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D. Hart St. Martin

I make female heroes badass AND believable

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fantasy

In the Beginning

January 25, 2015 by D. Hart St. Martin 1 Comment

What a few weeks it’s been. After avoiding the holidays entirely (except for the incessant ads on the television), I’ve managed to begin my new book in earnest. Even took the first scene into my writing group last week. The verdict? Well, that’s what I’m here to discuss today.

“Beginnings are such delicate times.” Thus did Frank Herbert write in his SciFi classic, Dune (p. 441, Kindle edition). And, oh, how very right he was. Where and how to open the story is one of the most critical decisions a writer must make in any writing endeavor, whether it be a novel, a memoir or an essay. In my case, it’s a novel, and although a great deal of the setting is well established, years and many events have intervened.

So, where did I begin? Did I begin with a moment of movement and the near-immediate introduction of conflict? Did I hand the reader as little back story as possible in order to avoid confusion as I have often cautioned others in the group to do? Hell, no. I wrote a scene with too many names, too many explanations—in short way too much detail—and not a hint of conflict. And boy, did my workshop come down on me. Hard.

They didn’t actually say, “This is not where the story begins,” because they don’t know what the story is. But they knew I’d dropped them into a maelstrom of TMI and not enough story, and they were none too happy about it.

Feeling a little defensive, I dutifully took notes, then started adding a few of my own as the light began to dawn. This was not the beginning. In fact, this particular scene had no place in the story at all. It turns out my tale begins with what was the second scene, with the addition of one character in order to complete the establishment of the moments I will call up for remembrance at the end.

And when I rewrote the new opening and the scene that follows it, everything came together like a piece of Ikea furniture when you finally figure out what that one diagram actually means. All the building blocks of a delicate but powerful story lay before me eagerly awaiting assembly. Now, the story begins. Let’s see what my workshop has to say about this.

Filed Under: Success, Writing Tagged With: beginning a novel, fantasy, writing, writing proces, writing tools

Thristas (long but self-explanatory)

January 8, 2015 by D. Hart St. Martin Leave a Comment

A NOTE FROM THE AUTHOR

Before I wrote Lisen of Solsta, I wrote an earlier version where most everything that happens in Fractured and Tainted occurred but in a different order and under different circumstances. In that telling of the story, Lisen (who was called Ann then) didn’t go to Thristas until after she’d become Empir. Instead, out of curiosity, she sent Korin to Thristas to observe and return with a report.

I never wrote the report down back then. I had a vague understanding of what it contained but never required it in the story telling. However, when confronted with the desire to make Thristas real, I decided to compose that report for my own use in preparation for writing what is now Tainted. Thus, what follows is that report as it might have been had Korin accepted the assignment to study Thristas on his Empir’s behalf.

AN ETHNOGRAPHY OF THRISTAN LIFE
PRESENTED TO EMPIR ARIANNAS ILAZER
IN THE FIFTH YEAR OF HER REIGN

by Captain Korin Rosarel

Located within only a few horizontal miles east of Garla, divided from its parent state by the Rim, a long, mostly impassable range of mountains, Thristas cannot be further from Garla in its atmosphere, its people, and the manner in which those people persist despite what Garlans perceive as ferocious elements. Thristans have, of necessity, adopted a lifestyle which makes it possible for them to live together within the close environment of a mesa, to avoid the heat of the day as much as possible and to survive on the meager supply of sustenance available.

How they got here, how they survive here, what they do here day to day—all of these questions have rarely been asked by anyone in Garla and never by an Empir. Garla’s residents are aware of Thristas, but they close their eyes to the reality of an entire other world in existence just over the mountains. The people of Thristas know they barely exist in the minds of Garlans, and they grow weary of the ignorance of their westward neighbors. Few Garlans know how people ended up in Thristas; even fewer care. Thristas is a little itch on the arm that is the “greatness” of Garla.

