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Guest Blog at Joyfully Jay, plus giveaway!

Hop on over to Joyfully Jay today, and through Sunday, to read my guest blog “Heavy Metal Lover” extolling the virtues of mecha and how it’s played a surprising role in my creative development.

For today’s WIP Wednesday, I offer an exclusive excerpt of “Body Option” that isn’t available anywhere else.

BODYOP

    For five years, Grant Badu has been part of a solid fighting team with the Gemini Suit called Trefoil Argent. Together, they fly and fight so effectively, their combat record so impressive, that they’ve become informally known as the Infallible Duo.

    When a case containing classified military innovations is stolen and shot down in the foothills of disputed border territory, Grant and Argent are tapped for its swift recovery. But the mission requires pilot Argent to take on the one cybernetic option he’s been avoiding, for reasons even Grant doesn’t know.

***

The heels of Grant’s boots, polished to mirror levels of shine, clicked sharply on the tiled surface as he strode up the hallway that led to the Pegasus Eyrie’s mission room. When the Gemini Suit program had been established, Crestovia’s Air Armed Forces—AAF to everyone—had created stations at strategic points across the country that had been dubbed ‘Eyries’ for the Suits they deployed. Each line, from Raptor to the latest Hawk, was named for birds of prey and the station designations had stuck. He had been summoned back to the Eyrie that morning with a message flagged highest priority. The southern border had been quiet lately, so of course something had come up on Grant’s furlough, because that was his luck. Icarus Eyrie was closer to the southern lines, but when something required a lightning strike and guaranteed success, the AAF always tapped the Infallible Duo.

He reached the mission room and paused on the threshold as always, tossing off a crisp salute and admiring the view, perched as it was over the flight deck that launched the Gemini Suits. Argent’s chirp of greeting was loud in his ear from his position on Grant’s shoulder.

“Captain Badu, please enter.” An older, white-haired man with a silvery moustache was present at the head of the table. A general, Grant noted his insignia with surprise. They were infrequently graced with the presence of someone that high in the ranks.

“And my partner, Trefoil Argent,” Grant said pointedly, gesturing to the silver-metallic bird of prey on his shoulder. The fact that Argent was attending the mission meeting in peripheral form, rather than flesh, was something that shouldn’t go without acknowledgment.

“And the immensely talented Trefoil Argent, of course,” Dr. Badger Prane was quick to add, in the manner of an introduction.

“Ah, yes,” the general said, clasping his hands and bending a stare on Argent, who bobbed his head in a preening motion though his pinions required maintenance rather than grooming. “The other half of our Infallible Duo.”

An auspicious greeting, Grant noted, wishing he could make the comment in aside to Argent, but he hadn’t mastered the skill of sub-vocalization, while Argent could make free with his remarks to Grant without others hearing. “Sir?”

“Please, be seated,” the general said. “I’m General Drake Barcek, I’ve been in weapons development for the past five years since receiving my latest star.”

Grant nodded, seating himself at the table and taking note of those present. Dr. Prane was one of the top minds in the Gemini Suit program, and made the rounds constantly to ensure that the pilots were well-treated and looked after. Across from him was Grant’s own commanding officer, Lieutenant General Jasinder Palova, looking stern. Her dark face shuttered in a considering squint and her uniformed arms were folded across her chest. Typically there was more support staff for a mission briefing; the lack of extra faces around their table had him wondering.

Must be secret weapons development, Argent remarked in his ear. Grant responded with the slightest dip of his chin to indicate agreement.

“A plane went down in the Cressian range this morning,” General Barcek said, lacing his fingers together and sending a formidable pale-blue gaze Grant’s way. “The plane was carrying proprietary technology obtained through espionage. Unfortunately for the Bah’zeth, but fortunately for us, they flew toward Bahazeth without the proper airspace access codes, and were shot down.”

One of Grant’s brows winched upward. “One of our own turned on us, and tried to make off with Crestovian military technology,” he summarized.

“In short.” A flicker of annoyance crossed General Barcek’s face. “This is bad for us, very bad. Our available data indicate the plane crashed in one of those cave-riddled areas. We need to send someone for retrieval, and fast.”

“Shouldn’t be a problem,” Grant said, glancing at his colleagues and noting that Dr. Prane was grimacing and gnawing a knuckle. “That’s the kind of mission we can launch for, as soon as Trefoil Argent is prepped.” At the periphery of his vision, Lieutenant General Palova began to shake her head.

“It’s not that simple,” General Barcek said.

Of course it’s not, Argent said in his ear. Grant ignored him.

Dr. Prane left off gnawing his knuckle and sat forward in his chair, spine upright and eyes wide.

“It’s been brought to my attention, when I reviewed your specs for the mission, that Trefoil Argent does not have a body option,” General Barcek said. There was mild censure in his voice.

“I wasn’t aware that existing as a cybernetic suit required one,” Argent piped up, the fluting tones of his high tenor undercutting the saucy delivery that bordered insubordination. When dawning horror broke over Lieutenant General Palova’s face, he added a sharp, “Sir.”

“Not require, no,” General Barcek said slowly, pushing his fingers upward and steepling them, brows lowered as his eyes swiveled to pin Argent with a long stare. “Unusual. Most pilots your age, racking up hazard pay at the rate you have, can count a body option among the list of their peripherals to walk among us … enjoy the fullest life has to offer, as it were.”

“I quite like this peripheral, and my other cybernetic options. After all, a body option cannot fly.” Argent unfolded one silvery wing and extended it, birdlike head cocking as if to view it. “Sir.”

General Barcek grunted and shifted in his seat. “Couldn’t believe it when they told me,” he said, shaking his head. “A pilot of your considerable skill, long since financially solvent past the cost of cybernetic debt, and you don’t have a body option.”

Argent’s beak opened. Grant reached his hand up and pinched it shut.

“General Barcek, are we making conversation, or is there a point to this line of inquiry?” Grant asked. It was direct to the point of rudeness, and Lieutenant General Palova’s eyes narrowed in a very particular way that let him know he’d be getting his ears dismantled and whacked against his head later, but his question was worlds closer to social acceptability than anything Argent would have delivered.

“Yes.” General Barcek coughed into his fist, began to turn red, and re-settled in his chair, folding his hands beside a tablet display. “This mission will require Trefoil Argent to be assigned a body option.”

Grant removed his fingers in haste as Argent twisted his beak out from thumb and forefinger, head tilting in the way that meant he was going to nip, hard.

