defender of the Fatherland Day. (See how offensive that was?)

Yes, you can have a character with multiple backgrounds. Just don’t present the history and culture of several nations as being interchangeable. And remember that the Voting Rights Act is flawed, so check what state the person lives in to see what challenges voting might present to your character, if that comes up.

8. Lastly, because I ask this during every interview I conduct, what’s your favorite part about space?

I love the colors and size. https://apod.nasa.gov/apod That’s my “reward” site. When I feel I’ve accomplished a big task, I head over there for astounding images. Show me your planets and galaxies, the impossible clouds and dying stars. Yeah, that’s the stuff.

#AtoZchallenge Why Interviews are About the Author Not Just the Book

Why Interviews are About the Author Not Just the Book

During our normal schedule, I run the Debut Author Spotlight on Wednesdays on this blog. I ask a bunch of questions (currently 20), mostly about the author. Why? Why not just ask about the book? Because it's only the first book! An author is a brand. Once upon a time, there was a company that only had one product, some corn that was processed into flat pieces and tasted good in milk. Not everyone liked processed corn in milk. They expanded into wheat breakfast products. Now they own a bunch of companies and make a lot more than cereal.

That's how it is for authors. The first book is a big deal. It's quite an accomplishment. But consumers will (hopefully) want more. So the idea isn't just to sell one book. The idea is to form relationships with readers. Once someone likes an author, they'll want not only that first book, but the second and third and some swag and will share on social media and be willing to pick up an anthology because that author is in it... This is how the author brand really works.

A few of my questions come from researching the debut author, looking for something interesting to ask about. More than once, an interviewed author was glad for this personal touch. I imagine the readers of this blog enjoy it too.

I ask for a #writetip. Why? That hashtag has a high search-and-share rate. It also connects the author with other writers. Most writers are also readers.

What ignited your passion for writing? These are great stories to draw in readers and fellow writers.

Twitter's #WriterWednesday has long since been a way to grow the #WritingCommunity.

My favorite question: "Who is currently your biggest fan? What does that person love most (or "ship") about your debut novel?" One day an author will look back fondly on this memory. Also, knowing why someone else loves a book can intrigue a potential reader.

I ask about the big emotions in the book because some readers are looking for books that make them feel a certain way.

Instagram has gained a lot of power with the #bookstagram reading community, so I ask about that.

"How do you hope your book will help readers in their life?" A lot of authors will recognize this question as being about theme without using the word theme. There are a ton of reference books for writers that proclaim that this is the reason people read books. I don't know who the psychologist was that came up with that idea, but it's everywhere. And if an author has an answer that happens to be something the reader wants help with, guess what? 💸💰🤑 Sold. If someone helps you solve one problem, do you go back to them hoping they'll help with another? Chances are you do. That's branding at work.

I ask about a memorable trait or visual oddity of a character. Well-developed characters have something to make them stand-out. (Or stand-out because they lack anything defining, in rare cases.) This gives readers something to look forward to, and shows the author knows how to create a character. Readers will stick around for a character they enjoy.

https://diversebooks.org #WeNeedDiverseBooks - I ask about this because I'm a diverse person and I want to see more books out there that represent more of the population. Even if an author didn't write one, at least being able to name one shows support of a vast audience.

The deciding factor in a publication route (be it self-published, small press, or traditional) is important because readers love to know how an author got to where they are now. It's like the climax of the first book journey.

I ask authors to create a question or discussion topic for the readers to comment on. Look at the number of comments versus the number of views of this year's interviews to see why:


Blurbs and Bios end the interview. Hopefully, by that point, the blog reader is interested in the author. A good interview will leave the reader remembering at least one fun fact about the author. A great interview will have the reader sharing something from the post. The best interviews of all, of course, result in the sale of a debut book. It means the reader found a reason to give someone new a chance.

#AtoZChallenge: Hustle — Striking the Right Balance

I feel like the last person in the world who should be writing this post. It's the night (well, really, just a few hours) before I need to post it, and I'm writing it on my phone on the subway to work, I’m finishing it on a work computer on my break and hoping I have enough time to get it done.

Because I didn't balance my life well, up till now. I let it knock me down, around, totally out.

