The SHARDS Trilogy is Going Wide!

The SHARDS trilogy is going on its next adventure!

In other words, a little while ago I began the process of making the SHARDS novellas available at all good ebook retailers: Kobo, iBooks, Barnes & Noble, and Smashwords (as well as Amazon, of course, where they were already available).

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Consequently, it is my pleasure to announce that TWELVE DAYS OF FAERY is now available for Kobo, Barnes & Noble, iBooks and Smashwords, as well as Amazon.

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You can also preorder THE FIRST CHILL OF AUTUMN at Kobo, Barnes & Noble, iBooks, Smashwords, and Amazon.

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FIRE IN THE BLOOD is upcoming, since its Kindle Select period isn’t up until June 24th, but it won’t be long before you can buy it on each of these retailers, too!

Creating Worlds: Making up Montalier

Okay, so technically, Montalier is not a world.

1It’s a country within a world. But creating worlds sounds so much better than making up countries, so I’m running with it. I created Montalier for my novella TWELVE DAYS OF FAERY, the first in my SHARDS OF A BROKEN SWORD trilogy. Besides being the home of one of my favourite characters, Montalier is one of my favourite settings. I don’t think it’s because Montalier is any more developed than my other worlds: rather, I think it’s because TWELVE DAYS OF FAERY was a first on so many levels for me.

  1. The first novella I ever wrote
  2. The first longer form fiction I wrote from a male POV (previously, I’ve only written short stories from male POV)
  3. The beginning of my first complete trilogy (as of now, when THE FIRST CHILL OF AUTUMN is due to be published May 31st)
  4. The first book for which I made up pie proverbs

When you build a world you have to think about so many things.

Is this the coolest map you've ever seen, or what?

Is this the coolest map you’ve ever seen, or what? (And in case you’re wondering, Wyndsor is north-east of Montalier, out of sight along the coast. Avernse also doesn’t appear on this map, but that’s because it was a VERY TINY piece of paper)

Political system. Monetary system. History. Religious system (if any). Etymology of names. Proverbs and historical references. Is it a country or an actual world? A monarchy or a democracy–or perhaps both? What sort of military does your country have? How does it interact with the militia of the surrounding countries? Is this a coastal country, or landlocked? Do you have dragons? (Always have dragons). If you’re travelling from country to country, where exactly are your countries in relation to each other? Do you have a map? (Always have a map. With compass. Trust me, you’ll need it.)

There are many other things to ask and formulate, but one of the things I most enjoy making up is pop culture. Well, not exactly pop culture, but you know what I mean. The catch-phrases people use. The in-jokes. The references to ancient (and not-so-ancient) history. The things you forget you say until someone from another country hears you and wonders what you mean.

With Montalier, it was pies.

Tiny pies. Huge Pies. Pies in between. Pie proverbs. Pie references. Pies everywhere! I love pie, so it was a hugely enjoyable (albeit hunger-inducing) part of my world-building. In fact, when I revisited Montalier for THE FIRST CHILL OF AUTUMN, at least one beta reader asked if there would be more pie proverbs. (Spoilers: no. Sadly, there were no words to spare, as TFCOA already weighs in at a smidge over 50k, which is slightly long for a novella).

As a reader, I have three worlds that I’ve found to be extraordinarily well-written.

The first of those is the world Steven Brust has created for Vlad Taltos, his assassin-on-the-run who manages to escape death and disaster by the skin of his teeth nearly every book, while his side-kick Loiosh is making sarcastic comments in his ear. The world-building there is something really special. It grows over the course of many, many books, but each book is so well-contained and explained that I have very happily read them ALL out of order without feeling more than pleased each time I find something cool that slots into my knowledge base for the next book.

Second: Kate Stradling’s Kingdom of Lenore in KINGDOM OF RUSES  and TOURNAMENT OF RUSES. And guys, I know I’ve raved about this book and this author before, but the world-building here is just so deftly done: there is not a single unnecessary word, and the world is richly imagined and filled out.

My third favourite is the world Patricia Wrede created for THE RAVEN RING. It is rich in sayings, understandings, customs, and magic; and it’s done in an understated and completely immersive way. THE RAVEN RING is another book I’ve already raved about, so just go and read it already. (Incidentally, Patricia Wrede’s blog is probably one of the best blogs a writer can read for world-building–and lots of other–advice, too.)

Writers, what is your favourite part of creating a world? Readers, what is the best world you’ve ever read? Let me know in the comments! Or, yanno, just tell me a really great pie proverb?

GUYS. IT’S CHRISTMAS NEXT WEEK. CHRISTMAS. GUYS.

IT’S CHRISTMAS NEXT WEEK. Seriously, when did that happen?

So WHAT THE HECK ARE YOU WAITING FOR?! FIRE IN THE BLOOD is out December 25th, and is on preorder special of 99c!

Preorder your little heart out!

(Also, help! The exclamation marks are taking over the post!!)

