RITA ® Award-Winning Author of Fantasy Romance
//Celebrating the release today of WINGS UNFURLED by Rebecca Gomez Farrell and A HARD DAY FOR A HANGOVER by Miss Darynda Jones! Otherwise I’m talking about being gentle with ourselves and what that means.
//Today sees the re-release of my Kinky Christmas Caribbean Vacation, FIVE GOLDEN RINGS! I’m talking about where I’ve been, what a writing retreat can do to clear the mind, refill the well, and provide a creative reset.
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THE LONG NIGHT OF THE RADIANT STAR – a midwinter holiday fantasy romance in the Heirs of Magic world – is out in the world!
This week at the SFF Seven, we’re talking Secret Identities! As in, the work we do on the side to make ends meet, partners helping to support us, and quitting the day job.
I’m fortunate that I was able to quit the day job – 18 years of a career as an environmental consultant – about 7 years ago. It was one of those things where the day job quit me: my team was downsized, I got laid off with affection and good severance pay, and I decided to try making a go of it writing for a living and NOT getting another day job. In truth, I was more than ready for that moment. At the same time, I kept waiting to make as much money from writing as I did from the day job (including the value of benefits), which was never quite happening. If I hadn’t been kicked from the nest, I might never have voluntarily left it.
That said, it’s the best thing that ever happened to me. My husband has Parkinson’s Disease and is no longer able to work, so apart from a small retirement income and his social security payment, keeping us afloat is up to me. That reality has made me really hustle with my writing. Between self-publishing and traditional publishing, I’m now making what I was with the day job.
And I’m ever so much happier. Seriously, after having essentially two careers for over 20 years, it was such a relief to focus on just one. Plus, all the meetings and phone calls I have are about books and writing. It’s the best life!
I don’t do much work on the side. I do some author coaching and teach the occasional workshop – I’m considering doing more classes – but it’s important to me for the happiness quotient. I want writing and making books to be the priority. That’s what I quit the day job to have.
//Last podcast for a couple of weeks as I’m headed on vacay/writing retreat. Talking about connections in our lives, Buddhism, David Bowie, Taylor Swift, expectations on creators and a bit on BANDITS.
//THE LONG NIGHT OF THE RADIANT STAR is out today! I’m burbling about that, controlled chaos, the importance of female friendships, and also story structure and applying screenwriting tricks to writing novels.
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THE LONG NIGHT OF THE RADIANT STAR – Jak and Stella’s midwinter holiday wedding – is out now!
Did anyone give you truly sound advice?
Did you have a mentor and if so how do you pay it forward without getting buried by requests?
I’ve been truly blessed in having numerous mentors and lovely, gracious people willing to give me advice. The one I’ll single out today is SFWA Past-President, Nebula-Award winner, and wonderful author of science fiction, sf mysteries, fantasy, and near future thrillers, Catherine Asaro. When I was shopping my first fantasy romance novel, sometime around 2008/2009, Catherine did me the huge favor of reading the book for me. I kept getting enthusiasm from agents and editors, and full manuscript requests, but they all came back with “no,” saying they didn’t know what to with the book or how to market it. I’d run out of ideas for how to revise the book so it would sell.
Catherine read it and said – the first person to say this to me – that the only “problem” was that I was writing cross-genre. She told me the story was good and that I was a good writer (things I desperately needed to hear), but that if I kept writing this fantasy + romance cross-genre, it would be like wading through hip-deep snow to succeed with it. She also told me she thought it was worth doing.
She was right on both counts.
As for paying it forward… I do that as much as I can. I volunteer to mentor through SFWA and other fundraisers. I offer advice in various arenas where I think people genuinely want to hear it. (Few things are more frustrating to me than putting energy into offering advice to people who don’t listen.) I have my podcast, First Cup of Coffee with Jeffe Kennedy, where I talk about writing and publishing (and other random thoughts). All of these venues allow me to control how much bandwidth I devote to mentoring others. In truth, I started my Author Coaching side business entirely so I’d have a way to charge money for my time and energy, when the bandwidth wasn’t enough.
That said, if you catch me in person at a con, I’m always happy to chat over an adult beverage. Offerings of chocolate are also acceptable!
//The novella is done! I’m reviewing my productivity over the last year and discussing the next projects. I’m also mulling writing retreats, why we go on them, and what I hope to get out of the one I’m going to.
//Some background on the difference between Back Cover Copy (BCC) and blurbs, how BCC remains the property of a publisher, even if rights are reverted, and what is a big NO to a publisher trying to retain.
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Coming Soon! THE LONG NIGHT OF THE RADIANT STAR.
This is a novella in the Heirs of Magic series and occurs after THE STORM PRINCESS AND THE RAVEN KING. It’s Jak and Stella’s wedding on the longest night, the Feast of Moranu. I think I’ll release it on Monday, November 21, 2022. No preorder this time. I’ll post when it goes live!!
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At long last, Jakral Konyngrr—lowly sailor, gambler, and sometime rogue—has won the heart and hand of Princess Stella of Avonlidgh. Never mind that Stella’s mother is determined to make their wedding the event of the century, he’s happy to endure any trial to marry the love of his life and his guiding star. Very soon they can sail away together into the rest of their lives. Unfortunately the wedding becomes delayed for several months, until midwinter.
Stella—sorceress, empath, and bearer of the mark of the Tala—has been through great trials. But nothing has tested her as sorely as her passionate and flamboyant mother planning their wedding. Even Jak’s steady love and companionship isn’t enough as Stella finds herself crumbling under the pressure of being snowbound in a castle with the press of so many minds and emotions. When she lashes out, she hits the worst possible target, jeopardizing her chances for happiness.
With several kingdoms and a former enemy empire bearing down on them, Jak and Stella’s wedding on the longest night of year might not happen at all… Unless they can create their own happy ever after.
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This week at the SFF Seven, we’re talking about Telling vs. Showing, particularly we’re examining when some narrative exposition is needed.
It’s an interesting question, and one very much focused on genre fiction. Many of you know I began my writing career in creative nonfiction. For many years I wrote and sold essays. My first book was an essay collection. At no point in that time – in classes, in critique groups, in discussions with editors – did anyone bring up Telling vs. Showing. It was only after I began writing fantasy romance (etc.) that the concept was introduced to me. I had to learn not to use the narrative exposition that had worked so well for my creative nonfiction voice, but to “show” instead.
Why is this a thing?
The oft-cited example is attributed to Anton Chekhov: “Don’t tell me the moon is shining; show me the glint of light on broken glass.” It turns out this exact quote is probably apocryphal. A passage from the article I linked to says:
In May, 1886, Chekhov wrote to his brother Alexander, who had literary ambitions: “In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you’ll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball.”
It’s salient to note that he’s talking about description here. When my genre-fiction editors and critique partners introduced the concept to me, they framed it as a way to deepen the point of view (POV). In genre fiction, in particular, readers love to be immersed in the characters and world, thus the incentive to deepen POV.
I worked diligently to learn to show, not tell.
Fast-forward to my current agent, the insightful and incisive Sarah Younger at Nancy Yost Literary Agency. One day, after reading one of my manuscripts we planned to take on submission to traditional publishing, she said, “Jeffe, I know you work really hard to show, not tell, but sometimes we just need a line or two telling us what the heck is going on.”
And she was right. I was so busy describing the glint of light on broken glass that I was failing to explain that this world had three moons.
In the end, as with all things, it comes down to balance. We need both in order to tell effective stories: immersive description and deep POV, along with some clear narrative exposition to ground the reader in the world.
I’m getting better at it!
//Talking to my future biographer about my freakitude on guarding my writing time, writing retreats, and more harping on how the writing process cannot be conflated with the reading experience.
