I absolutely know what Stephanie Burgis means about those openings that hook you. Lady Trent did the same thing, complete with me letting the opening sit around for years before I figured out where I was going with it. And fans of Lady Trent or Mary Robinette Kowal’s Glamourist Histories will find a lot to like in the setting of Snowspelled . . .

***

Stephanie says:

Sometimes story ideas appear fully-formed…and sometimes they’re only tantalizing, half-glimpsed gifts.

I was in bed, already half-asleep, way back in 2015 when the opening of Snowspelled first presented itself in my head: a woman’s authoritative voice, unfurling with utter clarity as she looked back at the beginning of her story.

Of course, a sensible woman would never have accepted the invitation in the first place.

To attend a week-long house party filled with bickering gentleman magicians, ruthlessly cutthroat lady politicians, and worst of all, my own infuriating ex-fiancé? Scarcely two months after I had scandalized all of our most intimate friends by jilting him?

Utter madness. And anyone would have seen that immediately … except for my incurably romantic sister-in-law.

Cassandra Harwood had arrived in my heart from that moment, and I loved her immediately. I jerked upright, scribbled that brief opening down…and then spent the next year and a half trying to figure out how to continue it.

Did I want to set Cassandra’s story in historical England (it had a Regency feel to me) or in a completely different, high-fantasy setting?

What was her relationship with her incurably romantic sister-in-law, the one who was going to push her into accepting that impossible invitation?

Why had she jilted her ex-fiancé in the first place?

And what would go magically wrong once she was snowed in along with him?

I wrote opening after opening, trying to answer those questions…and I discarded every single new attempt as, one after another, they failed with a thud.

None of them felt right. None of them were fun. And I knew from the first moment that this story should be full of sparkling fun, both for me as a writer and for my readers, too.

I knew fairly soon that my heroine had lost something irretrievable, something that defined her, and that loss had led to her breaking off her engagement. At first, I thought maybe she’d lost her health. Then I realized she’d lost her own magic, although I didn’t yet know how…and wait a minute: hadn’t I written, in that first paragraph, that it was gentlemen who had magic in this society, not ladies? (The ladies, in their turn, managed the practical business of politics.)

In one draft, Cassandra couldn’t stand her dull, foolish sister-in-law even though she was forced to feel grateful to her. Oops. That draft didn’t work for me at all.

I gnashed my teeth. I set that opening aside, again and again. I despaired over ever finding my way inside the story – but oh, I really loved that opening! I loved Cassandra’s voice. I really didn’t want to give up on her completely…

It really helped when I finally figured out in the autumn of 2016 that she actually adored her sister-in-law, Amy, who is pretty, loyal and sweet – and ruthlessly intelligent, practical and manipulative, too. That dynamic – the push-and-pull between two fiercely smart and powerful women who love each other dearly but want vastly different things to happen – got me through the rest of that first family scene…

…And then (we’re up to November, 2016 now), as I felt my way cautiously forward, one slow paragraph at a time, their carriage rattled through the wintry dales of Angland (an alternate-history version of England, in which Boudicca kicked out the Romans long ago), Cassandra looked out the window, saw a troll standing outside in the falling snow…

…and CLICK! I suddenly had it: the plot, the mood, and the full setting – the elven dales, in which humans (ruled by a group of women known collectively as the Boudiccate) coexist warily with elves, and looming trolls guard the toll-roads for their elven masters. It was all suddenly real and tangible in my head…and I could not stop writing it from then onward!

I raced through the rest of the chapter in a rush of joy. I wrote the full novella (or maybe short novel – I’ve never been certain of which to call it!) powered by that joy and sheer sense of fun. Snowspelled was my comfort-/escape-writing project exactly when I needed it most, right after the 2017 election. It’s filled with romance, magic, danger, interfering family members, hilariously awful weather wizards, mentorship between generations, and deep love of more than one type.

It felt like it had taken me forever to figure out my real story from that brief opening…but the spark of life, for me, came at just the right time.

I hope you guys enjoy it too!

***

From the cover copy:

In nineteenth-century Angland, magic is reserved for gentlemen while ladies attend to the more practical business of politics. But Cassandra Harwood has never followed the rules…

Four months ago, Cassandra Harwood was the first woman magician in Angland, and she was betrothed to the brilliant, intense love of her life.

Now Cassandra is trapped in a snowbound house party deep in the elven dales, surrounded by bickering gentleman magicians, manipulative lady politicians, her own interfering family members, and, worst of all, her infuriatingly stubborn ex-fiancé, who refuses to understand that she’s given him up for his own good.

But the greatest danger of all lies outside the manor in the falling snow, where a powerful and malevolent elf-lord lurks…and Cassandra lost all of her own magic four months ago.

To save herself, Cassandra will have to discover exactly what inner powers she still possesses – and risk everything to win a new kind of happiness.

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Stephanie Burgis grew up in East Lansing, Michigan, but now lives in Wales, surrounded by castles and coffee shops, along with her husband (fellow writer Patrick Samphire), their two children, and their very vocal tabby cat. Her first historical fantasy novel for adults, Masks and Shadows, was included in the Locus Recommended Reading List 2016, and her latest MG fantasy novel, The Dragon with a Chocolate Heart, was chosen as a Kids’ Indie Next Pick and an Amazon Best Book of the Month. To find out more or read Chapter One of Snowspelled, please visit her website: www.stephanieburgis.com.

As a fellow organic writer, I am totally there with Joshua Palmatier about needing these sparks of life to power a book to its ending. (There’s a reason I chose that concept for my guest blog series.) And if some of those sparks occasionally involve being a total sadist to one of your characters . . . well. It happens.

***

The idea behind this blog series—Spark of Life—is particularly appropriate for me, because a novel will not work for me UNLESS there is some particular “spark” with the characters at some point during the writing process. I’m an “organic” writer, or a writer that works by the seat of their pants rather than an outline or synopsis, and so if there isn’t some kind of spark somewhere along the way, I’m never going to finish the novel. It won’t have any life, which means I won’t be interested in writing it, which means it will never get finished.

For Reaping the Aurora, there were many, many sparks. Some of them happened in earlier novels—this is the third and final in the series, so the characters had to come to life earlier—but the spark I want to talk about today relates to a character, Cory, who I didn’t think had a major role to play in the final scenes. He’s been there since the beginning, and had his moments in earlier novels, but it didn’t seem like he had anything to contribute to this ending. The “spark” was when I realized that I couldn’t have been more wrong.

It happened at the major turning point in the novel, basically when everything utterly and completely falls apart and the direction of the novel takes a sudden and sharp hairpin turn. I knew what the majority of the characters were going to do at this point—Kara, Allan, Marcus, Hernande, etc. But leading up to this point, I didn’t have anything in mind for Cory. I just assumed that he would be joining one of the groups and help them tie the final threads of the novel together. But that didn’t happen. During the course of the action, everything falling apart around them, shockingly, Cory gets captured by the Kormanley, the group they’ve been fighting since the first book. No one knows what happened, and so no one realizes they need to rescue him. And because he’s a mage, with powers that are feared, he isn’t simply thrown into a cell. He’s drugged and left mostly unconscious.

All of this was unexpected. All of it happened in the course of writing one chapter. But suddenly, Cory’s plotline awakened and exploded inside my head. How was he going to survive? He can’t plan an escape—he’s unconscious and paralyzed most of the time. And he can’t be rescued—no one knows where he is or that he’s even in trouble. His plight—because of the stakes involved and because it is so personal—suddenly took on a vibrancy and reality that the other known plotlines didn’t have. In my head, Cory had become the most interesting character in the book. Why? Not because his plight tied itself significantly to the final outcome of the novel. No. It was because I had no foreknowledge of his plotline at all.

Those are the surprises that keep me writing, that tell me the book I’m working on is actually working, that bring the words and the worlds I create to life. Those sparks make the job of putting words to paper mesmerizing.

***

From the cover copy:

The final book in the thrilling epic fantasy Ley trilogy, set in a sprawling city of light and magic fueled by a ley line network.

In a world torn apart by the shattering of the magical ley lines that formerly powered all the cities and towns of the Baronies, there are few havens left for the survivors. The uncontrolled distortions released by the shattering have claimed the main cities of the Baronial Plains. And many of the Wielders who controlled the ley died in the apocalyptic cataclysm their manipulation of the ley created.
 
Wielder Kara Tremain and former Dog Allan Garrett, survivors of the city of Erenthrall’s destruction, have seized control of the new Nexus created at the distant temple known as the Needle, the stronghold of the White Cloaks and their leader, Father Dalton.  With Father Dalton a prisoner, Kara intends to use the Needle’s Nexus to heal the major distortions that threaten to shake their entire world apart. 

But while she and the remaining Wielders managed to stabilize Erenthrall, they have not been able to stop the auroral storms or the devastating earthquakes sweeping across the lands. Now they are hoping to find a means to heal the distortion at the city of  Tumbor, releasing the nodes captured inside.  If they succeed, the ley network should be able to stabilize itself.

But the distortion over Tumbor is huge, ten times the size of the one over Erenthrall.  Kara will need the help of all of the Wielders at the Needle in order to generate enough power, including the rebel White Cloaks.  But can Kara trust them to help her, or will the White Cloaks betray her in order to free Father Dalton and regain control of the Needle, possibly destroying any chance of healing the ley network in the process?
 