It is foolish for Garlans to be so cavalier about a larger-than-they-think population of strong and willful people. One day a charismatic leader will rise up and guide the Thristans to a violent fight for their independence, either by pulling away from Garla entirely or by overcoming an unprepared Garlan Emperi Guard and wresting control of Garla from its Empir. We need to understand our neighbors to the east, to communicate with them and to recognize that differences between us exist but that those differences do not define better or worse. To accomplish the first of these tasks, I spent an extended length of time living in Mesa Terses, one of the six mesas, and now present my findings to my Empir, Ariannas Ilazer.

Your captain and defender,
Korin Rosarel

The Story:

The Thristan Story is entirely verbal. The people use writing sparingly, not all can read, and the written word barely exists in Thristas. If writing is necessary, Garlan is used more often than not. Therefore, as with all oral-only tales, there is some basis in fact, but I question portions of the account. I will, however, note my doubts when applicable.

“The People,” as they call themselves, speak of arriving in the desert an age ago. By my estimation, they most likely made their way over the mountains from Garla. They speak of it as “coming home” although I doubt those first settlers saw it that way. (See Geography, topography, weather below.) They did not come willingly, of that I am certain. “The Destroyer sent us away as punishment for our willfulness and our pride. We left behind our homes, our families, all that had once meant life to us and followed the Maker to a new life,” the oral tale informs us. I believe this refers to a marginally documented moment in the Garlan Story when Empir Osificant exiled a large group of citizens after they had questioned her right to force their young people into service to her, either in the Emperi Guard or as servants to her and/or other nobles. This occurred approximately 750 years ago and correlates well with the refinement, complexity and signs of age in the excavated tunnels within Mesa Terses.

Many of The People died in the first years. They found shelter in the caves on the east side of the Rim, but water and food were scarce. Some ventured out and discovered that the mesas could also provide shelter in caves with connecting tunnels, with the added advantage that many small desert creatures had long ago taken up residency in those caverns, far more than they’d found in the Rim’s caves. They also found water, funneled in from above, preserved in enclosed lakes for “longer than forever.” They made the trek to Mesa Terses, the closest mesa to their original arrival point, and settled there. They learned they could grow some meager crops on the mesa’s crown, and as the population regenerated, they moved on to the other mesas one by one so that today they occupy all six within sight of the Rim.

Geography, topography, weather:

Thristas is a desert. The rain that showers Garla rarely makes it over the Rim, leaving Thristas hot in the daytime, cooler than anyone in Garla would imagine at night, and dry as a bowl of water left out in the sun too long. One would expect that, in such an atmosphere, no plant life could survive at all, but that is anything but the case. One glance from the top of the Rim reveals an expanse of tawny brown with sprinklings of green. What are these hardy plants that survive without water for months on end? They are vegetation that can store deep within what little water is provided to them, protecting the precious resource within a usually tough exterior. Some of these plants also serve as nourishment to the Thristan people; one in particular has become the most important source of income for The People. (See Economy below.)

The mesas, six in all (the above-mentioned Terses, along with Orul, Tebu, Ves, Diri and Eres), are the most outstanding topographical feature of Thristas. Without them, The People would not have survived their exile. They are, in most cases, named after their original leaders, those who guided their small bands of people, soon to be known as tribes, as they broke away from the original Tribe of Terses, which was itself named after the woman who lead The People over the Rim.

Each mesa is riddled with a multitude of labyrinthine tunnels which Thristan children run through when allowed to play, and thus The People learn how to navigate the mesa without getting lost. The children are taught early not to wander the tunnels alone so that if one gets lost, there are always others who can report them missing and guide the searchers to the last place the child was seen.

It might seem to those raised in the bright sun and fresh air of Garla that life in such an enclosed space could prove daunting, but surprisingly, it is not as uncomfortable nor as claustrophobia inducing as one would think. Larger chambers, some natural, some hewn out by The People over time, serve as meeting rooms, dining areas and, in the case of every mesa, a large “Elders’” chamber near the very top of the mesa. In Terses, this chamber, as well as the Pit where emerging children are welcomed, already existed, and the tradition carried forward to the others where such a chamber had to be dug out of solid rock. (For more on the Elders, see Government below.)

Government:

The People are led by the Elders’ Council of each mesa. As the name would imply, these are older individuals who must reach the age of fifty before being invited to join the council. Not an easy task given the rigors and dangers of the desert. And age is not the only criterion for membership. Once the council determines that they will invite a new member, that individual must survive the Elder’s Trial in which she or he must spend a night alone on top of the mesa under the influence of a plant called yafra which heightens awareness. Nearly half of the candidates fail, dying before they can return.

Although the Elders’ Council would appear to be egalitarian, usually a leader emerges, never acknowledged as such but recognized by each and every member of the Tribe. This leader serves as touchstone in all arguments amongst the Council members. Considered the wisest in the Tribe, the leader guides and encourages movement towards compromise in any dispute in or outside Council without thrusting an opinion into the fray.

Economy:

The People do not possess their own coinage. They use Garlan marks when necessary in commerce with their western neighbors, but they barter amongst themselves—trading work for food, necessities for services, skills for training—and rely as little as possible on Garlan trade. The item of greatest value, however, is water. It is revered, preserved and stored in caverns deep inside the mesas (see above in The Story). When it rains in the desert, all the mesas generally benefit, their funnels channeling the gift from Mantar into the pools. Occasionally, though, one mesa may not lie in the path of the storm while another benefits from the slow movement of the clouds laden with the much-needed liquid. At these times, water is transported in wagons hauled from one mesa to the next, and a record is kept by the Elders of the transaction. Water is too valuable to just give away.

However, The People do cultivate one commodity for which Garlans are willing to pay and pay well—malla. Malla only grows on the mesas’ crowns. It survives there somehow, exposed constantly to sun and wind, no water to speak of. It is, in fact, the only vegetation native to the crown. It has thick, heavy stalks (one could hardly call them leaves), and the liquid preserved within these stalks can be dried into a grey paste which is then rubbed on the gums. It produces a euphoric effect, slightly dream like. It can also heighten awareness of sight and sound as well as open up the user’s inner sight. It is for this reason that few Thristans partake of this drug. As a group, they believe that anything that even approaches the sort of powers that the Garlan hermits possess cannot be trusted (see Spirituality below). In addition, malla possesses addictive qualities, and The People abhor the lack of discipline addiction fosters.

“The People” and their culture:

There are Garlans, and then there are The People. The People understand the Garlans only a bit better than the Garlans understand the Thristans, but the truth is that neither knows much about the other. They’ve lived separate from one another for so long that fear of each other seems to be the only commonality they share. The People follow an unwritten creed of honor and commitment. When a Thristan makes a promise, it is an absolute obligation.

The mesas are divided into levels, and each level defines a group of individuals and families of anywhere between 25 and 50 people. They share meals and friendship, and although they identify themselves as members of their mesa, they remain fiercely loyal to the people in their level. Oftentimes, people from different levels have little contact, so little, in fact, that they wouldn’t recognize each other outside the context of the mesa. The citizens of each mesa are considered to be the mesa’s Tribe. The population of each mesa can number into the tens of thousands. The mesas, when originally occupied, contained many small caves suitable for living quarters, and hundreds more in each mesa were hollowed out by the early excavators.

The People are nocturnal due to the difficulty of performing tasks in the heat of the desert day. They rise just before sunset, eat their first meal of chardhoosh (a sweet grain product eaten dry and washed down with the bitter alk), then go about their tasks. Even those who have duties inside the mesa follow this schedule which they have followed for centuries. Each level gathers again just after sunrise to share dinner, which is usually a stew made with the kerl bean which comes from a hardy vine than can survive and produce with little water.

The People see life as a never-ending ribbon of many colors, twisting and turning, filled with many knots. Sometimes the knots can be released; other times there can be no untying, and one must find a way past without falling off the ribbon. They weave ribbons through the long braids they wear. These ribbons are made of the silk produced by the everfly caterpillar, the glow moths that fill the summer nights each year, and then they are dyed a multitude of colors. Each house, or family, has adopted a color as its own, and each color has meaning. When a child’s hair has grown long enough for braiding, one ribbon bearing the color of the house of its pouching is introduced into the braid. If, for some reason, the child chooses not to acknowledge a house of origin, a black ribbon of one-without-family is worn. When the child becomes an adult at 16, they can choose to add a ribbon of their non-pouching parent’s house.

