Yesterday one of my favourite genre websites, Fantasy Faction, did an exclusive cover reveal for the final book in my Night’s Masque trilogy. However I can’t resist posting it on my blog as well, as I’m so pleased with it!
As with The Merchant of Dreams, I briefed my editor Marc on what I wanted to see on the cover and he passed it along to Larry Rostant, who interpreted our instructions beautifully. The lightning bolts weren’t in my original brief but I have to admit they give it an extra pizazz that leaves you in no doubt that some serious magic is going on here!
To go with the cover I have an updated description as well:
Elizabethan spy Mal Catlyn has everything he ever wanted—his twin brother Sandy restored to health, his family estate reclaimed and a son to inherit it—but his work is far from over. The renegade skraylings, the guisers, are still plotting; their leader Jathekkil has reincarnated as the young Henry Tudor. But with the prince still a child, Mal has a slim chance of destroying his enemies while they are at their weakest.
With Sandy’s help Mal learns to harness his own magic in the fight against the guisers, but it may be too late to save England. Schemes set in motion decades ago are at last coming to fruition, and the barrier between the dreamlands and the waking world is wearing thin…
I’m really looking forward to unleashing the book on the world come October – the fact that I shall be waving goodbye to Mal, Coby, Ned and friends hasn’t really sunk in yet…
The Prince of Lies is revised and handed in, which means it’s all over for Night’s Masque apart from final tweaks and copyedits. Yes, sorry, fans of Mal, Coby, Ned and Gabriel – their adventures are over, at least for now. I have no immediate plans for any more books in that universe, though if I were to get a great idea for a story, it’s certainly possible.
So what next, you might ask? Well, I’ve been jotting down notes in-between drafts of The Prince of Lies so that I could hit the ground running once that book was complete. However I couldn’t really allow myself to commit to it until now because I don’t have time in my busy schedule for distractions and side projects. