Ramses awakens in 1914 in London, years after his previous awakening. When he had reigned over Egypt he learned the formula to make an elixir that made him not only immortal, but superhuman. He apparently is highly intelligent, reflected by learning English in record time. I personally wonder how intelligent he is, because some of the decisions he makes in the story aren’t the brightest. However, his poor decision making is what drives the plot.
Anne Rice loves her immortals. I think perhaps Ramses is my favorite type of immortality featured in her books. Unlike her vampires, Ramses doesn’t seem to have any flaws (Other than thinking with his little head), but seems to enjoy all the benefits of her older vampires. Although, I personally would prefer Ramses’ immortality, it doesn’t really do the book any favors. A good book needs flaws, and poor decision making doesn’t really do it for me.
All in all, I’ve always enjoyed Anne Rice, and I think this is a fine read, just not as good as some of her others.
The last few weeks have left me worn and tired. I have been working tirelessly on perfecting the cover of The Unfettered Child while also working with my editor to perfect the manuscript.
What more could be done with the cover, you ask? Actually, so much more. In fact, I found something new to fix almost every time I looked at it. It’s been a while since I did part four of this series, so let’s back up to then:
As you can see, I had Samara standing in the corner, looking kind of vague, her feet shrouded in shadow (okay, a gradient really), and striking a tree in the distance with a magical lightning bolt. Something nagged at me when I presented this cover, from the beginning. I couldn’t put my finger on it right away.
Then a comment on Twitter shined a spotlight on the issue. The comment was: “Dude spent 8 years at magic school just to burn down a tree. That’s dedication to a grudge there…”
It was a funny comment, but it raised the question, “Why is she attacking a tree? Also, why should the tree be focused on at all?” So I jumped back into the file and started making adjustments. First, I wanted to focus more on Samara. I came up with this:
I still had issues with the above image. Something seemed off. One, she was still attacking the tree, which didn’t set well with me. I decided to enlist some help.
I went on over to Reedsy.com and signed up for an account. I already knew the website had tons of resources for authors, so I decided to look there first. However, I also knew that I didn’t have a lot of funds for this, and I do know a thing or two about Photoshop.
So I made a bid on Reedsy to five artists who looked appealing to me and might be willing to help with my request, which was a unique one indeed. Two of the cover artists flat out rejected it due to being too busy, and the rest sent me quotes.
My first quote was basically, “Yeah, your cover sucks. Let me do it over from scratch for lots of money.” The second quote was much more diplomatic, but essentially the same.
Then along came Gwen (@UponADayDreamer), who offered to be an “art coach.” I have to admit, I had no idea what that would entail, but I decided to plunge in and see what happened. At the very least, I might learn a thing or two.
The first thing she asked for was composition thumbnails. I said to myself, “What the hell is a composition thumbnail?” Instead of sounding dumb by asking her, I asked my friend Google instead. Google rarely lets me down, and didn’t this time either. So, in short order, I did this thing.
For those of you who also have no idea what a composition thumbnail is, I won’t make you ask Google. Basically, you’re blobbing your figures with grayscale to help determine where the light sources are, which will in turn help you figure out appropriate shading.
I made the last five of these thumbnails to see what a lighter sky and a darker ground would look like. Also, I tried re-positioning the figure, having the tree, and not having the tree.
These two were with the dark sky. I decided I like the larger figure and the darker sky out of these, so we moved on.
She then asked for more thumbnails with more details drawn in. This was the point at which I had to raise my hands in supplication. I told her, “I can do photo manipulation, but I’m no artist. I can’t draw details.” So she told me to grayscale the work and make thumbnails like that. This time, she wanted me to change a few things.
First, she said, “Your story takes place on a tundra. Oak trees do not grow on the tundra. You need to replace it with a pine or birch tree.” Fair enough. Then, she said, “You need to make it larger to show scale better. But also try some different things. Have her strike a different type of object, maybe a person, also try to just have absorbing the lightning from the sky, leaving the tree alone, and also absorbing the lightning with no tree.”
