Recurring Themes in Writing

Your writing may vary wildly in style and scope. You may find yourself jumping genres or target audience, veering between contemporary and sci fi, or middle grade and adult. But if you take a moment to stop and have a good look at your writing projects—all of them, published or unpublished, polished or abandoned—you’ll most likely find a common thread. A theme (or two, or three), winding through all of those different projects and connecting them back to you, heart and soul.

About a month ago, I tweeted the following:

It was a jokey post, obviously, but there was a grain of truth in there, nevertheless. Who am I? Pretty much everything I’ve ever written contains something about identity and our place in the world. It could be literal, like in my YA novel Heart Blade, where my main protagonist has no memory of her previous life and is trying to find out where she fits into her new one. It could be a more subtle approach, such as in my short story The Sugar Cane Sea (Not All Monsters anthology, Strangehouse Books), where the main character is on the run from her abusive and demonic husband, and won’t be able to make a life of her own until she’s free.

Identity and belonging have always been recurring questions in my own life, ones that bubble up every few years but are always there, waiting under the surface. In my case, this was due to being a child of two cultures, born in one country and then, at the age of eight, moving to a different one, vastly different to the first. Of course, years later I complicated matters by moving to the USA and having a whole new set of identifiers thrown at me…

And so, even without meaning to, I find those questions echoed in my writing.

When I mention recurring themes, I’m not talking about that elusive thing called ‘author voice’. That’s something separate, which has to do with writing style more than anything. But themes in writing and author voice are, at the same time, entangled to a certain extent. Just as you can usually recognize your favorite author’s way with words (even when they cross the genre streams or write for a different market), you can probably pick out certain themes you’ve learned to associate with that author, and which emerge time and time again in their books. And often there’s a sweet spot where the author’s voice and their themes meet to create a unique brand that’s all their own.

No one has to have recurring themes in writing. But I don’t think most of us plan these things. They just happen, as our words on the page draw upon the subtleties of our innermost thoughts. Chances are, you have certain themes that crop up over and over in your own work, too. So take a moment to think back on some of your writing. Dig beneath plot and message to get at the bones of the work—the underlying themes that color the story. And if you find you have a few (or many) in common, weaving their way through your different projects? It won’t change your work, or writing style. But it just may help you come a little closer to understanding who you are—not as a writer, but as a person.

X marks the sweet spot between theme and voice

Goal Setting for Writers

We’re a couple of weeks into 2021, and by now we should all be ready to take a closer look at those enthusiastic New Year’s Eve declarations and put some thought into realistic goal planning for the year.

First of all, let me outline the difference between dreams and goals, because sometimes I think the distinction gets a little blurry. Goals are things we can control and influence, like finishing a draft of a novel, or writing a picture book manuscript every month of the year (as proposed by the 12×12 Challenge). Dreams, on the other hand, are things we wish would happen but are ultimately outside of our control. This includes ‘getting a publishing deal’ or ‘making the NYT bestseller list’. You can direct your goals towards your dreams, for example, committing to learning how to write the best agent query letter you can. But actually landing that agent? That’s a dream, not a goal.

In the Writing Excuses podcast (episode 15.05), author Victoria Schwab proposes an exercise she calls the 1-5-10: what do you want to achieve in 1 year, 5 years, and 10 years? Where do you want to be? I really liked this exercise, as it helped me think about immediate goals, as well as about the changes I’d like to make in the near-future and the challenges I’d like to set for myself. On the other hand, the 10-year goal is about shaping careers, and for those who plan to be a career author (as opposed to writing that one book that haunts you and calling it a day), it’s good to take a moment to imagine where you’d like to be several years down the line.

Although I found the 1-5-10 exercise useful in terms of long-term planning, I came up with another way of organizing my personal goals that speaks more to the immediate year ahead. My oldest child is a high school senior, and in the middle of his college application process. This has been a steep learning curve for us, as non-Americans trying to navigate the US college system. One helpful exercise was dividing his applications into what we’ve heard called ‘Safety, Match, and Reach’ schools. I decided to apply that notion that to my personal writing goals.