“It’s quite a steal for you,” General Barcek was saying. “Haven’t paid the money out for one, already, and now the AAF will foot the bill because we need you to have it for this mission. Works out quite well, when you look at it that way.”

“What if I don’t look at it that way?” Argent said flatly. “I’ve never seen the need for soft and squishy parts. I’m a pilot. I fly, I don’t—” He snapped his beak shut.

Grant huffed and thanked his own lucky star that Argent hadn’t completed that thought in front of the General. We’re fighter pilots, we fly and we fuck. Argent had never gone with the peripheral that would let him follow through on the second. He did plenty of the first, and claimed it was all he needed.

Grant went stone-faced to avoid betraying any expression to General Barcek, Dr. Prane or even their commanding officer. Dr. Prane and Lieutenant General Palova had questioned him repeatedly, right around the time of Argent’s yearly flight-readiness evaluations, on why Argent consistently held off on getting a body option. Grant’s loyalty sealed his lips. In truth, though, he didn’t know. It was one of the few things Argent had never confided in him, and Grant had too much stubborn pride to ask for something not freely given.

“Lieutenant Argent,” Lieutenant General Palova said sharply.

Argent tilted his beak in the air and shut up, but turned his head so one black eye-lens was fixed on those assembled at the table.

“This mission requires it,” General Barcek said, straightening his shoulders. He had a barrel chest that was halfway slid into a gut that strained the seams of his deep green military tunic.

“Any multi-legged cybernetic peripheral worth its weight–”

General Barcek spoke over him, raising his voice and increasing in volume until Argent fell silent again. “For those unfamiliar with the cave system of the Cressian range,” he said, modulating his volume when Argent ceased speaking, “it’s riddled with veins of lead and other heavy metals, those with insulating, signal-dampening effects.”

Grant’s jaw tightened and his nostrils flared. “Metal peripherals won’t do well there,” he re-phrased, to confirm his own understanding.

“Your metal peripherals will not do well there,” General Barcek repeated, fixing Argent with a gimlet stare. “The link for the body option is different, and stronger, based as it is on DNA rather than circuitry. You don’t uplink, you transfer.”

Argent’s metallic pinions rattled together as he shifted on Grant’s shoulder. Grant tried not to frown; existing through cybernetic peripherals as he did, Argent had no need to fidget. He was making his opinion known with that rattle.

“It’s a two-person mission on foot,” General Barcek continued. “Our coordinates can put you in the approximate location where the fighter plane was downed, but gunner and pilot will need to proceed into the caves to track down and retrieve that case.”

“It’s imperative that we deploy our best team immediately in order to recover that technology,” Lieutenant General Palova said, taking up the thread of the mission briefing. “Without question, Captain Badu, Lieutenant Argent, you are that team. Which brings us to this table, here and now.” She rapped her knuckles on the table’s surface.

“Thank you,” Grant said, when it became apparent no one else would speak, especially Argent who only rattled his pinions again. He smoothed a dark-skinned hand down the front of his uniform and tugged. He was still in fighting trim beneath his green tunic, though his days of working up from foot soldier to fighter pilot were long past. He had manned the weapons from Trefoil Argent’s cockpit for eight years once he’d promoted into the Gemini Suit project at twenty-four, and the suspension rig was enough effort that he had to keep up on regular workouts and stamina runs to remain fit for the job. “General. Lieutenant General. I’ll fly wherever Argent takes me, but accepting this mission comes down to his choice.”

It was Dr. Prane who spoke up, manner soft and conciliatory. “Argent?”

Argent replied with several strident clicks and caws more reminiscent of the bird of prey that his current form resembled—a shape he’d chosen for his primary off-duty cybernetic peripheral. At last, following a conclusive sharp click, he settled down, talons squeezing Grant’s shoulder until he grunted. “Not like I have much choice, sir. I guess I’m getting a body option.”

***

Release date: Wednesday, April 2nd.
Pre-order here.

Cover reveal: Body Option

Let there be MECHA!

Before I ever saw Pacific Rim and fell in love all over again, my very dear publishers decided to run a Mecha-themed anthology. And thus my idea for Body Option was born. I can’t even remember the working title for it, but this is how it all came together, and I love the cover so much it probably shouldn’t be legal.

bodyoption400

For five years, Grant Badu has been part of a solid fighting team with the Gemini Suit called Trefoil Argent. Together, they fly and fight so effectively, their combat record so impressive, that they’ve become informally known as the Infallible Duo.

When a case containing classified military innovations is stolen and shot down in the foothills of disputed border territory, Grant and Argent are tapped for its swift recovery. But the mission requires pilot Argent to take on the one cybernetic option he’s been avoiding, for reasons even Grant doesn’t know.

Body Option will make the drop on April 2nd.

I have a confession: if I got to fan cast Grant from Body Option, he’d be played by Idris Elba.

Reviews for The Fall Guide

First off: with the spiffy new talya-andor.com domain name we’ve done a bit of tidying and refurbishing of the site layout. Step on over to take a look! The site now includes a Works page, Free Fiction to be expanded as the whim calls for it, and separate contacts and affiliates. If you’d like to be featured in an Author Spotlight here, or would like to exchange affiliate links, drop me a line! More info: https://talya-andor.com/contactpromotion/

Reviews for The Fall Guide are coming in. Currently it’s listed at The Masquerade Crew Review and Night Owl Reviews. Check them out:

Night Owl Reviews

Latest review in is from All About Romance:

Starting a business is difficult enough for an experienced person, but for a gay man with a unique idea but no startup experience, going from idea to entrepreneur is a long, hard process. Andor chronicles the journey beautifully in this book.

The androgynous-looking, make-up-wearing Eric, who writes a popular blog about beauty, has come up with a line of products specifically aimed at men, to help them retain skin tone and elasticity. Eric’s about to preview his products at a beauty expo in Las Vegas when his boyfriend dumps him.

Undaunted, Eric sets up his booth only to be disappointed the first day when he gets little traffic or interest. Glumly walking around the casino of the hotel that night he meets music producer Devon, who gives him a few tips on marketing his products and making his booth more appealing. Finding an all-night copy place, Eric revamps his approach with new brochures and redone posters, happy to find that Devon’s suggestions work beautifully and buyers flock to his booth. So begins a love affair between equals and the birth of a new enterprise.

Read the full four-star review here! The Fall Guide is in the process of being nominated for this year’s Rainbow Awards.

You can pick up your copy of The Fall Guide here or pretty much any e-tailer that sells books. Hope everyone is having a great week! I’ll kick off the first WIP Wednesday of the year tomorrow with a peek at one of my current projects.