I tried, I guess. But I’m overwhelmed. I can’t seem to make it work, between a full-time job on this weird schedule I love, that I don’t mind and almost, one might say...like?

Tack on a social life, though, and things are harder. I have to plan seeing my friends days in advance, because between my work schedule and when I need to sleep and how much I need to sleep and commuting to meet them I just...there’s never enough time.

What about writing, for my blog, for other sites, for this blog? What about my books?

And then. The reason I break, the thing that knocks me out totally in the end.

I don’t know how to keep going. Every day, it seems, there’s a new reason to just stop. Just when I think — hey, things might be better! — there’s a new reason to break. To crack. To be destroyed.

It comes unexpectedly. There’s no warning. There’s no premonition. One second I’m laughing because I’m fine, really, truly, that’s not a lie, I’m fine and maybe a little more than fine.

And the next second I’m crumpled. Like a dirtied napkin or a deflated beach ball. No good to myself, extremely no good to anyone else.

Which is what I’m trying to be, more than anything else here. Good to anyone else. Good to the world. Helpful. Someone people can count on. For work, for friendship, for extra-curricular activities.

But the more I sign up for, the more impossible it is to do it all period, much less to do it all well.

I don’t know how to end this post because how do I, who haven't figured out the balance of hustle and rest, tell you about it?

I'll end it like this: do your best. Protect your health. Protect your relationships. Protect your creativity.

And believe in yourself.

#AtoZchallenge Genre

Genre is a word used to categorize the style of a piece of writing and often dictates where in a bookstore or library you will find a book.

Knowing your genre is important because certain publishers and/or agents specialise in different genres, and there is no point pitching your historical romance novel to a publisher or agent who specialises in science fiction and fantasy. It’s also important to readers because different genres have different conventions and you don’t want to disappoint or mislead them before they’ve had a chance to become fans.

The best way to become familiar with a genre is to read widely in it. You learn the tropes and style the genre requires, the language used and the expected length. Only by being very familiar with a genre can you expect to be able to break its rules successfully and keep fans reading.

A novel-length piece of fiction is unlikely to be just one genre. A thriller may have romance in it. A sci-fi novel may have elements of action and adventure. This is fine. You just need to identify what the primary genre for your book might be. Anything else that’s in there is fine, as long as you still follow the rules for that genre.

But what about breaking the rules? Yes, it’s possible, but you need to really know the rules before you break them. And it’s never a good idea to break all the conventions of a genre in one book, even if you think you’re on to something completely groundbreaking. Maybe you are, but readers of that genre may not be ready to have all the tropes they expect from a genre to be exploded at once.

For example, I recently started re-working a story I had previously called a historical romance. Having finished re-working it, I realised that while it does hit some romance novel tropes, it actually fulfils more of the genre conventions of a western. But it’s not set in the Wild West, or even in America!

So what I have is an Australian western. I’ve twisted the expectation that a western must be set in one of those lawless western American states, but followed many of the other conventions of the genre. And of course, thrown in a romantic subplot. But the romance is not the primary driver of the novel, so therefore, if I was looking for this particular book in a bookstore, I wouldn’t be heading for the romance section, but for the westerns.

Oh, and one more thing.... Contrary to popular belief, Young Adult is not a genre - it’s a category or age-range. Although confusingly, when using the “where in the library or bookshop would I find it” model, you generally will find all the YA books in one place, regardless of whether they are fantasy, horror, contemporary or romance.

Confusing, isn't it?

#AtoZchallenge Flash Fiction

Flash Fiction

We host Flash Fiction periodically here on our blog, and it's something I do occasionally on my own, so let's talk! There are a lot of different definitions for flash fiction and what it entails. Some are incredibly restrictive, such as writing a full story in 10 words or 140 characters, but others allow some wiggle room, expanding to limits of 1000 words or more. If you’re writing for fun, the limit is up to you – but remember it’s always a good idea to give yourself a challenge! You never know what you can do until you push your limits.

