Singing the Social Media Blues

Waterspell on Goodreads


Was there ever an attempt at “social media” that turned out more difficult to use or clunkier than Goodreads? I set up an author profile at Goodreads years ago, but soon abandoned it because it’s so maddeningly difficult to beat into submission. Every update requires multiple attempts to make the edits “stick.” I thought I never WOULD manage to upload the new Waterspell covers and force the interface to show those as the default covers.

I wonder how useful Goodreads actually is to authors like me, who are trying every way we can to reach a wider audience. Cutting through the static is enormously difficult.

With new audiobook editions of my fantasy novels in the works, however, I’m once again struggling with such things as a Facebook page. “Clunky” isn’t a strong enough word for THAT particular platform—it’s dang near impossible to use, and Facebook’s algorithms ensure that few people will see it. I’ve now done my utmost to update my author profile at Goodreads. I’m trying to do something with LinkedIn, though I’m not sure it’s particularly suited to my needs. I’m not looking for a job. Twitter? Yech. I quit Twitter years ago and have no intention of going back.

What’s next? Instagram? A YouTube channel? Are any of them worth the effort they require? Are they worth the time they take away from writing and editing? I don’t know.

What I do know is that word-of-mouth is the only truly effective way of spreading the word about books that are worth reading. Fingers crossed that the soon-to-be-released audiobooks will catch on, the forthcoming fourth book will get some attention, and Waterspell will finally reach its intended audience. Given the glowing-ness of the reviews the trilogy got, I live in hope that more of my potential readers will find my work. I know they’re out there.

My eternal gratitude to everyone who has read the trilogy and left reviews at Amazon, Goodreads, and book blogs. I love you all, dear readers.

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Reading and Writing Quotations

Great advice all around.

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Fear, Resentment, Misogyny and Witches

Earlier, I blogged about watching “The Terror of History: Mystics, Heretics, and Witches in the Western Tradition,” lectures on DVD by Teofilo F. Ruiz, Ph.D., for The Teaching Company. I mentioned that lectures 1 through 13 held little of interest to me, except for Professor Ruiz’s passing mention of “quest literature” and his contention (with which I agree) that there are only two kinds of literature: the Quest, and the Coming of Age story.

Lecture 14 kicked off the part of the course that is devoted to witches, and that’s when the material really grabbed me. I’m familiar with much of the backstory of the witch craze that gripped Europe (and filtered into Salem, Massachusetts) from about 1480 until the 1690s. However, I did not know that an estimated 80,000 to 100,000 people — mostly old women — were executed during that time on charges of witchcraft.

The course delves deeply into the longstanding misogyny that led to the murder of these mostly widowed or single women. There’s discussion of the shift from ancient, female-centered fertility cults and vegetation (harvest) rituals to the male-dominated religions (Judaism, Christianity, Islam) that would brand women as evil temptresses and seducers of men.

Quoting from the course guidebook [with inserts in brackets from other salient parts of the discussion]:

• “War and other upheavals led to a surplus population of older women. Either widows or unmarried, these women who did not depend on men for their livelihoods [and were past the age of childbearing] became easy targets for witchcraft persecution.”

• “The rise of the [male-dominated] medical profession and its wholesale attack on certain forms of medicine (herbal healing, folk medicine), practiced mostly by old women, is closely related to the birth of the witch craze.”

• Capitalism was transforming Europe’s economy at this time, and “the period of adjustment to new economic systems was so fraught with tensions that it fostered persecution and scapegoating. … The anxieties created by the birth pangs of modernity were experienced as a collective feeling, a kind of mass pathology.”

The parallels with today’s cultural and economic shifts are remarkable. We, too, are undergoing an economic transformation, as low-skill jobs are disappearing and the demand grows for highly skilled professionals. The less-educated in society are afraid: afraid of change, afraid of losing power in the new political and economic order, afraid of people who seem different from themselves—people they’re determined to marginalize. In our own 21st century world, the same kind of mass pathology that once led to the burning of witches has given us Trumpism.

One point that jumped out at me is the fixation on “child murder” — the accusations leveled at “witches” that they killed and ate children. “The charges are as old as humanity itself,” writes Professor Ruiz. “These were precisely the same accusations made against oppressed minorities everywhere—from Christian to Jew to Muslim to Native American—over the course of centuries.”