Preorder: The Fall Guide

In two weeks, The Fall Guide is available to buy, which means … pre-order is up NOW!

The Fall Guide is my latest novel, and it’s available at a pre-order discount now through Less Than Three Press. Save 15% off from now until the evening of Dec 3rd if you order through the press.

Fall Guide v3 small

    Eric is a popular beauty blogger, and hopes to use the momentum of that to start his own business selling makeup for men—but his first attempt to launch makes it painfully clear he has a lot to learn and a long way to go.

    Unexpected help comes in the form of Devon: Gorgeous, successful, and far too smooth. He is everything Eric would like to be, all the things Eric is starting to fear he’ll never achieve, and the success that Eric is striving for in both his professional and personal life is jeopardized by Devon’s inability to understand that business and pleasure shouldn’t mix, because they can have disastrous results for both.

There are a lot of reasons I can’t wait to share The Fall Guide with you. And if you give me a few days, I’ll be better able to articulate them, but for starters: representation is important to me, and neither Eric nor Devon are your typical gay cis white males. Eric defies gender norms; Devon is biracial. They have a lot of obstacles in their way, including Eric’s boyfriend Martine, Eric’s own pride, and Devon’s intimidating advantages.

More to follow, but I wanted to put the word out that you can pre-order your copy now!

Five things I wish I could tell my pre-published self

I had grand intentions to write this earlier in the day, and post in a timely fashion even, but it got busy (a good thing!) and I found myself with no time. And of course, in my off time, I was doing important adulty things like adjusting my budget and looking at emails. Back to night blogging.

Though not very far in the process myself, I feel like I’ve already come a long way and there are a lot of things I’ve learned since I first started. First a disclaimer: this is all from my process, things that have happened to me, things I’ve learned and taken away. They may not be the same for you, and your own experience may vary–but these are the kinds of things people ask me, and you may find them helpful. And so, a listicle!

Five things I wish I could tell my pre-published self:

1. Getting a submission rejected isn’t the hardest part

For years, and years, and years, the one thing holding me back from submitting anything, anywhere, was fear of rejection. I saw very talented friends submitting their fiction through the process best known to be tried and true successful, querying an agent, and getting rejection after rejection. From this, I held up rejection as the absolute worst, and figured it was better to keep writing fanfic forever than it would be to risk my original fiction and have it turned down. I already knew that being turned down that way would be like having my own self rejected, so I was pretty much willing to avoid that prospect indefinitely.

It took a real kick in the pants to get me to the point of ever submitting anything, and a direct invitation from an awesome person.

And when I got past the amazingness of getting accepted, I came to realize there were worse things than the prospect of rejection. Which, in the end, is really the process of finding the best fit for author and publisher and nothing more. And that “worse” brings me to my next item, which is…

2. The first pro edit will rip your soul to shreds

I’m exaggerating. Slightly.

The day I got my first pro edit back, I wanted to hide in a hole, never write again, take my manuscript back from the publisher and light it on fire, cry (I definitely did that), yell, drink a lot (I probably did some of that), and wondered just what the hell I had gotten into.

It was, bar none, the most difficult edit of my life, not only because it had a lot of issues to fix, being my oldest manuscript (from 2003) but a lot of rewrites were involved, and I finished with a different editor from the one that I started with.

So I’m not exaggerating when I say the first edit is hard. It’s not like working with a beta reader (or maybe it is, depending on how intensely you work with a beta). They will catch things you never could have thought would still be in there, no matter how many passes you’ve already made. They will point out things you may disagree with, and it will be difficult to decide how to incorporate those edits. It might be hard to see the line where the edit is optional, versus highly recommended, versus required. Edits like publishing house style, of course, are always required.

There’s no way to sugarcoat it–I’m not sure if anyone has a good first pro edit experience. Maybe I’m wrong and someone will comment to prove that to me! The important takeaway is that it gets better, and easier. You get stronger and more confident, provided you learn from the experience and take that into each subsequent draft.

I’ve said before, Hemingway said write drunk, edit sober. I say read your edits drunk, incorporate them sober. It’s medicinal.

3. Be an author the editors WANT to work with

From the very first, uphill battle, though, my goal was to be an author that my editors would want to work with. After I was thoroughly tenderized from my first edit, I started to see the importance and merit in a lot of what I’ve begun to call their “tough love.”

It’s the editor’s job to see the forest for the trees. They have a bigger perspective, they have industry experience, and in many cases, they can spot the flaws and problems that are invisible to you and whatever friends have helped you get the manuscript to its second draft.

In order to be an author that people want to work with, there are some mandatory baseline items. You have to pay attention to your publisher’s house style. If they go by the Chicago Manual of Style, invest in a copy. Make sure your manuscript conforms. If they use emdashes, make sure to use emdashes–like so–instead of other formatting styles – like the space, dash, space, that I used to use – see what I did there?

Here’s the thing: your editor should not have to spend extra time on things that should already be done. Such as a single space between sentences, instead of the two spaces a lot of us grew up with. I think I just dated myself there. Microsoft Word’s find-replace can even fix that for you, so there’s no excuse.

Their job is to make your manuscript better. But first, don’t you want it to be the absolute best it can be before they ever lay eyes on it? Not only does it make their job easier, but they’ll see you’ve mastered the basics and they’ll turn their attention to places where your manuscript really needs work, content as well as line edits.

Conventional wisdom says never turn in your first draft. Conventional wisdom is absolutely correct. No one’s first draft is perfect. There are always things to find. If you don’t have people who can do a good, hard edit for you, there are writer’s groups you can join, or you can even approach pro editors and ask if they’ll do a sample pro edit for you, to see what you’re getting into. Many of them will do that, all you have to do is shop around. And this is also important, I think, to see whether you can work with a pro edit, or whether your reaction is just “No!!!!” But there’s a major reason it is so important to listen to your editor and work well with them.

4. The things your editor says are the things the reviewers will say if you don’t do diligence with your edits

I learned this the hard way with one of my own novels. Many of some negative elements in reviews for From the Inside Out mentioned things that were an initial concern of one of my editors, or things where I had made a half-hearted stab at things she’d asked me to do, but hadn’t taken that as far as I should have. And I kind of wince at all of the reviews that say “needed more editing,” because, well, that’s my fault. It wasn’t that the editor didn’t point out those things–it was that I didn’t incorporate them, or didn’t do them as fully as I ought to have.