As well as signifying a house, colors also represent strengths and attributes, and new ribbons are constantly being added to a young person’s braid as they mature and reveal their truths. These usually become a permanent part of the braid. Then there are colors as symbols of a current situation. Joined or unjoined, pregnancy, pouching, parent of an emerged child, loss. I will not list every color here, but it should be noted that a house’s color is usually tied to its perception of its attributes. For example, orange, which can mean heat and fire, might be applied to a house whose members are thought to be temperamental.

Spirituality:

The People revere an entity know as Mantar. Mantar is a two-faced deity, both the Maker and the Destroyer. They recognize that their lives are filled with duality, and, therefore, their guiding spiritual force brings both life and death, peace and war, joy and grief, love and hate. Neither aspect is considered better or greater than the other. Mantar represents the equal forces pressing in upon The People every day. They scoff at the one thing all Thristans seem to know about their Garlan neighbors—their belief in multiple Creators and but one Destroyer. The People wonder at the power of the Garlans’ many over the One, at the inherent optimism and apparent naivety of that inequality.

As a group, The People believe that anything that even approaches the sort of powers that the Garlan hermits possess cannot be trusted. They fear the hermits and once attempted to find a way of limiting their powers, but their plan backfired on them.

The people celebrate four high rituals each year. These correspond on the calendar to the four Garlan holy days. What the Garlans call Evennight in the spring, the Thristans celebrate as the Farii. It is the night of fertility when several young couples (newly joined or about to be joined) ascend to the mesa’s crown, and there they wait for the manta (a snake which symbolizes Mantar) to choose one of them for the consummation of the ritual. It is hoped that the couple will conceive and thus guarantee the fertility of the entire Tribe for the next year.

Garla’s Greatday is called Arii in Thristas. The Thristans rise to greet the setting of the sun late in the evening and then spend the night dancing and singing to praise Mantar the Maker in the form of the rising and setting sun and welcome the night back as the days begin to shorten. This, of course, is in opposition to the Garlan farewell to the sun as it leaves them in darkness.

In the fall, when a child conceived in the Farii is likely to emerge, the Thristans gather in a chamber called the Pit. All infants emerge here surrounded by family, but on the day of the Holii, the Garlan autumn Evennight, the best outcome is a Farii child emerging with the entire Tribe in attendance.

Finally, and perhaps most significant, is Kolii, in which the Thristans grieve and remember those they’ve lost that year. Unlike the Garlans, they mourn rather than celebrate the return of the sun.

CONCLUSION:

Life in Thristas is difficult and complicated, and the Thristan people do not trust strangers easily. They do, however, know that life must be lived today, not tomorrow or yesterday. They face too many potentially destructive challenges not to appreciate the value of the moment. They wish for independence but have not yet organized themselves to seek it out. I would recommend extreme caution with these people. They are fierce and could very likely best us in battle.

Respectfully submitted,
Korin Rosarel, Captain, Emperi Guard

Filed Under: Writing Tagged With: adventure, back story, fantasy, writing process

Applause, Applause, a Little Applause

May 31, 2014 by D. Hart St. Martin Leave a Comment

Many, many years ago, I began collecting buttons. Not the kind you use for fastening clothing; the kind with statements on them. You know, the original memes? My first one, given to me by a guy in my senior English class in high school after the summer I first fell in love with The Lord of the Rings read “FRODO LIVES,” in dark blue letters on pale pink. Many more TLoR buttons followed—“COME TO MIDDLE EARTH!,” “FRODO FOREVER,” “FRODO FREAKS OUT,”  and my favorite, “FRODO GAVE HIS FINGER FOR YOU.” I keep those in a small cloth drawstring pouch in my Wedgewood tin along with the rest of these treasures.

The summer after high school I visited Wales, Ireland, England and France. I must have come home with a dozen buttons from that trip. My favorite is the one that reads “UNINHIBIT.” Well, it was the 60s, after all. I loaned that one to someone who never returned it (and if you’re reading this, I want it back). There were also the requisite 60s staples—“MAKE LOVE NOT WAR,” “LONG LIVE THE ETERNAL NOW,” and “MELTS IN YOUR MIND, NOT IN YOUR MOUTH.” Others that were not so common were “EATING PEOPLE IS WRONG” and “UP IS A NICE PLACE TO BE.”

I also own several political buttons, from Tom Hayden’s Senate campaign in 1976 to Kerry/Edwards in 2004. I have a great quote on a beautifully crafted piece which reads, “Don’t compromise yourself. You are all you’ve got!” credited to Janis Joplin. And how about “NO MATTER WHERE YOU GO THERE YOU ARE”? Ain’t that the truth.

“HOMOPHOBIA DESTROYS FAMILIES”

“to Life, AIDS ACTION COMMITTEE”

“PRO CHILD PRO CHOICE”

You can see it’s an eclectic selection (though the politics remain fairly stable). I even have one that simply says, “HERO,” in white on red.

Today I’m a hero to me. Today I can announce that I am now officially “Award-Winning Author D. Hart St. Martin” whose second book in the Lisen of Solsta series, Tainted, won the Indie Reader Discovery Award in young adult fiction. See their review. Long live the eternal now!

front cover shot - low rez (2)

Celebrate this event with me. Both Fractured and Tainted books are free for Kindle from 5/30 through 6/3/14.

*The theater cat from Archy and Mehitabel

Filed Under: Self-publishing, Success, Uncategorized, Writing Tagged With: award, celebration, coming of age, fantasy, female hero, self-publishing

A Cover, A Cover–My Kingdom for a Cover

January 18, 2014 by D. Hart St. Martin 1 Comment

When I set out on the journey to share Lisen of Solsta’s journey with anyone who would listen, I really had no idea what I was in for. All I could see was that independent publishing meant I didn’t have to write any more query letters, that no agent or publisher would send me one of those one-size-fits-all rejection letters ever again, and that the control was all in my hands.

Well, not quite.  Self-publication requires a multitude of skills beyond just writing.  Here are a few of them:

  1. More-than-amazing proofreading skills and the patience to do it just one more time.
    Or…the money to pay someone else to proofread it for you, someone you trust or someone a friend knows and trusts.
  2. A knowledge of what Word can do and the willingness to follow the suggestions on your print-on-demand (POD) publisher’s web site in order to make the print copy look professional.
    Or…the money to pay someone else to format it for you, after which you must make sure they formatted it to your specific instructions and it looks the way you expected it to look (unless they have a logical explanation for why they did it differently, of course).
  3. An average intelligence in order to fill out the forms for the POD publisher, making sure the name of the book is correct, you’ve included all pertinent authors and contributors, and have chosen tags that will call others to your book when they search.  (And don’t forget your cover artist as one of those contributors—see #4 below).
  4. The artistic expertise to create a stunning and seductive cover.
    Or…the money to hire someone to collaborate with you, listen to your ideas and then bring them to life.

It is this last item I have opened up Word today to address.

I wrote my first book, Fractured, with a great deal of care. I rewrote it and rewrote it, submitting it over and over to the writing workshop I trust with my life, and when I’d reached the magic moment of READY, I did everything listed above.  Except for the cover.  I used a template from my POD publisher and a painting that was in public domain.  It wasn’t a bad cover; I did a fairly good job at it.  But it wasn’t the sort of cover that attracts young people, and my book was YA fantasy.

And it bombed.  Big time.  Fractured was named an IndieReader.com Best Indie Book of 2013, but I think I sold no more than a dozen copies.  I did get 5-star reviews from everybody who read it, but they were all friends and family, save for that IndieReader.com review (also 5 stars).

There was a disconnect.  Great book, no response from potential readers.  What was the problem?  I’ve written before about how even the larger details of marketing elude me, but I do keep getting myself and my books out there.  No, the disconnect was that adequate-but-uninspiring cover.

So…I hired a cover artist—a good one.  I had her start on book 2 (Tainted) so I could get that one published.  She did a wonderful job.  See?