Meanwhile, Allan journeys back to Erenthrall, hoping to form alliances with some of the survivors, only to discover that Erenthrall itself has sunk a thousand feet into the ground.  The vicious groups that plagued them on their last visit have banded together under a new leader—Devin, formerly Baron Aurek’s second-in-command.  While discussing an alliance with the Temerite enclave, Devin’s men attack, forcing Allan and the Temerites to flee back to the Needle, leaving Erenthrall in Devin’s hands.
 
But the Needle is no safe haven.  Father Dalton’s followers have begun to rebel, starting riots and creating unrest, all of it targeted at Kara and the Wielders.  The tensions escalate beyond control when Father Dalton declares he’s had a vision—a vision in which the Needle is attacked from the north by dogs and from the south by snakes; a vision that ends with the quickening of the distortions called the Three Sisters to the north . . . and the annihilation of reality itself!

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A professor of mathematics at SUNY College at Oneonta, Joshua Palmatier has published nine novels to date—the “Throne of Amenkor” series (The Skewed Throne, The Cracked Throne, The Vacant Throne), the “Well of Sorrows” series (Well of Sorrows, Leaves of Flame, Breath of Heaven), and the “Ley” series (Shattering the Ley, Threading the Needle, Reaping the Aurora). He is currently hard at work on the start of a new series, as yet untitled. He has also published numerous short stories and has edited numerous anthologies. He is the founder/owner of a new small press called Zombies Need Brains LLC, which focuses on producing SF&F themed anthologies, the most recent being Alien Artifacts and Were-. Find out more at www.joshuapalmatier.com or at www.zombiesneedbrains.com. You can also find him on Facebook under Joshua B. Palmatier and Zombies Need Brains, and on Twitter at @bentateauthor and @ZNBLLC.

I had the pleasure of meeting Michael F. Haspil at Denver Comic-Con recently, and he had me at the word “Egyptology.” The hero of his debut novel is a mummy and former pharaoh — how could I not be interested in that! But I’ll let Michael tell you about how it took a different character to bring his mummy’s story to, er, life for him.

***

I wrote the original version of GRAVEYARD SHIFT during NaNoWriMo some time ago. However, I still remember when the story really jumped into gear and, regrettably, that wasn’t truly in the first draft, though at the time I thought it was.

As I began revisions and sorted through the aftermath of a NaNo first draft, certain aspects stood out as being decent. The main character, Alex Menkaure, an immortal pharaoh now working in a special supernatural police unit in modern-day Miami, and his partner, Marcus, a vampire born in ancient Rome, needed minor work. The climactic battle at the end against the villains needed a lot of polish. While the action was solid, I wrote the section in a blur and it showed. Also, there was something missing. While Alex and Marcus are formidable, the villains I’d set up for them to go against were more so, and they needed help.

The help came in the form of Rhuna Gallier, a young but vicious shapeshifter with her own agenda. I’d had an idea for her character while brainstorming another novel, but realized with some minor tweaks, Rhuna and “The Pack” could fit into GRAVEYARD SHIFT’s story and world.

When I wrote the next draft, as I seeded Rhuna’s presence throughout the book, she threatened to take over the entire thing and make it hers. This may sound weird to non-writers, but she didn’t seem to understand this was Alex’s story and she was a supporting character. So I promised her besides the climax she would get a cool action scene. I knew in the scene Rhuna needed to be mostly on her own with minimal support so I could showcase her lethality.

In GRAVEYARD SHIFT’s world, a practice goes by the underground name of S&B. It stands for Sangers, a derogatory name for vampires, and Bleeders, humans who willingly let vampires feed on them to experience the pleasurable sensations that come with it. Participants meet in bloodclubs, which are akin to prohibition-era speakeasies. Many unsavory activities such as human trafficking, blood and drug dealing, and murder, happen near the clubs and they are part of Miami’s criminal underbelly.

In the early draft, I had a criminal vampire who liked to prey on young girls, take one of his victims to the club. It was an unhappy chapter and ended with the vampire killing another victim. In the new draft, Rhuna showed up. That’s when the story jumped to life. Rhuna took the place of the victim and suddenly where I had a naïve girl falling prey to an old vampire’s wiles, now I had Rhuna going in as a Trojan horse and the vampire and his companions never knew what hit them.

I rewrote the sequence, several chapters long, in one sitting. Now, I can’t wait to write Rhuna’s novel. It’s going to be great fun.

***

From the cover copy:

Alex Menkaure, former pharaoh and mummy, and his vampire partner, Marcus, born in ancient Rome, are vice cops in a special Miami police unit. They fight to keep the streets safe from criminal vampires, shape-shifters, bootleg blood-dealers, and anti-vampire vigilantes.