Today, such accusations find their echoes in the nonsense about a child “sex ring” operating from a Washington, DC, pizzeria. The same impulses are at work now, the mistrust of the “other,” the fear of those who do not look, live, or believe the same way you do. The “other” is viewed as not merely dangerous, but subhuman … demonic, malevolent. Deserving of death.

In 500 years, American society has not progressed. In this country there are people who believe witches cast a “blue wave” spell to influence the outcome of the 2020 Presidential election. There are people who believe Liberals like me kill children. These people would gladly burn me and my kind at the stake.

If you want to understand the deep roots of the science-denying backwardness of tens of millions of Americans, then rent this course from your local library (that bastion of democratic socialism). At the Great Courses website, “The Terror of History” on DVD is offered for $255. I didn’t spend anywhere near that much for my copy, and I advise you to wait for a major sale, or just rent it.

It’s worth the time, particularly lectures 14 through 24: “The Mysteries” (alchemy, astrology, magic) through “The Survival of the Past” (the enduring cultural motifs of fairies, dragons, wizards, etc.). The course guidebook’s bibliography includes several titles that are worth study by history buffs and fantasy fans alike.

(A note on the illustration with which this post begins: It’s a screenshot from “Terror,” from the lecture that mentions “courtly love” — the medieval tradition of love between a knight and a married noblewoman.  “The love of the knight for his lady was regarded as an ennobling passion and the relationship was typically unconsummated.” This is the flip side of the coin: women have traditionally been regarded as evil temptresses and witches, or as virtuous madonnas, placed on a pedestal. Neither view is realistic, correct, helpful, or healthy.)

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Two Kinds of Literature: Quest and Coming of Age

It pays to prowl through one’s bookshelves occasionally. Tucked away on mine, I found four Great Courses (lectures from The Teaching Company) that I’d forgotten I owned. They were still in their shrink-wrap.

Of the four, I gravitated immediately to “The Terror of History: Mystics, Heretics, and Witches in the Western Tradition,” taught by Teofilo F. Ruiz, Ph.D., history professor at UCLA.

Two-thirds of the course (lectures 1 through 13) dealt with Christian mystics and Christian notions of heresy, which mostly left me shaking my head at the horrific damage that organized, institutionalized religion (in all its forms) has inflicted upon human society and hapless individuals, from ancient times to the present day.

By far, the most interesting thing in those opening lectures was a passing reference to “quest literature” and the professor’s comment that there are really only two kinds of literature:

● The Quest — the searching for something
● The Coming of Age — growing up

You might have heard it argued (elsewhere) that there are six core types of stories:

1. Rags to riches – a steady rise from bad to good fortune
2. Riches to rags – a fall from good fortune to bad, a tragedy
3. Icarus – a rise, then a fall in fortune
4. Oedipus – a fall, a rise, then a fall again
5. Cinderella – rise, fall, rise
6. Man in a hole – fall, rise

Smh again. That list seems overly complex and obviously repetitive. I prefer Professor Ruiz’s neatly succinct take on the matter, for it appears to me that the six “types” of stories can all be folded into his two kinds of literature.

All of that business about good and bad fortune falls under the heading of a Quest. Characters go seeking greener pastures or pursuing happiness. They may or may not find what they seek. They may rise, they may fall, they may succeed or fail in their quest.

Just as clearly, Cinderella and Icarus are Coming of Age stories. Cinderella is an archetypal model (now outdated) of female coming-of-age: she found her Prince Charming. On the male side, Icarus is a story of youthful hubris, of a son’s folly in ignoring his wise old father’s instructions, and thus failing to reach manhood.

Perhaps I’m especially drawn to Professor Ruiz’s “two kinds of literature” because my Waterspell series fits perfectly into his view of the matter. Waterspell tells of a quest (the characters travel far, do great deeds, and eventually make their way home). It’s also the story of a young woman’s coming of age, of discovering her inner strength and making a place for herself in a world where she didn’t think she belonged.

So count me on your side of the argument, Professor Teo. There are only two kinds of literature.

 

 

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Touching the Senses: Smell

“Researchers plan library of scents from plague repellents to early tobacco”

In the works: an online encyclopedia of European odors between the 16th and early 20th centuries. What a fabulous resource this will be for writers needing to describe the smell of (for instance) a sorcerer’s library filled with musty old books, or a chatterbag housekeeper’s richly scented kitchen.