 Image

A couple of weeks after Tainted’s publication, my artist, Aidana WillowRaven, asked how we were doing in sales.  Nowhere.  I hadn’t wanted to look because I knew it wasn’t doing that well.  Who’s going to buy the second book in a series if they haven’t read the first one, and clearly few people had read the first one.  I came clean with Aidana and said that things might go much better if we got the first cover done and out there.

So now I’m on the line.  The new cover for Fractured is finished and available on Kindle.

Image

Gorgeous, isn’t it?

The paperback is another story.  Between typos in the back cover copy due in part (only in part) to making modifications too quickly to proof it properly and my dear POD publisher’s digital proofer somehow making the cover look like a printer somewhere had run out of ink, I’ve had to submit the thing, so far, a total of three times.  Aidana remained loyal and committed to getting it right and spent most of an entire day on my project when she could have been moving on to other work.  Heaven and the Goddess bless her.

Here’s my point.  Spend the money on a cover artist.  Find someone you can work with, someone who cares, someone who will put their arm on your shoulder and tell you they are your collaborator and they want it to be perfect as badly as you do.  In the beginning, I couldn’t afford this, and many who read this won’t be able to afford it either.  But spend as much as you possibly can.  Go as high as you can to get the best you can afford.  Look for sales, look for discounts, whatever it takes.  Because a book is like a beloved child, and first impressions do count.  If it’s truly good enough to publish, it deserves the very best you can give it.

Filed Under: Self-publishing, Uncategorized, Writing Tagged With: coming of age, cover art, cover artist, fantasy, female hero, independent publishing, self-publishing, writing

I Don’t Want to be One of Those

June 24, 2013 by D. Hart St. Martin 2 Comments

I have often thought of myself as the kid in The Emperor’s New Clothes.  You know, the one who points out the emperor’s buck naked?  I look at things that others take for granted and ask WTF.  This does not aid my popularity.  Most people don’t want to be pointed out as fools, no matter how the fairy story goes.  I’m about to open my mouth again, so get ready for the tar-and-ruffled-feathering.

I signed on to Facebook back in December of 2010 for the sole purpose of using it to promote my writing.  I had nothing published at the time, but I figured I’d require some time to adjust to social media.  I adjusted, and not quite a year ago I established a page for my series, Lisen of Solsta.  Dropped like a dead balloon.  An initial rush of 18 likes and then nothing for many moons.  I let the page languish, occasionally posted bits of news and then moved on, remaining active on my personal page.

About a month ago, after posting a comment to Anne Rice’s page, I was contacted by a wonderful man who edits books for a living and who, even after I declined his offer of editing my next book, shared my page with others and invited them to like it.  I got to 30 likes within a couple of days.  This opened up the world of Facebook’s analysis and various data on the activity on my page.

Over the next several weeks, I got to 49, but I’ve been stuck there for a week.  Can’t get one more person to like my page to get me up to 50, and I’ve been somewhat of a pain in the butt about it.  How come all these other writers are crowing about 300 likes, 400 likes, and I can’t even get to 50.  Yeah, how come?  I don’t know the answer, but I do know something and I’m about to dress down the emperor.

Here’s how I likely got most of likes 19 through 49.  Message to my page:  “Hi, just liked your page.  Please like mine.”  With appropriate link to get me there.  Dutifully I would comply.   I was networking, and this was great.  Making friends with other writers.  What a rush!  What I didn’t know was a page cannot like a page, so all those pages liking my page didn’t count towards my quantity of likes.  Nor did my like count if I got there directly from my page.  (Check it out; you don’t even have to like it.)

But I digress, ever so slightly.  My point is this.  Anne Rice has over 700,000 likes.  Her “People of the Page” are readers of her books, fans of her books, hence fans of hers.  They didn’t make a deal with her that if they liked her page, she’d reciprocate by liking theirs.  She earned those likes because she is a writer who has written multiple best sellers and influenced these people’s lives to the point where they wanted to share some little part of her by participating on her page.

Not so with my likes #19 through #49.  I had to barter for their love.  Are any of them actually interested in what I’ve written?  I believe one or two have bought my book, and maybe they’ll read it one day.  But the rest?  A deal struck between two attention-starving artists.  How can that be right?