When poisoned artificial blood drives vampires to murder, the city threatens to tear itself apart. Only an unlikely alliance with former opponents can give Alex and Marcus a fighting chance against an ancient vampire conspiracy.

If they succeed, they’ll be pariahs, hunted by everyone. If they fail, the result will be a race-war bloodier than any the world has ever seen.

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Michael F. Haspil is a geeky engineer and nerdy artist. The art of storytelling called to him from a young age and he has plied his craft over many years and through diverse media. He has written original stories for as long as he can remember and has dabbled in many genres. However, Science Fiction, Fantasy, and Horror have whispered directly to his soul. An avid gamer, he serves as a panelist on the popular “The Long War” webcasts and podcasts, which specializes in Warhammer 40,000 strategy, tactics, and stories. Graveyard Shift is his first novel. Find him online at michaelhaspil.com or @michaelhaspil.

How often is the thing that brings a story to life a question of grammar? And yet, I know exactly what Linda Nagata means. Here she is, explaining how verb tenses turned out to be the key:

***

If there ever was one bright spark, one bit of insight, one unexpected plot twist that brought The Last Good Man to life, I don’t remember it. What I do remember was how flat and uninteresting the manuscript felt to me in the earliest days.

This wasn’t an unusual situation for me. Beginnings are hard and it can take time to work out a tone and style that feels right. So I kept pushing forward, telling myself that if I kept going, the essential spark that every novel needs would eventually ignite.

It didn’t happen. Not for over 30,000 hard-fought words. Sure, the story was advancing but I wasn’t happy with the tone or with the way it was being told—and I didn’t know why.

I’d done my preliminary work—a lot of preliminary work. I’d been tossing ideas into the literary stew pot for months, revising my synopsis again and again. This was a very near-future story centered on a small private military company—contract soldiers of the sort hired by corporations, NGOs, and the US government. These were “white hat” mercenaries, choosy about their clients, working only for the good guys, and though they were a small force, that force was amplified by the autonomous robotic weaponry they could deploy. And I had an unusual protagonist in True Brighton.

Middle-aged women are not generally considered cool enough to serve as the lead in a techno-thriller, but I wanted to give it a shot—I wanted the challenge—so I made True forty-nine years old, a retired US Army veteran and mother of three who is still fit, strong, and agile enough to qualify for field missions.

All the pieces seemed right. For months I’d sensed the potential in this story, but still somehow the spark was missing.

Up to this point I’d been writing in third person, past tense. Then—30,000 words in and on the verge of despair—I chanced to read a novel written in third person, present tense and I was intrigued. Could I write The Last Good Man in third person present?

Present tense is commonly used with first person, where the narrator relates the story using “I” or “we.” I’d done a whole trilogy in first-person present. But I’d never written in third-person present. Inspired by the novel I was reading, I decided to try it.

And I liked the energy of it! It was just a technical change, but at last the tone of the story felt right. I continued to move ahead, writing additional pages every day in present tense, and at the end of the day I would revise my past work, gradually shifting it from past tense to present, adding detail as I did.

I was far, far happier with the feel of the story. The change in tense had given it the spark it needed—or maybe it had given me the spark I needed. Whichever it was, I never considered shifting back.

***

From the cover copy:

Scarred by war. In pursuit of truth.

Army veteran True Brighton left the service when the development of robotic helicopters made her training as a pilot obsolete. Now she works at Requisite Operations, a private military company established by friend and former Special Ops soldier Lincoln Han. ReqOp has embraced the new technologies. Robotics, big data, and artificial intelligence are all tools used to augment the skills of veteran warfighters-for-hire. But the tragedy of war is still measured in human casualties, and when True makes a chance discovery during a rescue mission, old wounds are ripped open. She’s left questioning what she knows of the past, and resolves to pursue the truth, whatever the cost.

“…a thrilling novel that lays bare the imminent future of warfare.” —Publishers Weekly starred review

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Linda is a Nebula and Locus-award-winning writer, best known for her high-tech science fiction, including the Red trilogy, a series of near-future military thrillers. The first book in the trilogy, The Red: First Light, was a Nebula and John W. Campbell Memorial-award finalist, and named as a Publishers Weekly Best Book of 2015. Her short fiction has appeared in Analog, Asimov’s, The Magazine of Fantasy & Science Fiction, Lightspeed, Nightmare, and several anthologies.

Linda has lived most of her life in Hawaii, where she’s been a writer, a mom, a programmer of database-driven websites, and an independent publisher. She lives with her husband in their long-time home on the island of Maui.

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