So I sent her these thumbnails next:
As you can see, in the top left corner, she’s absorbing lightning and the tree is left alone. In the top right, the tree is gone but she’s still absorbing the lightning. In the bottom left, she’s shooting a camp fire. Last, she’s attacking the tree.
I personally liked the tree gone and her absorbing the lightning, so we went with that.
Next, I sent her the image I was going to use for the full cover (which I don’t have a color image of anymore):
She told me that she didn’t like the two bolts coming down, so I removed one, and it did look better. I sent that to her, and she suggested I put one bolt on the back part of the cover, striking in the distance. So I sent her this:
You’ll also note that I removed the solid black on the bottom on these last two images, and just had Samara’s shadow there. The dark shadow behind her was there for a reason. I didn’t photograph my daughter’s feet in that picture and I was trying to cover up their absence.
I actually have a ton of images showing the multitude of changes we went through. It was a back-and-forth game for weeks. Each time, we would improve the image a little more. We adjusted the lighting and shadows, added the grass, and finally, she convinced me to plunge in and try to draw the feet in. I did, with excellent results. The final image was truly a masterpiece, the best art I have ever done.
After we finally finished the image, we moved on to the text, but we were dangerously close to running out of time, and I couldn’t afford to tack on any more hours to keep going. However, in the last two emails she sent, we managed to fix the text for a beautiful end result.
We lowered the U in “Unfettered” and the C in “Child,” centered the title, and brought it lower. Next, we had the lightning shoot through the D of my last name, which was a really nice effect. Last, I added a tagline, and the final product is just amazing. Check it out here:
No, I’m not talking about Dungeons and Dragons. I’m talking about character sheets for the characters in novels. Not to say that I haven’t used D&D to make characters for my novels, because I certainly have. However, Dungeons and Dragons lacks some very important elements for characters in books.
You want your characters to be memorable. You want them to be believable (at least in some ways). You want them to be unique. How do you go about doing that? Well, I’ll start by telling you how I do it. Then I’m going to share some resources I found to help.
However, since I mentioned resources, I’ll actually start with what I use to outline, keep notes, store information, and begin my writing process. Google Docs! Why do I choose Google Docs? Because it’s easy, it’s organized, and I can access it anywhere I want.
The hitch is the internet requirement for using Docs, and it’s true, it’s quite painful to not have access to my documents when I’m not connected to the Interwebs. With that said, I only work when I’m at a computer, and I rarely am not connected.
What you see above is the spine of my projects, with each folder being the start of a project I’m working on. Within each of these, I keep the main body of the work, broken down by chapters, and then I have a folder as well that contains notes. It’s in the notes folder that I keep my character sheet.
Now for the structure of my character sheet, or what I prefer to call my Character Portrait. I start with the name. That’s kind of a given. Then I go into physical appearance, but I don’t go into great detail here. Instead, I focus on defining traits. For example, Samara’s people are of a darker complexion like that of the Chinese or Mongolians; however, Samara is paler than most of her kind. Also, she has abnormal, night-blue eyes, almost black, whereas most of her people have brown or hazel eyes.
Next, I focus on the character’s history. Why history over personality? Because history, more often than not, shapes personality. Samara’s people are nomads. Life is difficult for them, and they rely heavily on one another. Therefore, Samara is very selfless, willing to stand up for others. She was also being trained as an apprentice by the tribe’s shaman. She is very devoted to her studies, very curious, and intelligent. When she learns magic, it is with determination and relentless persistence.
After history, I focus on the character’s interests before and during the story (sometimes they can change). I also put notes of significant research in the document. For example, I have extensive notes on childhood trauma and how children are affected by and deal with it.
That’s it. I have extensive write-ups for each of these sections. I don’t spend a whole lot of time developing every little detail of the character, that usually just pops in while I’m writing, and I can fill that stuff into my notes later. However, I still do make D&D character sheets, because it’s fun.
This may not work for every writer, so I’m going to tell you of some programs that I discovered, and one in particular that I’m interested in. I’m going to try using portions of it on my next project.