Goals can range from tiny bite-sized amuse-bouche achievements (write 100 words a week) to an entire multi-course banquet (finish the novel you’ve been working on for 10 years!). We all need goals we know we can accomplish, because setting ourselves up to fail is a recipe for disaster (to continue the food analogies). But sometimes, we need a push, too. So, to use the Safety/Match/Reach analogy, try to come up with:

  • Safety Goals: A few achievements you can complete without having to try too hard. These will help you feel a sense of accomplishment on the hard days/weeks — and yes, we all have them! This might be something like an easy minimum word count target, a daily journal entry, or writing a small flash fiction piece every month. Having a safety goal to tick off can help when nothing else seems to be going right.
  • Match Goals: Achievements that follow your ‘usual’ pattern of production. This sort of goal keeps things moving by, for example, encouraging you to write your customary weekly average of words, or to set aside your usual amount of writing hours each month.
  • Reach Goals: Push yourself! Set one or two difficult targets — not completely impossible, but things that are definitely a challenge. If you make it, awesome! If not, don’t beat yourself up about it: these goals were always going to be a stretch.

At the end of the year, take some time to reflect on how you did, and don’t forget to count those Safety Goals, too! Being able to look back and see positive achievements, no matter how seemingly small, can make all the difference between keeping going or giving it all up. 

Here’s to a wonderful 2021 — I wish you all the best with your goals, and with your dreams too!

Naming Characters in Sci Fi and Fantasy: Part 2

Click link for Naming Characters in Sci Fi and Fantasy: Part 1

“Names are important as they tell you a great deal about a person.”

Patrick Rothfuss, The Name of the Wind

Now you’ve had a while to consider your world in general, it’s time to put some thought into your main character(s). What feel do you want people to get when they meet them on the page? Do you want readers to immediately emphasize with them, or will your characters have to work for appreciation?

Sam, for instance, is usually a ‘nice guy’ name. Think Sam Gamgee from The Lord of the Rings. Sam Winchester from Supernatural (discounting the whole ‘soulless Sam’ phase…). Or bar owner and shapeshifter Sam Merlotte from Charlaine Harris’ Southern Vampire Mysteries. If you name a character Sam, readers are signaled that this is probably NOT a villain.

Names have nuances, shades. This doesn’t mean they belong exclusively to ‘good’ or ‘bad’ characters, but names can be a good indication of personality. Think Maggie Stiefvater’s Ronan Lynch, from her Raven Cycle books. There’s a sharp name if I ever saw one, and it suits the shaved-headed street-racing Ronan perfectly. Another sharp name, also with an ‘R’ coincidentally, belongs to private investigator Rojan Dizon, the world-weary main character in the fantasy trilogy by Francis Knight that starts with Fade to Black.

Names can play off each other, too. In Victoria Schwab’s Monsters of Verity YA duology, the narrative is shared by two main characters: Kate Harker of the knife’s edge smile and August Flynn, the heart-of-gold monster with the soft gray eyes. Hard vs gentle in the names, and hard vs gentle in their personalities, too. A perfect combination.

If you’re writing a story set in the real world (whether sci fi, urban/contemporary fantasy, or other subgenres), you have some serious decision-making to do with regards to classic vs trendy names. In Part 1 of this post, I already mentioned Scalzi’s option to use long-lasting names like John and Susan. In my Blade Hunt Chronicles books, I have a vampire — Alex — who’s almost 1000 years old. I wanted a name that could have plausibly been in use and yet still felt current, and I figured that Alexander was a timeless choice. The problem with trendy names is that they can date quickly, so if you want something a little different, think hard about which modern names feel as if they may have lasting power.

This brings us to the kid lit names vs adult names conundrum. If you’re writing for teens or preteens, you’re going to need names they can relate to — whether you’re dabbling in real-world sci fi/fantasy or far future/secondary worlds. Unless you’re setting a story in the 1980s, Tracy is probably not a good choice for your female lead (though it may be perfect for an older supporting character like a parent or mentor!). Rick Riordan is great at names that are fun enough to appeal to his middle grade and YA readership, while at the same time escaping the ‘trendiness trap’: think Perseus ‘Percy’ Jackson ( a nod to the Greek and Roman mythology that most of his work is based on) and others such as Annabeth, Leo, Jason (another nod to mythology), and Nico. 

Hot tip! Use your own kids or borrow one from a friend to test your names on. I bounce YA character name ideas off my teen daughter, and her feedback is priceless.

When it comes to stories that are not real-world based, there’s more leeway. But you still need to take youth appeal into consideration. In the Hunger Games trilogy, Suzanne Collins’ main character Katniss is named after a plant. However, variations of names with ‘Kat’ in them are common enough (and another of those timeless classics) for the name to feel relatable. This is a great name, by the way: the hard K sound suits Katniss’ hard-as-nails personality, and the sibilance of the ending evokes an arrow let loose. So good!

