I’m happy to announce that Masks: A Novella is now available in print!
Coversis with a beta editor, who will hopefully, get on with it already! I want to start rewriting as soon as possible. While this is on hold, I have not been wasting time waiting. I’ve started writing book 4.
The main story will go something like this:
By the end of her summer, Rohini will fulfill a promise she made to her grandmother by following Indian traditional marriage customs. But when she discovers her brother in her fiancé’s arms, she flees her grandmother’s city of Mumbai for home, Montreal, Canada. Betrayed and angry, she seeks refuge among friends, but she can’t find the words to tell them what really happened in India. Thankfully, her friend’s big brother gives her a place to heal and regroup. There’s only one problem: everything she does becomes his problem.
By the end of his summer, Ryan will be in the best shape of his life. He’ll blow the competition away at hockey camp in September and earn a spot on a NHL team. He was well on his way to making his childhood dream come true when he let his little sister’s friend move in for a few weeks until he finds a more permanent roommate. He had expected a quite incense burning yoga-loving vegetarian. He got an undisciplined overly dramatic Netflix binger.
His life is like boot camp. Her life is like a Bollywood movie. To call this summer a success, they would have to survive each other.
Definitely a lighter and more romantic plot than my usual trauma surviving dysfunctional family stories.
So how does Book 4 sound? Let me know because you’re the reader.
Earlier this month, I read a young adult dystopian series. In the end, I felt cheated and foolish. I kept wondering why an author would want to do that to her readers and I can’t come up with an answer. I don’t think she did it on purpose. However, I did realize there were some lessons for me to learn as a writer.
The first two novels of the series were told by one first person narrator, but the last book had two first person narrators. I couldn’t tell whose point of view I was reading in the last book because the characters spoke the same way. I need to make sure I discover my characters as deeply as possible so that I can switch back and forth between multiple voices and/or POVs without confusing myself or my readers.
The main characters and their friends were easy to understand and care about. That’s why I kept reading. I wanted to see their development. Some of the antagonists were a little more difficult to understand because they lacked background. I struggle with this as a writer. How much do I want readers to understand where the antagonist is coming from? How much do I want them to empathize with him? My way around this is to make sure he acts destructively and hurts the protagonist.
Check the facts
In the information age, we all know a lot, but we can’t all be experts. So use that search button and double check the facts, especially if the plot hinges on those facts. I don’t want to start ranting about the major science blunders in the series, so I’ll move on to the lesson that can be extrapolated from this lesson.
Build a writing team
Build a writing team with a critic partner, a developmental editor, a proofreader, and a beta reader! Each of these roles should probably be held by a different person and each person should probably have a different background. So, hopefully, one of them will notice if my plot falls apart because it’s illogical, unsupported, the absolute opposite of reality, etc.
Take worldbuilding seriously
I majored in Comparative Religions and noticed something interesting about creation stories. They answer the questions of how the world was created, where it was created, who created it, what came before it. They also reveal the view and philosophy that the folks living in a shared religious and cultural tradition believe. Rarely, did they leave me with a question. Approaching worldbuilding as if it were a sacred revelation might be the way to avoid leaving readers with unanswered questions about the setting and the worldview that the characters are operating within.
Each book in a series needs to stand alone
A series can be linked by characters with each book being more like an episode within the series such as Janet Evanovich’s Stephanie Plum Series. Or it can be linked by an overarching plot like Bernard Cornwell’s Saxon Chronicles. The Saxon Chronicles span ten novels, each with a different plot, and the overarching plot begins in the first novel and always becomes a secondary priority until the final novel.
I’m going to keep these things in mind because the last thing I want to do is upset my readers with poorly written novels.
What is your favorite series? What do you like about it most? I love hearing from you. Leave a comment.