“Once you start looking at printed texts published in Europe since 1500 you will find loads of references to smell, from religious scents – like the smell of incense – through to things like tobacco,” said Dr. William Tullett of Anglia Ruskin University in Cambridge, a member of the Odeuropa team and the author of Smell in Eighteenth-Century England.

The first step in the three-year project, which is due to begin in January, will be to develop artificial intelligence to screen historical texts in seven languages for descriptions of odours – and their context – as well as to spot aromatic items within images, such as paintings.

That information will be used to develop an online encyclopaedia of European smells  …

See the full article in The Guardian at https://www.theguardian.com/science/2020/nov/17/scents-of-history-study-hopes-to-recreate-smells-of-old-europe

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Give Webnovel a Hard Pass

Should I be flattered? I think not.

Like many writers, I got the email:

My name is May. I’m an Author Liaison representative, representing Webnovel.

I found your work Waterspell Book 1: The Warlock, which comes highly recommended … I am very interested in a business collaboration with you, and would like to offer you a Non-Exclusive Contract that will not affect your novel distribution and earnings [through other distributors]. We think that the theme and genre of your novel would be a great fit for our readers here on Webnovel.com

The message instantly triggered my scam radar, and a quick online search confirmed my suspicions. Says Terrance Phillipe aka Whatsawhizzer:

“Qidian [Webnovel] doesn’t give a shit about things like copyright or human decency.”

If you get a solicitation email from Webnovel, please don’t respond before you read the blog post “Why Do People Hate Qidian Webnovel?” Indeed, I’d recommend that you not respond at all. Webnovel is just another way to cheat a writer.

 

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Ruminations on the Third Draft of the Fourth Book (with a blurb-in-progress)

When I sat down to write a fourth book in my Waterspell fantasy series, I wondered whether I still had enough to say about my characters and their world to produce a novel-length work. Turns out, I needn’t have worried. I got Drafts 1 and 2 down on paper in record time: started May 6; had a nearly complete second draft by September 6. After leaving the manuscript sitting for a couple of weeks, I started again at the beginning of the story, checking it against my stacks of notes, looking for loose ends and adding material to address every thread that I wanted to bring forward from the original trilogy. The result is a third draft that’s very nearly complete at just shy of 90,000 words. Book 4 will be the shortest in the series. The previous record-holder for “short” was Book 3, at about 115,000 words.

Book 4’s conciseness stems partly from my not needing to include so much description. The story takes place in settings that readers already know from Books 1 through 3.

I’m aware, however, that I’m relying more on narration in Book 4 than I did in the previous volumes. Between now and the early months of 2021, I plan to let the story sit largely untouched as I hear back from my beta readers and get some distance from the narrative. I’m a bit concerned that this story lacks the immediacy of Books 1 through 3, which were built on you-are-there, “real-time” scene-and-sequel with lots of dialogue and limited narration. Detailed scenes take more words to lay out for the reader than narration requires.

As a writer (and as an individual) I’m in a very different place from who and where I was when I finished the trilogy. It’s no surprise, to me, that my approach to Book 4 differs in tone from the original books. I’m trusting my beta readers (and my gut, once it has gained the necessary distance) to tell me whether my approach to Book 4 will satisfy readers who enjoyed the original story of Carin and Verek, or whether the “new me” is straying too far from readers’ expectations.

In the meantime, here’s the working draft of the book blurb. Any and all comments will be appreciated:

It’s five years later, Carin and Verek are married with children, and the grandparents are calling. Readers of the Waterspell fantasy series will welcome this long-awaited fourth book for the answers it provides to questions raised in volumes 1 through 3: Does the wysard Verek regain his powers, and will Carin make her way back to him? Have Carin’s parents survived the bleeding disease that devastated Earth, and will Carin ever see them again? How is the woodsprite faring in its new world? Has it forgiven the treachery committed by its greatest friend? Will Carin ever forgive herself for abandoning the creature? Does Megella get her wish, to be the wisewoman who midwifes Carin’s children into the world? Will those children bear the mark of their ancestry, or are they fated to be disappointingly ungifted? Did Lanse survive? Is Lord Legary really dead? And not least: Did the necromancer die in the jaws of Carin’s conjured dragon? Remember: There was no blood in the water. These questions and more are answered in Waterspell Book 4: The Witch, which picks up the story of the lovers, Carin and Verek, five years after readers last saw the pair separated in the closing chapters of the series’ third book.
By the blood of Abraxas, it’s about time we learned what happened next.