How about where to source names? Baby naming sites are, of course, a fabulous tool. There are so many of these sites nowadays that you can add search words to narrow things down. For instance, ‘Celtic baby names’ might help with your sword-wielding fantasy heroine; ‘unusual baby names’ may lend a sci fi vibe to your blaster-toting wise-cracking space mercenary. There are sites that let you narrow your search down by number of syllables, and you can always look up names with a particular letter if you know the vibe you’re going for.

There are specialist sites, too; I once spent a pleasant afternoon looking up names used in Britain around 1000 CE for my coven of ancient witches. And you can also search surnames; there are several sites that will help you find the most common ones to fit your character’s background, or surnames that have been around for centuries — handy if your thing is urban fantasy and your detective just happens to be the heir of a long line of demon slayers. But don’t discount looking closer to home… My kids’ school directories and yearbooks are a great resource for first and last names. The same goes for town Facebook groups or the local newspaper. 

Hot tip! Keep an ongoing list of interesting names you come across, even if they have nothing to do with the story you’re writing; someday you’ll thank past you. I keep a list on my notes app and update as I use up names or find new ones, and I’m very thankful for past me!

And, finally, we can’t talk character naming without talking diversity. We live in a beautifully diverse world, and hopefully your work will reflect that, even if you write second world fantasy or far-flung sci fi. If you’re writing in a contemporary setting, as I tend to do, then naming is where it all starts. Your work has an entire cast of major and minor characters, so please put some thought into what identities you choose for them.

Naming Characters in Sci Fi and Fantasy: Part 1

“The Naming of Cats is a difficult matter,

It isn’t just one of your holiday games;

You may think at first I’m as mad as a hatter

When I tell you, a cat must have THREE DIFFERENT NAMES.”

T.S. Eliot, Old Possum’s Book of Practical Cats

“Names and attributes must be accommodated to the essence of things, and not the essence to the names, since things come first and names afterwards.” 

Galileo Galilei, Discoveries and Opinions of Galileo

So you have a cool idea for a story. You’re ready to start writing. But, wait! What’s your main character’s name? And what about the best friend/love interest/mentor/talking animal sidekick? If you’re anything like me, you need that perfect names to move forward. But deciding a character’s identity isn’t quite as simple as pulling up a bunch of baby naming sites. (Disclaimer: I love baby naming sites!) First, you need to do a bit of homework…

Before anything else, take a moment to think about your story’s world. I’m not saying you need to write up a 50-page document on your universe (unless that’s part of your process), but it’s worth doing some brainstorming, even if you’re a ‘pantser’. Is your story set in contemporary times? In the future, but still on Earth? Is it set in an alternate history past? In space, centuries from now? In a completely new fantasy world? 

Doing a little worldbuilding before you name your characters (yes, even the ones with minor ‘walk on’ roles) is crucial as names add layers and texture to your story. If you’re writing in contemporary times or in a near enough real world past/future to be relatable, it’s also a way to bring in diversity by way of first and/or last names. In Andy Weir’s The Martian, for instance, which is set in a not-too-distant future, character surnames include Martinez, Ng, and Kapoor.

What if your story is set further in the future; will completely new naming conventions and trends have set in? John Scalzi gets around this in his Old Man’s War universe by using classic names that have been around for centuries and will most likely endure — John, Harry, and Susan, for example. Not only does this make historical sense, but it also serves to give us an initial familiarity that goes on to be turned on its head once the characters arrive in space and their entire lives change. After that, the soothing weight of his ‘Harrys’ and ‘Johns’ becomes a tether to a life left behind. In contrast, the different alien peoples his characters encounter all have unique naming conventions depending on their languages and biology (in terms of vocalization). 

In Pierce Brown’s Red Rising universe, set on Earth’s colonies within our solar system, names have moved on from contemporary choices and naming conventions are according to social caste. The upper class, for instance, leans heavily on Latin names from the Roman period: Virginia, Pax, Titus, Adrius, Nero, etc. It’s a nod to his characters’ Earthly origins, but also helps underline the importance of the military and the separation between classes.