 

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A princess in a dragon-guarded tower. The prince who is to rescue her. The prince’s ensorcelled dragon. And one enchanted keep that might just be enough to kill them all…

It’s widely known that Princess Kayami Koto is held captive in the Enchanted Keep by a dragon of great ferocity and skill. So when the bold, daring and crafty Prince Akish attempts to rescue her, it seems only sensible to bring his own dragon, Rafiq.
But the Keep’s dragon is only the first Circle in the Keep’s Seven Circles of Challenge, and both Rafiq and the prince will have to keep their wits about them if they’re to survive and rescue the princess.

There to help them is the princess’ serving maid, Kako. But why does Kako seem so familiar to Rafiq? Will she really help them, or does she have her own agenda? Rafiq isn’t sure, but he knows one thing: Kako may be the only person who can free him from his bondage to the prince, and that’s worth any amount of risk.

What A Glorious Feeling!

There’s a really horrible part of writing. It’s that part, about halfway through–or even 3/4 of the way through, or right at the end–when you’re convinced that everything you write is utter drivel and it feels like there’s no saving it. The plot is hopelessly holey, the dialogue is trite and stiff, and the surrounding prose is as uninspired at a piece of toast.

We all get it. Well. get it, and I’d hate to think I’m alone in my funk, misery–as they say–loving company. For me, this time, it hit like a sledgehammer right at the end of FIRE IN THE BLOOD. I didn’t even want to edit it. TWELVE DAYS OF FAERY was so quick and easy to write, and it felt like FITB was one drag after another–problems with characters, problems with plot-holes, etc. Most of ’em I fixed as I went, but it left me feeling raw and uncertain about the whole novella. Especially since I preset a publication date on FITB before it was finished (December 25th, in case you’re wondering).

That was then.

Now?

This is me now:

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What makes the difference, you ask?

Well, mostly I think it’s mental. As in, I’m mental, inclined to worry, and unnecessarily complicate things by obsessing over them. Also, a little while ago I finished first edits of FITB (with two quicker rounds to go). Not only did I fix the remaining, tiny (much tinier than I remembered) plot-holes, but I found that the whole thing was about twenty times better than I remembered it being. The dialogue was everything I wanted it to be, the story progressed so much more smoothly than I remembered, and it was all in all a much better novella than I thought it was. So I polished it some more and then went and watched The Marriage Of Figaro on Youtube.

All that wasted worry! I could have spent that on something else!

Preorder Is Up: AKA, Git Yer Novella Heeeeere!

Hey guys 🙂 This is just a quick, mid-week note to let you all know that TWELVE DAYS OF FAERY is up for preorder on Amazon. So go preorder now!*

*Or don’t. I’m not the boss of you.

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In Twelve Days Of Faery, King Markon of Montalier is at the end of his tether. His son, Prince Parrin, is afflicted with a rather nasty curse that slaughters, maims, or brutally attacks any woman with whom he so much as flirts. After the rumour that sweeps around the kingdom, promising that any woman breaking the ‘curse’ will be eligible to marry the prince, there is no shortage of willing volunteers. Unfortunately, there is also no shortage of bodies piling up.

Markon needs to do something, but what? Can a visiting enchantress from Avernse help, or is she simply another accident waiting to happen? And will Markon be able to give her up to his son if she does break the curse?

Sneak Peek: Shards Of A Broken Sword

Between Spindle (Two Monarchies #1) and the upcoming Blackfoot (Two Monarchies #2), I’ve decided to release two novellas in my (currently) three novella series Shards Of A Broken Sword. The first, Twelve Days Of Faery, should be published shortly before Christmas, and the second, Fire In The Blood, will hopefully be released just a month or so after the first. As you may guess, that means I’ve been VERY busy. I’ve been using a different process for the novellas, too; and so far it’s been wonderfully effective and quite reasonably enjoyable. Then, in between writing and plotting, I’ve been ferreting through stock images and premade covers to find suitable covers for suitably low prices. When I get bored with THAT, I start picking out excerpts of Twelve Days Of Faery to show you all. Lucky you, huh?

In Twelve Days Of Faery, King Markon of Montalier is at the end of his tether. His son, Prince Parrin, is afflicted with a rather nasty curse that slaughters, maims, or brutally attacks any woman with whom he so much as flirts. After the rumour that sweeps around the kingdom, promising that any woman breaking the ‘curse’ will be eligible to marry the prince, there is no shortage of willing volunteers. Unfortunately, there is also no shortage of bodies piling up.

Markon needs to do something, but what? Can a visiting enchantress from Avernse help, or is she simply another accident waiting to happen? And will Markon be able to give her up to his son if she does break the curse?

Well, that’s it from me! Spindle is on a whirlwind tour with Prism Book Tours, so I’ll be tweeting about that during the week, with a quick post midweek to catch up with all the action. In the meantime, do enjoy this sneak peek from Twelve Days Of Faery!