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Where Do Ideas Come From?

My habit of letting the draft of a novel sit for at least two weeks has paid off: On my walk this morning, I suddenly got an interesting idea for introducing a plot twist that will bring readers face-to-face with characters who have previously appeared only in the background. Adding this element to Draft 3 will require additional writing but minimal rewriting. The idea arrived, seemingly out of nowhere, on the 14th day of me setting the ms. aside to marinate in its own juices. The subconscious is a powerful asset when it’s allowed to work its magic in its own time and way.

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When Characters Speak

I’m having a great time working with a skilled, extraordinarily talented professional narrator to turn the first three books of Waterspell into audiobooks. The way the narrator has moved into the body of my wysard is uncanny. The man sounds exactly like the voice I heard in my head during all the years I devoted to writing Books 1 through 3. I look forward with eager anticipation to each newly recorded chapter the narrator sends me. He’s finished Waterspell Book 1: The Warlock and is approaching the one-third mark of Book 2: The Wysard. We plan to release both audiobooks together or within about a month of each other, since Book 1 ends on a cliffhanger and I believe listeners will want to move immediately into Book 2.

For me, an unexpected side benefit of hearing my characters’ voices come alive in the real world, is the inspiration this experience has provided to finally get me writing again. After my husband’s sudden death in 2012, I had no impulse to write. People would ask about a possible Book 4, and all I could tell them was that Life with a capital L had kicked me hard, and I wasn’t writing. Then came 2016, and the shock of discovering that I wasn’t living in the country I thought I was living in. The country of my birth was, in fact, a breeding ground for the absolute worst in human nature.

Therefore, after spending four years trying to patch together my life, I found myself obliged to join the Resistance and spend the next four years attempting to save the soul of my nation.

Then came 2020 and Covid-19, and a months-long self-isolation that has been a godsend for me. I hate the pain, the loss, the suffering that this virus has heaped on other people’s heads. I’m a walking example of white privilege: I get to stay home, safely isolated out in the country, ordering stuff for delivery to my gate and going into town only to pick up groceries and my mail. My pandemic experience has been 180 degrees from the devastation that others have experienced.

After years of no motivation followed by years of exhausting nonstop effort to resist the tide of fascism, I suddenly found myself with both the time and the desire to create something of my own again. Almost immediately upon entering my bubble of self-isolation, I hired my audiobook narrator. After six or seven weeks of listening to his breathtakingly good interpretations of my characters and their story, I placed my fingers upon the keyboard and started pounding out Book 4.

I started Draft One on May 6, and completed Draft Two on September 6. Record time for me (Books 1–3 took me 16 years to write and publish).

The second draft will need to sit for a couple of weeks. I do still have obligations to my state and my nation—I’m supporting candidates and contributing to Get Out the Vote efforts. I’ll spend the next couple of weeks engaged in that effort.

But then I’ll be looking through my notes again, and settling down for a close reread and re-edit of Draft Two. I’m tentatively planning a Summer 2021 release date of the Book 4 ebook, to coincide (I hope) with the release of the Waterspell Book 3 audiobook.

How good it is to be writing again. Strange, how inspiration will arrive unexpectedly, and opportunities may arise from cataclysm.

 

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Support for Creators in Covid Times

fashion woman working girl

Photo by Negative Space on Pexels.com

I’ve become a patron of the arts. I have been for years, actually, as a monthly Sustaining Member of KERA, my local PBS station. But now I’m supporting a musician, Tim Easton, who impressed me mightily with his recent WoodyFest presentation on Folk Collusion, his book with a companion album of songs detailing his folk-music journey through Russia. I’m giving Tim a few bucks a month through Patreon.com.

To quote Wikipedia: “Patreon is a membership platform based in the United States that … allows creators and artists to earn a monthly income by providing exclusive rewards and perks to their subscribers, or ‘patrons.’” Writers are getting a monthly income through Patreon, too. Novelist N. K. Jemisin is shown as receiving a not-too-shabby $5,986 a month.

I’m disinclined to sign up right now, since I’m doing OK financially and would prefer that people give their philanthropic dollars to folks who are struggling during the Covid crisis. (Feeding America is one good option.) But modern-day, crowd-sourced patronage is an interesting idea, one that I knew nothing about until hearing Tim Easton speak at WoodyFest 2020. If you’re a writer or creator, you might want to check out Patreon.

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