If you’re writing sci fi with no Earth connections, you have a little more freedom. But it helps to give the main characters names that at least feel familiar. In Star Wars (a galaxy far, far away), we have Luke and Leia to anchor the story. In Jo Zebedee’s Inheritance Trilogy space opera, key characters like Kare and Ealyn sound like they fit right in with Zebedee’s Northern Irish background. The same goes for secondary world fantasy. Of course, you can go as wild as you want with character names. But if they feel like names we might see in our day-to-day, it’s easier to relate. Elspeth Cooper’s Gair (The Wild Hunt) and Peter V. Brett’s Arlen and Leesha (The Demon Cycle) come to mind — they’re different, yes, but not so much that we can’t imagine them in our lives. Of course, a well-known trick in secondary world fantasy is to use variations of everyday names, lending instant familiarity. In this category we have characters like George R.R. Martin’s Jon Snow, Jaime Lannister, or Benjen Stark (A Song of Ice and Fire). 

Once you know your world, it’s time to pick it apart a little and set a few naming standards to help readers navigate your fictional universe. Do your dystopian future rebels use military-style callsigns? Do your fantasy working class characters tend to be named after the saints in your fictional religion? Do the northerners and southerners in your world have distinct histories so that names have regional variations?

Robin Hobb is a great example of this in her Farseer books. The nobility in her Six Duchies is often named after a virtue. Members of the Royal Family include Chivalry, Verity, Patience and so on. Flower names tend to appear amongst the commoners — Laurel and Nettle, for instance. In The Lord of the Rings, J.R.R Tolkien also uses flowers as girl names among his hobbits — Sam Gamgee’s daughter is named Elanor after the golden blossoms of Lothlórien, and his wife’s name is Rose. In C.S. Lewis’ Narnia series, many of the kings seem to follow a naming pattern, too: see Caspian, Rilian, and Tirian. And in her Seven Realms/Shattered Realms books, Cinda Williams Chima has a cool convention for the Royal Family of her Queendom of the Fells: Raisa ana’Marianna is daughter to Queen Marianna ana’Lissa and mother of Alyssa ana’Raisa. 

You don’t have to over-complicate your character naming, but having a few standards in place to help readers understand things like nationality, class, alien species, or religion is a relatively simple way to build richness and depth into your story (and it can be lots of fun, too). It means that, instead of a random mishmash of names, your readers will be able to identify a consistency that adds realism to your fictional world and brings it to life.

These aren’t the names you’re looking for…

See Part 2 for my thoughts on individual character names, as well as a brief look at differences between names in stories for children/teens and adults. Also: sources!

Diversify and Conquer

New things, new places, fresh inspiration. Photo by Alissa Mills.

Writing slumps — we’ve all had them. Times (days, months, years) where the words dry up and the joy sparks out. If the love for writing is still there, however, burning bright under the keyboard dust, then maybe all you need is a gentle push to get things flowing again.

Perhaps you’ve already tried all the tricks you can think of — long walks, browsing Pinterest, making playlists, writing to prompts, brainstorming with a friend… If so, why not take a chance and diversify your work to jumpstart the creative process?

Write poems, if prose is your thing. If you’re a novelist at heart, write a children’s picture book. Try an adult short story, if YA is your raison d’être. Write romantic flash fiction if you’re a hard science fiction author. Challenge yourself to come up with a haiku every morning for a week. You get the idea. 

You don’t have to show your efforts to anyone. You don’t even have to be good at it (though you may surprise yourself). But you do have to give it your best shot. Focusing on a different genre, format, or style will help break your brain out of its holding pattern (hopefully, and not just break your brain!) and set the words free. Then you can return to your preferences, creativity once again on the loose. 

A lot of writers do this; they publish picture books and YA, or YA and adult. They have novels and short stories, poems and prose. A middle grade sci fi novel simmers on the back burner while a fantasy novella is revised. A non-fiction think piece sits side-by-side with intricate fictional worlds. Authors alternate, or switch between projects, taking breaks and returning replenished to stalled work.

I’ve been stuck on the same YA story for a while now. I love it, but I haven’t found the right approach for it yet. I decided to take a good long break and set it aside until I’m ready. Instead, since April, I’ve reworked a short story as a poem, written two picture books (something I didn’t believe I could do!), and started my first adult novel. It’s been a good couple of months, overall. I won’t say that I’ve become an unquenchable well of creativity and energy — I still have slow days — but it’s helping. I’m writing again, and that’s enough for now.

I can’t promise this will work for you, but why not give it a try? At the very least, it’ll be a fun writing exercise. And who knows, you may even discover a love for something you would never have attempted otherwise.