Bibisco is a free-to-download program that gives you a bunch of amazing features, and if you donate (at least 12 pounds), you get even more amazing features.
I’m only going to focus on the character sheet portion of this program, but it is worth checking out the rest if you need help organizing things like locations, timeline, architecture, themes, scenes, and chapters.
The first step to creating a character on Bibisco is to click on the characters tab. The program will now have two sections on the main screen: main characters and secondary characters.
On the right side is a button that states “create main character.” Click this and it will ask for your character’s name. Type it in and hit save. This will take you back to the previous screen, but now you will have your character listed underneath the section that says “main character.”
Next, click on that character. Here is what you’ll see:
As you can see you, there are five questions: Who is he/she? How does he/she look? What does he/she think? Where does he/she come from? And, Where does he/she go?
Underneath these questions are more buttons. When you click on them, you are given a more in-depth questionnaire about the character. There are a large number of questions there, so I’m not going to go into each one, but for example, the “physical features” button has questions like, “What does his/her shoulders look like?” Very, very detailed lists.
I haven’t looked into the details of these, but I found a list over on www.reedsy.com that talks about several options (paid and free) when it comes to software for novelists. Click the link for more details.
So how about it? Do you find yourself using these programs? Do you think they’re useful? Please comment below, and thank you for reading.
This upcoming novel is entirely unrelated to Assassin Marked, but don’t give up hope, folks. I’m certain you will enjoy The Unfettered Child, and it won’t be too long before you see Lavender Rose’s release (the full-length sequel to Assassin Marked). Sorry, people waiting for the sequel.
Speaking of Assassin Marked! As the title to this blog post states, I am running an Amazon promotion, so you can download a digital copy of Assassin Marked for free. Yeah, that’s right! Starting right now and continuing throughout today, April 30th, you can get Assassin Marked for free. What are you waiting for? Click here to order.
In other related news, something that’s been milling around in my head is turning Assassin Marked into a graphic novel. Turns out I’m not the only one thinking along these lines. Earlier this month, I received the following review on Goodreads:
The main reason I’m bringing this up is that I would love an artist to step up and turn it into a comic book. What do you say, artists? Want to earn some royalties?
That’s all I’ve got for now. Thank you for your time.
While perusing the endless posts of writers seeking help and advice on social media, I’ve run across some who ask, “How can I make magic work in my story?”
Many established authors have broached the subject and invented unique methods, but new writers want to make something fresh.
The real question is: What is a fantasy story without magic? Of the top of my head, I can’t think of any high fantasy stories that don’t include magic of some kind. J.R.R. Tolkien, J.K. Rowling, Neil Gaiman, Robert Jordan, and so many more authors have included magic in their stories.
Each of these authors approaches the use of magic in their own way, and applies their own limits to its use. For example, Harry Potter must have a wand and must know the correct incantation. Stupefy anyone lately?
These limitations, I feel, are very important for an author to include, and would perhaps be the first thing to consider when developing a magic system. Without them, a character runs the risk of becoming a superbeing without challenges, and challenges are what make a story good.
While you are developing your system, consider including a learning curve for beginners, and the opportunity for growth. Remember Willow‘s first spell? He accidentally shot himself into a tree. Perhaps you can have a school for magic, or an apprentice system. Regardless of the method you choose, all of your characters should have a starting point, and a place to grow into.
These three things–limitations, learning, and growth–serve as a foundation to your character and their magical growth. Next, you can develop magical structure and techniques, but honestly, these are not important to flesh out unless you feel your reader needs them to understand the first three things.
In my current work-in-progress, for instance, a mage must draw upon their own inner reserve of power, which grows stronger as they practice the art. As the mage uses magic, it drains them, making them feel tired. If they push too hard, the mage will die from the exertion.
It’s a very simple explanation, and I like it that way. This allows me to focus on telling the story. Don’t let your lessons on how magic works interfere with the tale you’re weaving.
I would love to hear your thoughts on how magic works for you. Let me know in the comments below.