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Still, when Markon introduced Althea to Parrin, she didn’t seem particularly coy. She curtsied to him with less depth than she had curtseyed to Markon, and said in an offhand manner: “You’re rather prettier than I expected from the portraits.”

Parrin bowed and smiled, but he looked as though he was no more sure than Markon was that he’d been given a compliment.

“I understand that you have a rather difficult problem,” continued Althea. She was remarkably business-like for a girl who had just been discussing marriage. Not a maidenly smoothing of the hair or sparkle of the eye. “I have a little bit of an idea about it. May I ask questions?”

“Of course,” said Parrin. He was cautiously admiring her, though Markon was pleased to see that he didn’t go so far as to smile. The boy was thoughtless, but Markon would like to think that he wasn’t so careless as to potentially endanger Althea.

“The first two girls, the fiancées–”

“Yes, lady?”

“Both of those were accounted to be accidents, weren’t they?”

“Yes, lady. The countess was thrown from her horse in the courtyard and the princess was attacked by bandits when she returned home from a visit.”

“How long between the betrothal and the death for the countess?”

“A few weeks,” said Parrin, tugging at the cuffs of his jacket. He had been very fond of the girl, thought Markon with a pang: he had also been the one to find her.

“The princess?”

“A few months.”

Althea frowned, a quick, reflexive action. “You weren’t immediately engaged again afterward, were you?”

“No: I met Jeannie at court and we stepped out a few times. She disappeared before it even got about that we were thinking of each other. After that it seemed to take less and less to activate the curse.”

“What set it off most recently?”

“I smiled at the girl,” said Parrin glumly. Markon couldn’t blame him: he remembered what it was like to be Parrin’s age, and the idea of being unable to so much as kiss a girl without something unfortunate happening to her was horrible to contemplate.

“And how long was it before it took effect?”

“A few days,” said Parrin.

“I see,” said Althea. “Stand up, please.”

Parrin did so, looking rather nonplussed.

To Markon she said: “Would you hold this? Thank you,” and pressed something circular and metallic into his hand.  He looked down at the ring, somehow more real in his hand than it had looked on her finger, and took far too long to realise what she was doing. When he finally did understand, Markon started forward, his hand closing around the ring convulsively. By then Althea was on tiptoes with her hands cupping Parrin’s face, kissing the boy with some force and not a little skill if his reaction was anything to judge by.

Markon felt a rush of molten anger unlike anything he’d ever felt before. He didn’t think he moved or even thought, caught up in the stunning heat of it, but that was his hand gripping Althea’s arm with white fingers and tearing her away from Parrin, and that was his other hand shoving the ring back on her finger, his own slightly shaking.

Althea, her eyes rather big but not at all frightened, said a thoughtful: “Ow,” up at him.

It was left to Parrin’s rather frantic: “Dad! Dad, she didn’t mean any harm!” to bring him to the realisation that he’d clutched Althea to his chest, and that he’d not been gentle about it. Parrin was evidently of the persuasion that his father objected to what could technically be called an assault on a royal personage.

Markon, breathing heavily through his nose, released Althea. She hadn’t struggled at all and now merely smoothed her dress and hair as though she hadn’t just put herself wantonly in danger.

“You said you were going to work from the outside!” Markon said furiously.

“No, I didn’t,” said Althea, and there was a suggestion of stubbornness to her mouth. “I said I could if it made you uncomfortable. I also said it would make more sense to investigate from the inside. You didn’t object.”

“I object!” said Markon in exasperation. “I object very much!”

“Well, it’s too late now,” Althea said reasonably. “And it’s proved remarkably useful, too. For instance, I’m now quite sure that you’re not dealing with a curse– well, not in any technical sense of the word, anyway.”

“What?” demanded Markon, in less than cordial tones.

“I was already pretty certain it wasn’t,” she told him. “None of the girls have anything clinging to them—well, apart from some rather nasty magic, totally unconnected with the prince—and neither does the prince. As a matter of fact, they all seem to have– at any rate, I could only be certain that there was no curse by taking off the ring.”

“And putting yourself in exactly the kind of danger I didn’t want you to be in!” said Markon testily. “I’ve a good mind to send you packing!”

“No, you don’t,” said Althea.

“Of course I don’t!” groaned Markon. She’d achieved more in a couple of hours than any of the girls (or in fact any of the enchanters he’d called in) had achieved in the last couple of years.

“Parrin can’t be expected to live his life locked away from women–”

“I should think not!” said Parrin feelingly.

“–and it’s not good for your kingdom, either. After a while you get people making snide remarks about the crown sacrificing the people on the altar of succession, and then–”

“Small disturbances that become bigger ones,” finished Markon, meeting her eyes. “Factions forming across the court and perhaps an accident or two for myself and Parrin.”

Althea nodded. “Exactly. I’m rather good at this sort of thing, actually. Try to trust me a little.”

“You have a fortnight,” said Markon.

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