And more.  Most of these writers with their multiple hundreds of likes pound out one book, seek out little or no counsel on what they’ve written, maybe edit it once, maybe—just maybe—proofread it once, then toss it up onto Amazon for Kindle publication.  Because that’s all there is to writing, right?  Who cares if the grammar and punctuation suck?  Who cares if the sentence structure is shit?  Who cares if the formatting looks entirely unprofessional?  Writing is writing, right?

Wrong.  Writing is a craft, a skill honed over time.  Like a blacksmith with a sword, a real writer pounds the steel once and calls it a first draft, then folds it over on itself, often  many, many times, until  she can offer up a weapon which in its unity is much stronger than its components (in this case, the words, the sentences, the paragraphs, the scenes and the chapters become a work of art known as a book).  She allows others to beat the steel so that her weaknesses get worked out of the metal by the strengths of others.  Writing is a craft, and it is work.  Making up a story isn’t writing; it is merely mental masturbation.  It is in the execution that mastery can shine, but only if one is willing to give over large chunks of her soul.

I know I’ve gone on long enough for a single blog, but here’s the thing.  All those likes for writers (many of whom do not respect the craft) from other writers (many of whom do not respect the craft) are empty.  Just a popularity contest.  Yeah, the more likes you have, the more attention Facebook pays you, but they signify one thing and one thing only—how many asses you had to kiss to get them.  These people aren’t your fans; they’re bartering partners.  I’d rather my likes came from my fans.  And if that number remains at 18, I can live with that.  Because those people can’t wait to read my second book, and I don’t want to disappoint them.

Check out my web site which will connect you with, amongst other things, my Lisen of Solsta Facebook page.

Filed Under: Success, Uncategorized, Writing Tagged With: Facebook, fantasy, marketing writing, social media, writing

The Prize

June 22, 2013 by D. Hart St. Martin 1 Comment

Months ago I began my first “official” post to this blog by talking about my adventures in self-publishing and why I’d taken on such a daunting task.  It was a multiple-choice question, with “All of the Above” being the correct answer.  One of the answers (answer B, I believe) encompassed in that All of the Above was “I wanted it read, in its entirety, by someone who felt no imperative to like it.  No imperative to hate it either.”

For some reason I can’t fathom, I’ve put off sharing the results of that adventure on my blog.  I’m shameless in shouting it from the rooftops (irritating as well), but I’ve said nothing here.

Cue the drumroll….

I received my review from IndieReader the beginning of this month, and although I didn’t win, I did get a 5-star review from a reviewer who mirrored back everything I’d stuffed into my little 304 page tome.  She GOT it!  Not only did she get it, but I know now that my vision manifests on the page with such clarity that it remains intact once it reaches the reader .

Do you know how amazing to me that is?  I’ve been living with this vision for over 30 years.  Its ultimate fulfillment does, admittedly, remain incomplete until I’ve finished the last book in the trilogy.  (Do people even refer to them as “trilogies” anymore?  Or do they just use “series” to cover all contingencies?  Hmmm.)

There is a key to this reaching, and my reviewer even mentioned it.  A few years back, I made the decision to send Lisen, the hero of the piece, to spend a few years on earth.  Important years, ages 10 through 17.  Now we view a large part of the story and the strange, nonsexist world in which its characters live through the eyes of someone who knows us as her own.  She may be Garlan, but she often steps back to study her world as we as humans would, giving the reader a sense of accessibility that had previously been lacking.

I did it.  I wrote my best.  I rewrote my best.  I formatted for publication my best.  I designed a “professional” cover even though I’m anything but an artist.  I put every bit of best that I possess into Lisen and into Fractured, and it worked.  I hope one day that the borders of Lisen’s niche expand to include many more readers than she currently has nipping at my heals for volume 2 (Tainted, due out late this year).  In the meantime, I take pride in the fact that although I didn’t win a prize from IndieReader, to me I won the whole damn lottery.

Filed Under: Success, Uncategorized, Writing Tagged With: fantasy, rewards of writing, winning, writing, young adult fantasy

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