Every edit for any manuscript I’ve had since then, I have paid scrupulous attention to my edits, asked more questions if I didn’t understand an edit, and made sure the editor and I were both happy with the final draft before it goes for its line edit. And I stand behind every manuscript I’ve had since then. And in my own opinion, working with my editors has gotten better and better. I hope they feel the same way!

When the editor asks for changes, it’s not because they hate your manuscript, think you’re terrible, or are trying to make your life difficult. It’s because the changes will almost certainly make your novel better. And if you’re not sure about that and feel very strongly about your original draft, the head editor is usually available for questions if a tie-breaker is needed. You’ve (typically) got the option to override suggested changes, as the author it’s your novel, but don’t forget the editor’s name is on that book too, as the editor. They’re invested in the edits because it’s their job to make you look good.

And when you look good, the reviews are good … usually.

5. Take reviews with a grain of salt. Or a block. Keep writing.

Popular opinion of most authors you’ll survey is “DON’T LOOK AT YOUR REVIEWS.” But if you do, for the love of God, be prepared and fully braced for negative opinions. Maybe they have a point. Maybe it’s like they read a completely different manuscript from the one you wrote. But either way, they will have an opinion, they will express it, and it may not ping you the right way. It may sting, or it may outright hurt and make you want to throw your keyboard on the ground.

But, really, what’s a negative review (or ten) going to change? The manuscript is done, it’s published. Once it’s out there, it’s open to interpretation. Some people will like it, some people won’t. Reviews let other people know what that person thought. In a way, they’re not really for you, they’re for those other people, the ones who might read your book.

Take what you can from the reviews, hold the good close to you and cherish it, and shake off the bad. What else can you really do? Wait, let me answer that: for the love of little green apples, do not, DO NOT, do not ever engage with a reviewer if they’ve left you any slightest nuance of a negative review. You may be tempted to engage with them and correct them for something you think they’ve said that is “wrong” about your story. It is not worth the shitstorm that will rain down upon you from the masses. It’s not your job to tell a reviewer that they read your story wrong. The story needs to speak for itself. Once it’s out there, that’s it. You had your shot, now it’s their turn.

Some other authors have advised having a third party screen your reviews, and share the positive ones. This is not a bad idea, if you know yourself and what your reactions to criticism (you feel unwarranted) might be.

At the end of the day, no matter what, reviews shouldn’t stop you writing. An author is someone who basically has to write, after all. Or, rather, an author is like a shark. Keep swimming or something dies.

That’s what I’ve got to share this week! I hope it was helpful, or at least gave a few of you something to think about. This is all a work in progress for me. Next year, I’ll probably have five new things I would have told the me-of-now.

Next week: tackling effeminophobia. What the heck is that, why is it terribad, and where does it come from?

Maintaining Visibility: How Often to Publish?

Conventional wisdom from authors attending the Gay Romance Northwest meet-up covered the subject of how often an author should publish in order to stay on the readers’ radar. The answer surprised me: there’s a push to publish quarterly to stay on top.

I am a prolific writer myself, but the thought of putting out something every quarter seemed pretty exhausting. After all, the process involves brainstorming, turning out a first draft, going back for the first edit, submitting, doing another, potentially more extensive edit for pre-publication that might involve re-writes, and galley approval. All of that for one manuscript–then the prospect of juggling four (or more!) manuscripts a year can be overwhelming.

That led me to take a look at my own experiences over the past year and a half. I started out submitting three manuscripts right out the gate. By the end of the year I’d submitted two more and gotten them accepted. Fireborn came out last summer, Signal to Noise came out in autumn, From the Inside Out in December. This year, I’ve had the three volumes of Appetite staggered from March to May to July, and Courage Wolf Never Sings the Gorram Blues made its serial debut in May, and its anthology debut last week. Convergence comes out next week, and The Fall Guide will come out in December. In the meantime, I have Body Option, The More Plausible Evil, and Klaxon at the Core accepted and going through various parts of the editing process. And I’ll be starting Dragonspire next month! Not to mention, I have other short stories planned for anthologies or collections due at the end of the year and beyond.

No wonder it feels like writing is its own part-time job, on top of my already full time employment.

So, without intending to or planning for it, I seem to have positioned myself for that ideal “publish quarterly, or around that” philosophy. At least for the first couple of years!

Now I ask the question: is it really necessary? Are readers so fickle or easily distracted that an author needs to keep up with the demand and publish quarterly, or lose their readers?

When I was younger, I remember waiting years in between books for certain authors. Most notably, I think the longest I ever waited for an author was Melanie Rawn, and her next published title was a huge break from her previous work. It was more of a contemporary urban fantasy, where before she had been working on otherworldly epic fantasy, vast in worldbuilding and political scope and, I think, a trilogy that will remain forever unfinished. That aside, authors worked in the framework of years as opposed to the go, spend, buy consumer culture we have going on today, and I was accustomed to waiting at least two years between books for the “big name” authors.

The landscape of m/m fiction seems to come with different expectations. Regardless of what the big name authors say, I think it’s good advice for someone getting newly established, like myself, to make a push to get something published on a regular basis to get your name out there.

At the same time, in my opinion I think it’s also important to pace yourself, and make sure you and the people you’re working with are satisfied with the quality of the material you’re putting out there. When you rush something to an artificial deadline, no matter the reason whether it’s keeping your name out there or just a determination not to change dates, it’s all too easy to make mistakes in the process, whether re-writes are part of it or not.

When you feel rushed, stressed, or under the hammer to produce, that’s also when the quality starts to suffer. And that’s definitely when it’s time to take a break. Whether you’re getting yourself established or already at the top, telling the best story that you can is what really matters. Everything else falls into place from that.

Guest Blog: Male pregnancy…but not.

Greetings everyone–today we have a guest blog from Lexi Ander, author of the intriguing new debut Alpha Trine. It’s sci-fi, with a twist:

I first wanted to say thank you for having me here. I’m going to try and not bore you today.

When I set out to write Alpha Trine I was following a story prompt that directed there be male pregnancy without the use of technology and one of the main characters must be alien. Even though Alpha Trine is set in the far future on the other side of the universe I decided didn’t want the men to become pregnant.

I know! I know! Male pregnancy means a man somehow becomes pregnant but I wanted something different. So I started looking around at what was currently possible in earth’s environment without the use of technology. Chances are if it exists here, if there is life somewhere else, it could be possible there as well.

There are frogs that switch gender if the opposite sex isn’t available. Male seahorses carry the developing eggs. There are asexual creatures who can procreate by themselves. There are other creatures who have huge territories, when they come across a male they collect the sperm, and hold it in their body in a type of stasis until the creature is ready to procreate. Really, the wild kingdom has so many variations that I could have a supply of alien pregnancy scenarios if I wanted.

In some science fiction stories you can read about a Third Sex. Neither male nor female the third sex is required in some science fiction societies in order for a race to procreate. The perfect example is Octavia Butler’s Xenogenesis series. (Loved that series)

What about humans? Is there no way for there to be that kind of scenario? I said yes. With a genetic twist, I could see the hermaphrodite identity equal to the sci-fi third sex concept. In today’s reality, it breaks my heart that doctors and parents make a sexual identity decision for children who are born as hermaphrodites, instead of waiting for the child to grow into which ever identity they choose. I have read too many heart breaking stories so I chose to create a central species called the Fal’Amorics where being born a hermaphrodite is celebrated.

Ah! But I didn’t stop there. Dargon is a marsupial lion who shares a symbiotic relationship with Alpha. An interplanetary war stripped two planets of one primary sex. One planet became the homeworld of the females and the other belonged to the males, and they couldn’t stand each other. The Alpha-Zetamites stepped in after the war and offered their assistance by playing middlemen, dare I say the Third Sex, between the males and females of the species. This allowed for Dar Massaga’s, regardless of sex, to be able to procreate since both sexes have the marsupial pouches.

These three species allow for many different scenarios. Even as I wrap up Alpha’s, Dargon’s, and Zeus’s story in Striker, there can be several more different male pregnancy scenarios… but not.

Thank you for stopping by and a warm thank you to Tay for hosting me today. Before I leave with the blurb and an excerpt remember…

I’ll be giving away a paperback copy of Alpha at the end of this blog tour. Every comment on this and the other four posts will be another entry into the drawing. On September 28th I will email the winner at the end of the day, so remember to leave a comment with a way to contact you.

Blog tour schedule:
September 23rd – Babes In Boyland (http://www.babesinboyland.net/)
September 24th – Raining Men (http://rainingmenamen.blogspot.com/)
September 25th – Pants Off Reviews (http://pantsoffreviews.blogspot.com/)
September 26th – World of Diversity Fiction (http://sean-norris.com/)
September 27th – dreaminginfinity (https://dreaminginfinity.wordpress.com/)

Alpha Trine

Blurb:
The sole survivor on a science vessel adrift in deep space, Zeus was adopted by the Emperor and Empress of the Mar’Sani, though he is both human and blind, and seen by most as unfit to join the royal family. Though they were able to repair his vision, Zeus does not trust his eyes and the nobles of his parents’ court refuse to ever trust a frail human.

Dargon Kal-Turak, along with his symbiote and lover Alpha, command one of the most dangerous ships in the stars. Narrowly escaping a trap, they dock in a space port to make repairs, but find that the Psionics hunting them are closing in fast. In desperation they kidnap the port Master Mechanic, unaware that the man they’ve brought on board is more than he seems, and will bring far more upheaval to their ship, their lives, and the stars than any of them could have imagined.

Excerpt:

Prologue

Canry was lost—no—taken.

Empress Ashari ignored her attendants. She knew they would report back to her mate, Emperor Valdor Vondorian, and she cared not. She was hollow inside, the pain turning to a numbness that ate at her core until there was nothing left for her to feel. She refused to pretend everything was normal because it was not. Nothing would ever be normal again because he was gone—stolen. Her youngest son, Canry, had disappeared in the Waters of Poseidon only two short months ago, and yet it seemed like yesterday.

Ashari slipped a hand under the cream-colored pillow and pulled out Canry’s little nightshirt. She had made the weave herself from the finest spyder silk. Ashari handled the material carefully. Her claws were ragged from nervous chewing, and she did not wish for the fine thread to catch on them. Her eyes burned as she tenderly fingered the colorful clothing. Her heart might have been hollow but her tears were rivers that fed the sea.

She wondered what she could have done differently. All Mar’Sani younglings were introduced to the Waters of Poseidon when they turned six lunar months. She and Valdor had been delighted Canry had quickly taken to the waters, more so than the twins or his sister, Shaneva. The youngling had been swimming, diving perfectly at her side and then slithering through the water, his black scales glistening in the sunshine.

She noticed the tips of the barbs that ran along his spine and down his tail were beginning to turn red, a sign of his royal blood. Canry splashed Ashari with his tail and dived into the water—never to surface again. Within moments everyone began searching for the royal youngling. Those who lived in the waters combed the depths and found nothing. Canry was simply gone—disappeared—no trace or body had been found. He had vanished.

Never in Mar’Sani history had a youngling or adult been lost in the Waters of Poseidon. For days Ashari refused to leave the shoreline of the great sea in hopes her son would find his way back home. She spent hours diving and swimming until she was overcome by exhaustion and the attendants pulled her ashore.

Finally, she accepted the fact that Canry would not be coming home. She took to her sick bed and there she stayed.

Every day she ate a little less. Her mate, Valdor, tried his best to console her, but there was little he could do. Poseidon had, for some unknown reason, taken her son, and in a few short years, he would claim their daughter as well.

Their now youngest child, Shaneva, had been showing signs of The Longing prior to Canry’s birth. One in every two thousand younglings born would return to the Waters of Poseidon. These children would eventually choose to reside in the waters over living on land. The reasons for The Longing were unknown, but neither were the children discouraged from the choice. As natural as The Longing was to the Mar’Sani people, Ashari could not help but wonder what she had done that Poseidon would lay claim to two of her four children.

A large Mar’Sani male filled the doorway. His black scales gleamed like polished rock. Dark yellow eyes narrowed at the sight of Ashari lying on the platform, his barbed tail swishing side to side. Resplendent in the imperial red and gold robes, the Emperor strode into the room. Ashari knew that look of determination on his handsome face and was unfazed. She tucked the outfit back under her pillow as Valdor sat on the edge of the low bed.

“Your attendants claim you are not hungry this morning.”

Valdor’s voice was deep, resonating throughout the room.

Ashari refrained from replying for there was nothing to say.

“They also relay you are too tired to rise.” Again, she responded with silence.

Without another world, Valdor unlaced his boots and set them aside before climbing onto the platform. He gently nudged her to rise up, and he slid under Ashari before pulling her down to his chest. He released a great sigh and stroked the smooth ridge of her forehead until her curiosity slowly surfaced.

“What are you doing?” Ashari softly inquired.

“He … Canry was my son too. I miss his laugh. I miss watching him sleep. I miss … Being the emperor requires that I put my personal sorrows aside to care for others, but I cannot keep doing so if I lose my mate as well. I, too, hurt and grieve. I am exhausted and food holds no appeal. So I will lie with my beloved for a time and keep her company in her sorrow.”

Ashari buried her face in the crook of Valdor’s neck, the scales pliant against her cheek. He needed her, Ashari reminded herself, and Valdor never gave up.

No Plot? No Problem!

My early days of productive writing took place during a proliferation of what people fondly referred to at the time as “PWPs,” short for “Plot? What Plot?” The stories were thinly-veiled excuses for the two characters to get together and do the deed.

And I was good at them! I’m not going to stand on false modesty, here. I had mastered the art of getting two characters together through a variety of creative means–one memorable instance involving a gun and a shot to the head–then delving into the erotica and leading out with a moment either poignant or humorous, hopeful or lascivious.

Over the years, the enforced regimen of Nanowrimo after Nanowrimo, and developing certain skills through project management work, I got better at adding in plot. My focus gradually shifted to telling a larger story where two people getting together were a part, rather than the driving mechanism of the whole. Conflict existed, deeds were done, tension flourished, and the fabric of the plot consisted of more than the relationship weaving two people inextricably together.

Casual fiction can be a great method for learning how to tell overarching story arcs. I wrote a five-part original series, After the Rising, over the span of several years where I started out fumbling through a relationship story focused on three brothers, and somehow by the time it was done, told an epic tale about demons versus humans, and the battle for a particular artifact that could shift the balance of power between warring factions. Looking back through those masses and masses of words I wrote, I can spot a lot of flaws. There’s a drag in certain installments–the middle child suffers that most horrible fate where a great deal of words were wasted to cover very little ground. And by the second or third book I finally realized not everyone can be gay men. At least I got in some good, strong females who were there to do their jobs, and diversity was a part of the story from the first installment.

Overall that casual fiction effort can’t be considered a complete loss. It was compelling enough that one of my friends asked me to send them the entire series, to see if they could help me work it over into a shape approaching publishable. (After having been through the editorial process with seven manuscripts now, and currently engaged in two more, I can say that particular original series needs a lot of hard work before I’d submit it.)

At the core of it all, however, no matter what deeds take place and however strong the world-building of the places I envision, one thing I’ve realized is I am still, at the heart of it, telling stories where two characters get together and do the deed. And that means I will probably always be considered a romance author, and I’m good with that.

To me, that’s where a great deal of the interest, the joy of telling a story, lies. It’s not only the plot twists, or the clever mechanisms. The heart of the story, the part that I love reinventing with every new set of characters that I write, is taking these two people (or more, if there are multiple couples) and finding out who they are, and how they come together.

Two people meet, and there’s something in each of them that reacts to the other, whether that’s positive or negative. Subsequent encounters, or repeated exposure, bring out more tension, whether it’s personality or attraction-based. I love writing the unfolding relationship, and I’ve seen mixed reactions from authors on this next item, but I love to write the erotica. My sex scenes vary from light to detailed depending on the story and what’s happening with the plot, but I look forward to, and enjoy, writing that part of the story too. If I’ve made my characters (and the reader) wait for it, then everyone deserves the payoff for sure.

Stories, especially novels, can’t subsist on sex scenes alone, however. I did learn to plot my stories around the bones of the relationship, starting with my very first Nanowrimo back in 2002. Knowing that I was going into a thirty-day writing sprint, expected to come out of the other end with a 50,000+ word manuscript, and determined to succeed, I approached the project with my first-ever comprehensive outline. Prior to 2002, I’d completed novel-length works before, both fannish and casual original fiction endeavors, but my approach was completely laissez-faire, totally by the seat of my pants, and typically took months. I would start out writing with vague ideas, and found out more as I went along. I invented everything the story needed in terms of world-building or supporting characters on the spot.

That wasn’t going to work for an endeavor like Nanowrimo. I needed to have enough material planned so that I could write through each and every scene and get through the day having met my word count by the end of it. So I penned out my ideas for “Not Another Regency Romance,” roughing out a cast of characters and two romantic storylines unfolding side by side: May, the novel’s heroine, and her younger brother Tor, who incidentally fell for the older man who was intended to be May’s suitor.

It might not have been completely terrible? A good handful of people read it, and at least one person whose opinion I trust told me it was well-told and they enjoyed it. I never ended up editing or trying to submit it anywhere, because I didn’t think the story would have a market. Too gay for straight romance, too straight for gay romance, and I had no interest in editing out either of the romantic storylines. Those dual storylines were what really made the plot.

The important takeaway from that early effort was how to outline, and it gave me the confidence that I needed to continue with that format. 2002 was like a writing exercise in which I learned which parts of my outline to stick to, which to scrap for the sake of the story, and where I could improve upon it during the writing process, always allowing for inspiration or characters becoming so much more.

That’s how I write from my outlines, in the end. The outline is the framework that the story is built upon, but I’m free to change or tweak as needed, add extra characters when they’re called for, accommodate a dramatic twist when the opportunity presents itself, and let the story play out the way it wants to be written. Sometimes the characters surprise me, and I like it when that happens–if I can get caught up in writing it, hopefully others will get caught up reading it, too.

For Nanowrimo 2003, I dove into it with the same mindset, but started with an unfinished outline. Little did I know, once November was over and I’d turned out over 85,000 words, without an outline or a clear path to the end I would lose momentum. It took me nearly ten years to finish From the Inside Out. When it was accepted for publication, the epilogue got axed, and many of the storyline details changed during the editing process. I believe this is partly because my outline, penned back in 2003, was weak in plot and the relationship story I tried to tell wasn’t right for the characters I developed. Since then, in my meager opinion I think I’ve gotten better at those elements.