Con Round-Up Part I: SCBWI NYC

2020-03-01 16.17.39

On February 6th, I headed down to New York City for the 21st SCBWI Winter Conference — one of two national events organized by the Society of Children’s Book Writers and Illustrators. It had been a while since I’d been to the national conference — since 2014 to be precise — and I was looking forward to seeing the changes.

I arrived early, as the New England team (including myself and my regional conference co-director Casey Robinson) had a meeting on Friday morning. Business attended to, I escaped for a couple of hours to meet a friend from Brazil for a visit to the Met. Oh, important detail: my friend is a tour guide, so I had an amazing personalized glimpse at the museum’s permanent collection. If you’ve never been to the Met before, I thoroughly recommend this ‘taster’ version, where you get to sample a little from several different rooms and wings. After a post-museum lunch, it was time to head back to the hotel and relax with friends before getting ready for the Golden Kite Awards at night.

Watching the awards ceremony on Friday evening was definitely one of my personal highlights (and not just because of the strawberries and champagne reception!). Besides opening words from Kwame Alexander, who reminded us that “in the end, we answer for the children, to the children”, and James Patterson, who urged the gatekeepers in the room not to get in the way of kids reading for pleasure, we heard moving acceptance speeches from the award recipients, challenging us all to strive for more in our own work. Find a full list of the Golden Kite awards at: https://www.scbwi.org/announcing-the-golden-kite-and-sid-fleischman-winners/

debbie nyc
NESCBWI team members with the wonderful Debbie Ridpath Ohi (photo credit goes to Debbie)

Saturday began with a great keynote by author Kate Messner, centering on wonder and curiosity, and setting the tone nicely for the conference. This was followed by two workshop intensives that took place throughout the day. My first was on writing genre fiction, with Tor editor Melissa Frain. We talked through the challenges of worldbuilding and the subsequent perils of info-dumping, and then she walked us through an interesting first pages exercise.

2020-02-08 09.37.53
Kate Messner’s ‘Curiosity License’

I was particularly inspired by my afternoon intensive with agent Chelsea Eberly, who talked us through identifying our author brand. She broke this down into a number of key aspects, among which were to root our work in authenticity (what makes you YOU?) and to identify and focus on our strengths (where do you shine?).

2020-02-10 11.02.38
Workshop notes…

The day’s programming concluded with a heartwarming keynote address by Jerry Pinkney, who talked us through his journey as an artist, starting from his earliest place of inspiration: his father’s basement workshop. Later, the evening centered around the traditional networking dinner, with regional tables set up so attendees could meet and mingle with others from their area, if they so desired. I lingered a while afterwards, chatting to friends (old and new!), but soon called it a night.

kris team nyc
Part of our fantastic NESCBWI regional team! (photo credit Kristine Asselin)

Sunday brought my last intensive session, with Harper Collins editor Tiara Kittrell. Tiara talked us through the key elements of a variety of genres, and shared tips on how to successfully blur the lines between them to create fresh ways to tell stories. I had to leave straight after, and was sorry to miss what I’ve heard was a wonderful final keynote with author Derrick Barnes, but I still carried home a head and notebook full of new ideas and inspiration to fuel my writing work. All in all, it was a fantastic, exhausting, amazing weekend, and I’m glad I decided to return to the New York conference after such a long break!

Crossing the Streams: reaching across writing communities

Anyone who has watched Ghostbusters will remember that, although ‘crossing the streams’ was supposed to be a Terrible Thing, ultimately it vanquished the Big Bad and saved the day. Likewise, for writers, learning to cross-network between different writing communities can enrich our lives and take our work to a whole new level.

In 2012, I joined my first writing community, the SFFChronicles.com — an online science fiction and fantasy forum with an active writer’s section. At the time, I had just made the decision to get back into writing and was working on my first novel, a middle grade fantasy. While researching children’s fiction resources I found the SCBWI (Society of Children’s Book Writers and Illustrators), but back then I lived in Brazil, and we had no regional chapters I could look into.

A year later, following my husband’s job relocation, I moved to Connecticut. As soon as I arrived, I joined the SCBWI. Six months later, I went to my first SCBWI conference in New York. I was making connections, online and in person, and my writing world was growing. At the same time, I continued to be an active participant in the sci fi and fantasy community. Both were equally important in teaching me about how publishing works, and in honing my writing skills.