When I tell writer friends that I enjoy writing flash fiction, the most common response is “I couldn’t possibly write a full story in that many words/that little time!” Beb, yes you can. Writing flash fiction doesn’t have to be scary. Think of it as condensed novel-writing that doesn’t need all the elements of a longer story. You aren’t required to have fully fleshed-out characters and flawless worldbuilding. Exposition should be kept to a minimum, and some of my favorite flash fiction makes use of open endings, allowing me as a reader to end the story the way I want (and cleverly saving time and words for the writer). Sometimes, you can even get away with not naming your characters.

Many flash fiction contests will provide a prompt. It might be a word or phrase, or occasionally a picture or other image. Let’s use the word “Sunrise” as an example. Once you get your prompt, start casting about for whatever comes to mind when you hear the word. Sunrise. Sunrise over what? Over a lake. Okay, how big is this lake? What else is on it, in the area? Birds? A boat? A cottage? Let’s go with a cottage, and let’s also figure out what our POV will be. How about second person present tense, that’s a fun one. Head on over to that cottage. Ew, it’s creepy. I’m not sure I like this place. But what makes it creepy? That it’s abandoned? That there are dead birds in the corner? That the floorboards upstairs are creaking even though nothing could possibly be living there? See, we’re off to a good start already!

The trick to flash fiction is not thinking too much. With a full-length novel, there’s plenty of time and space to meander and try things out, see where plotlines lead. But with flash fiction, you’ve got limits on both those things. You’ve basically got to pick a plot to follow and stick with it. Even so, you’d be surprised to discover what’s living in your mind when you let it run the show. While flash fiction has its constraints, it can also be incredibly freeing. You might discover that you have a knack for horror, even though you’ve never written it before. You might find that you actually prefer writing in first person despite everything you’ve written in third. It sounds cheesy, but don’t limit yourself to what you know you can achieve!

#AtoZchallenge Eight Pages or Less - Synopsis writing

Synopses.... I know. The thing most authors dread above all else. And why not? You spend months or years crafting a novel that is exciting, vibrant, full of fascinating and realistic characters with flaws and failings, a plot that urges readers to keep reading right until the final page of beautifully realised prose.

And then you have to try and distill all that into a document that’s less than eight pages. In some cases, even into a single page. No wonder synopses have writers tearing out their hair!

But don’t stress too much. While it’s important that a synposis is clear and well written, it’s not designed to show off your sparkling language and inventive turn-of-phrase. Agents and publishers ask for a synopsis as a means to ascertain if your story flows well, meets enough beats and has a satisfying ending. And yes... You do have to give away any plot twists or surprises at the ending.

So how to begin?

Firstly, some housekeeping. Synopses are always written in third person present tense, regardless on how you’ve chosen to write the actual novel. Character names should be in caps the first time they are mentioned, and it’s important not to mention too many characters by name. If they are not central to the story, try and call them by their role eg/English teacher or step-mother.

If you’re an outliner (and I’m not), it may be helpful to dig that out. Chances are you’ve changed a lot since writing it, but it could be a good starting place. If, like me, you’re not an outliner, take a look at your manuscript and try to distill what happens in each chapter down to a handful of sentences.

This probably won’t flow together very well, and the cause and effect of events may not be clear because you’ve basically just created a list of what happens in the book. So go through with an eye to the overall plot and make sure the reasons and reactions for and to every major event are clear.

Novels aren’t just plot though. The character journey or arc is equally important, so now it’s time to go through your nascent synopis to ensure who your characters are and how they move through your story is clear. Characters almost always change during the course of a novel, so it’s important that their arc is clear too.

By now you should have a pretty good overview of the book, but it is probably starting to run long. The length of synopsis required by agents and publishers varies widely, so I suggest having several different ones at hand if you’re querying. I like to have them at around five, three and one pages to cover all my bases, so this is the point at which I start editing.

When editing, the words you choose are very important. You have limited space, so make sure every word you use is pulling its weight, every sentence is as succint and full of meaning as it can be. It’s amazing how much more a well-crafted sentence can convey than a baggy, over-blown one.

Once you think you’ve nailed it, give your synopsis to someone who hasn’t read the book to take a look at. Ask them if it makes sense, if they understand the story and its arc. Sometimes as an author, you’re too close to the story and the characters to see where you’ve missed a crucial piece of information.

And then, barring more edits, you are done. Your synopsis is ready to send out into the world.

Good luck with it!