In terms of the outline process itself, I always start with the characters first. I have a general idea for a story, which I may or may not write down right away. I form an idea of the main characters in my head: what they look like, their personalities, what they do. I’ll often use actors as character bases, but not always. Sometimes their names come to me easily; other times, I do research based on ethnicity/nationality, personality traits, when they were born and what names were popular at the time, and personal preference. Once I have their names down, I commit that to paper or electronic file and start jotting down ideas about them. At this point of the brainstorming process, I may or may not rough out a general idea of the storyline itself. “Convergence” started out as “Indiana Jones with vampires,” so you can see I had a long way to go from there. In fact, my original short story idea for the Proud to be a Vampire call was going to be something else entirely, then instead of shifting the scene I’d mapped in my head to the end of the story, I realized as the characters developed that the scene in my head wasn’t the right part of the story to tell, at all. I developed an entirely new story from there–and it’s one I like a lot better. “Appetite,” which ended up a sprawling three-part tome, began its life as the teaser sentence “competitive chefs with a passion for cooking…and each other.” I start with building blocks, and the idea grows until I have to write it all down. Usually the story name comes in at some point during my outlining process. Sometimes, the name is a placeholder and I change it at the end. “Body Option” and “Fireborn” both had different working titles; I can’t even remember what the original titles were anymore.

Right now, I’m at the beginning stages of outlining two new manuscripts, and the process is so different for each of them! “My Sexual Superhero” is a short story I’ll be submitting for a fiction call. All I know about it, at this point, is the two characters get together at a club, and one brief encounter ends up turning into something more when they actually open up and start learning about one another. One of the main characters is tentatively named Jaden, but I might change it. His best friend is Marina. The other guy would be Chris if I hadn’t already named another character Chris, in Convergence. I have a snippet of dialogue already written, but that’s it! Oh, and I know what they look like.

…and I came back from lunch and “Not Chris” became “Felipe” and all my nascent ideas about him have changed, and I like him even better than my original concept for him. I have more ideas about where the story is going, but not how it ends.

The other manuscript I’m plotting is going to be my 2013 Nanowrimo, and I’m trying out “Dragonspire” and “Dragon’s Nexus” for WIP titles. After searching for novels titled the same or similarly, I’m sure I’ll scrap those and come up with something else. The three characters I’ve got so far are Gideon Stahl, intrepid photographer engaged in a major life change; Chrysania Vallorum, high priestess and princess of Callar-dune; and Echo Glaive, a powerful dragon whose actions threaten the livelihood of Callar-dune’s citizens. Tagline for the story is “Gideon went to save the maiden. He pledged himself to the dragon.” At this point, I’m concentrating on the world-building details while the general storyline comes together in my head. When I start outlining things scene by scene, that’s usually when a lot of things start to shake out into specific form and structure. For longer stories, I tend to decide early if there will be different “parts,” or story arcs, divide the outline into those sections, and work on those. I think that Dragonspire will be two parts, possibly three, but I don’t want it to be much longer than 100k altogether, because I want this to be a standalone fantasy work. That’s going to help dictate the complexity of the outline.

Once I have all the general pieces, I start writing scene by scene. This varies from extremely general–“Jaden goes clubbing with his friend Marina”–to very specific, with some scene-setting or world-building details that may get incorporated into the manuscript. I outline in a relatively linear fashion, but jot down bursts of inspiration as they come. Often, I know how the story will end before I have the middle nailed down, for example. Or I’ll get a scene in my head that takes place in the story, and I write it all down and figure out a place for it when I’m going through the linear plotting.

Ultimately, most stories can be deconstructed to a single element: conflict, and resolution of the conflict. Whether that takes place as relationship conflict, or external conflict through opposing forces, it’s all up to the author and what they want to achieve, and how they want to get there. Some people work best when they jump right in with those vague ideas, and work their way through it during the writing process. For me, the story works better when I start with those vague ideas, and work their way through it during the writing process. For me, the story works better when I start with the ideas and give them greater substance with the structure of the outline, however loose or detailed. We tell the stories we want to tell–the ones that want to be told. If you don’t have a plot at first, it’s not a problem. Put your characters down on paper, maneuver them into the same space together, and figure out what makes the sparks fly from there. Above all, don’t be afraid to experiment and find out what methods work best on an individual basis. I used to think that I had to have every single world-building detail figured out, and I was failing some criteria of being an author if I didn’t–then I discovered not everyone works that way! The great, fun, endlessly inventive thing about writing is that everyone does it differently. And we all find our best way.

Right-sizing your novel

Let’s call today “topical Tuesday,” and get right into it! My initial goal was to post around three to four times a week, now I’m scaling back to two, with on the spot updates as opportunity arrives.

Between tl;dr and brevity being the soul of wit, there’s a proper length for everything, from blog entries to listicles, from serial stories to traditional novels. In our modern society, where mass consumption and getting to the point often seems to be favored over a full-course meal and taking time to explore and develop ideas, I wonder if we’ll ever see a counter-movement from Tweets and reblogs back to engagement through discourse again.

Still, there is an optimal length for just about every message you’re seeking to convey, and it’s important to select the right tool for the story you’re trying to tell.

Conventional wisdom holds that novels ought to be around 100k-175k words, but it breaks down in trying to pinpoint the difference between a novel and a novella. National Novel Writing Month, in which I’ve been a participant since 2002, sets the bar for a novel at 50k or greater.

As a writer, most of my stories tend to be longer, with a slow burn relationship that unfolds over the course of the work. I like to show who the characters are separately before I throw them into a new dynamic that will hopefully reveal even more about them as people. On that basis, my novels tend to start at 50k and go on up. Sometimes, way up.

I find it really difficult to tell a complete story, plot and relationship arcs, and any important sub-plots, in 50,000 words maximum – that’s why that range tends to be my starting point rather than the end goal. Signal to Noise, one of my most tightly-plotted works to date, is 65k.

From the Inside Out, at 165k, falls in that “standard” range for a novel mentioned above, but one of the frequent critiques from readers is that it’s too long, and should have been edited more tightly. I could probably agree with that, but it also raises the question, what’s too long for a relationship story that starts from the ground up, and has its own plots and sub-plots, supporting characters playing important roles and standing on their own as characters, and the logical progression of a first-time relationship?

Appetite, compiled in its full weighty glory, is 192k words. And I really don’t think I could have told the story and done it justice and pared out any more than I did. (As it is, I trimmed out about 20k and added some new material at my editor’s direction.)

Conversely, when I try to keep a story down to brass tacks, I received an editorial opinion that, rather than trying to cut The More Plausible Evil below 50k, I ought to expand it by an additional 20k-30k to better flesh out and develop the characters and their relationship. Every story is different. And that made me pull my hair out, because the one time I tried to keep it lean and mean, that worked against it!

I’m going by my own stories as example because it all boils down to opinions, and discovering what works best for your story, depending on the genre, and maybe even the intended readership. What might work for a serialized story might be more frustrating and overmuch when compiled in a massive volume. (Though fans of Arthur Conan Doyle might argue.)