From the kid lit community I learned how to craft middle grade and YA; the SF/F world taught me about genre fiction. The first was invaluable in helping me understand traditional publishing; the second showed me how to navigate anthology submission calls and other short story markets. The SCBWI brought me my wonderful local critique partners; the SF/F community gave me my first beta readers, and eventually a second online critique group. The SCBWI encouraged me to volunteer at conferences and events, and to get involved at a local level, organizing meet and greets for my area. SF/F brought participation opportunities for convention panels, my first public reading, and an opening to write interviews for a genre website. Both groups have nurtured me and cheered for my successes along the way, and expanded both my horizons and my circle of friends. I couldn’t keep moving forward without both of these communities at my side.

When I go to SCBWI events I’m always intrigued by how few members seem to even consider reaching beyond the kid lit community for connection and knowledge. The SCBWI is a wonderful place to call home, but there are many other thriving organizations out there to be explored. The Romance Writers of America is a busy and inclusive example, with many small local chapters throughout the USA. The Mystery Writers of America is another great society with active chapters in different regions. And those are only two among many. Broadening our worlds and cross-networking between communities can be a wonderful way to gain further insight in our work and widen that support web that is so crucial in the difficult world of publishing.

Whatever you chosen ‘home’ community, consider stepping outside and looking for others to connect with. Have a look around, both online and in your local area, and see what you can find. Take a chance on adding a whole new side to your network by joining additional writing organizations — either official ones, like those mentioned above, or unofficial ones such as the forum I’ve been on since 2012. Getting involved with a new community may be scary at first, but by casting that net a little wider and crossing those streams, you may find your creativity shines bigger, and brighter, and bolder than ever.

There’s a whole wide world outside that window…

Swords and Swans

Book news! Well, anthology news, actually. Tomorrow my short story King Swan comes out in a brand new collection — Gorgon: Stories of Emergence (Pantheon Magazine).

From the official blurb: “Be changed. GORGON: STORIES OF EMERGENCE contains 42 transformative stories spanning all genres from both emerging and new voices alike, with all new stories by Gwendolyn Kiste, Richard Thomas, Annie Neugebauer, Eden Royce, Beth Cato, D.A. Xiaolin Spires and more, and featuring 10 illustrations by Carrion House.”

I’ve had a peek at some of the stories and they’re awesome! You can buy Gorgon on Amazon in ebook and paperback, starting tomorrow…

Also…

It’s been two years today since HEART BLADE was published! Happy bookversary to the Blade Hunt Chronicles!

Dark, Darker, Darkest

I don’t do dark. I don’t do scary, or heart-wrenching. My writing is fun and happy, and full of sunshine. Until it really, really isn’t.

The first thing I ever wrote was a light-hearted middle grade novel about a group of friends in small-town Brazil trying to stop a rampaging gang of ghosts. There was a bike chase, and meetings at the local ice cream parlor. Not a sliver of a shadow in sight, right? But now, looking back, I see there was an underlying theme of the price of magic, and of good magic gone very wrong.

Another middle grade novel had themes of PTSD and abandonment. My first foray into YA was about genetic experimentation on teenagers and forced seclusion from society. Are we beginning to sense a thread of darkness in all of this? But I still had this illusion that I was writing upbeat happy stories, probably because the dark bits were interspersed with enough action to mask them, at least to my own eyes. 

(Although the torture scene in my first published book—which got a special mention from Fantasy-Faction—should have clued me in…)

I got into short stories. These tended to be a lot darker right off the bat. Probably because I felt these were somewhat separated from my usual stuff, and gave me more room to play. Published stories include an alien willing to kill to remain on Earth, a trio of cut-throat teen mercenaries on a desperate mission, and murder by flesh-eating fungus. Nice and cheerful!

But there’s a beauty to the shadows, to the gray tones and the storm clouds. We can only appreciate the light when the story has contrast. And for that, it often needs to go down dark paths.

At the moment, I’m working on something brand new. It’s my darkest novel yet, with some pretty tough subthemes. At first, I wondered who the heck the person commandeering my brain was, to be coming up with this stuff. Then I took a good hard look at my earlier writing, and realized the shadows have been there all along, from the very beginning.

In a way, this came as a relief. It’s good to know my work has actually had some consistency from the start. Until I began this latest project, I was worried that there was a huge disconnect between my short pieces and my longer stories. This new thing of mine not only seems to pull all the different sides of me together, but it also made me take a good hard look at my past work, too. And maybe embrace the dark. 

There’s a beauty to the gray tones and storm clouds…

Happy New Year!

Misty says, “Have a great year!” She also says, “Keep reading! Bring treats!!”

You should…probably do what she says.