Sometimes I start out plotting a story, expecting it to be a certain length, and discover that the first draft ends up far more than planned. I started a young adult novel last November, and the first third ended up a hair shy of 55k. I had three arcs planned! I still haven’t finished that novel; it started out a promising idea, but ended up boring in execution for me. I think I need to revamp certain things about the story and the heroine before I make another go at it. At the rate it was going, each arc was going to be around 50k, and that’s not standalone. For a young adult audience, 150k as a single novel is definitely too long unless I tried to break each arc into its own individual novel and make them self-supporting enough for that to work.

It kind of comes down to attention span, doesn’t it? Young adults go for the shorter reads and slimmer volumes. “Serious” fiction is expected to be longer. As for gay and queer fiction, I suppose I’m still finding my way. Convergence and Body Option could both be considered novellas, I think; they’re around 20k each and I managed to get in there, tell the story and develop the romance, and conclude without making it any longer.

Then there’s others that grow tentacles and rise up out of the ocean to consume you. I tapped one of my old Nanowrimo stories to edit for potential submission, and was shocked to realize it’s around 160k. It’s a mystery/suspense with some horror elements, and takes place at a fictional boarding school. There are two relationship subplots. And I shake my head at my younger self, realizing here and now that I’m going to have to trim a lot of fat out of that story before I even think about submitting it to a publisher. (I already know I’m going to chuck one of the relationship subplots, which is going to make some of that story’s first draft readers very unhappy.)

What’s the optimal novel length for a standalone work? Does it depend on the subject matter? The plot? The author?

To me, it’s a combination of all of those elements. Genre and intended audience definitely play their parts. The simple, obvious example is the young adult genre–more than 60, 75k is pushing the attention threshold to keep your story marketable.

I’m starting to wonder if that holds true for a lot of m/m romance readers in that they want to keep their stories around 75k – get in, get the payoff, get it neatly wrapped before bedtime. For me, though, the thing that dictates the length of my story are how the story wants to be written, and I’ve always believed stories, as well as individual chapters within them, should be as long as they need to be.

As a reader, I seek stories on that basis, too. Long or short, it doesn’t really matter to me so long as I’m engaged and interested in the story that they have to tell.

As a reader or a writer, what’s your take on it?

Surfeit: A Review; and Current Projects

Out of nowhere, a blog entry!

I’ve been resting and recuperating after my week-long Appetite Tour de Foodie (and giving all of you a break), but I’m back and ready to talk about what I’m working on as well as my upcoming projects, and confess the fact that I may have gotten my head under water.

First and proudly foremost!

Surfeit for the Senses has netted its first blog review over at Joyfully Jay.

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Crissy at Joyfully Jay has high praise, and says “As a reader, I love to be shown the author’s vision and Andor certainly showed me everything she saw from the food, to the characters, to the restaurants, to the city. I simply loved it.” Check out the rest of her review to see what she has to say; it makes me really happy, of course, because not only is it a great review but seeing her talk about all those things is what I was really trying to bring forward and convey, so it’s always fantastic to feel like you got it right.

She concludes the review wishing she could see more of Alex and Nik, and I have to say, I’m hoping it’s not the last we’ve seen of them, either. I’d like to write two more novellas of their continuing adventures in cuisine, and already have the storylines handy for both. So if you thought I wrapped it up neatly, think again; there are more than enough recipes (and potential issues) to delve into the realm of Appetite again. Crossing my fingers hopefully that I can get to them next year!

Next on tap!

rockinghard1_225

I have the galley proof for Rocking Hard in my inbox, and it’s top of my priority list for this weekend to get that looked over and returned to the press. It features a slew of the rocking good serials that premiered at Less Than Three Press, bound together in one musically-driven anthology.

My story, Courage Wolf Never Sings the Gorram Blues, is part of the anthology, and I’ve been told I am now “on the list” of authors who’ve made themselves troublesome with long titles. Oops?

Courage Wolf Never Sings the Gorram Blues is the story of Bailey Kravitz (no relation to Lenny), the flashy and high-strung frontman for Courage Wolf Sings the Gorram Blues, a saucy internet sensation whose music-making duo enjoys riffing on memes and other social-networking jokes. Bailey goes on the prowl for bandmate Gunner Lansing, but when his interest is harshly rebuffed, his recoil threatens to tear the band apart.

It’s no longer available through the serial site, but you can pick it up with the anthology on Oct. 1st. I’ll unpack what went into the band’s name a bit closer to the release date. But if you already understand it, then you forever have my heart.

Also on my list for this weekend, Convergence is back from edits and I have some work to dig into. I’ve also secured the services of someone to Britpick it for me, because the main character, Chris Bryant, is a Brit and I completely failed to Briticise the spelling. (See what I did there? It’s a start.) First stop, figuring out how to re-configure my Word spellcheck to make it think we’re in the U.K.

In terms of what I’m writing, Klaxon at the Core is wrapped at a hair under 90k, I’m really happy with my pre-reader’s reception to the story, and it’s off for its first edit pre-submission. Body Option first draft is done, and I’m finishing up my own re-read and self-edit before I send it to its pre-reader and first edit. Next up is re-reading The More Plausible Evil to work it over for expansion, and I have some fan projects going on as well, with one of those due at the end of the month.

After I’m done with The More Plausible Evil, I want to write My Sexual Superhero for Less Than Three’s Satisfaction Guaranteed call, and I thought my dance card would be open for NaNoWriMo, but it’s filling up fast.

Piper Vaughn put out a call for Project Fierce, and I’m signed up, pending inspiration. (I did put dibs on a fairy tale I might like to re-imagine. Oops, now I have a title. The rest will come in time.)

Also, Less Than Three put up Geek Out – a trans* call, and I got a brain tickle for that one, don’t have a title yet but the ideas are slowly forming. I also have a story that would work very well for their Damsels in Distress call, but have to either pull it from SSBB, or re-draft it substantially enough to be considered brand-new.

Consider as well the fact that The Fall Guide will be out during the tail end of Fall, December 3rd. So I have those edits yet ahead of me.

Busy author? Yes, feeling a bit overwhelmed at the moment, but loving it. I also have three things on my wish list project: a sequel for Fireborn, the final installment of a fan project I started years ago, and my pre-reader for Klaxon at the Core sparked ideas for a potential third novel in the Signal to Noise universe. Not to mention those after-Appetite novellas. (Should I call them Aperitifs?) And did I mention I want to write a sexy, short one-shot over the weekend?

A writer’s work never ends. Bless.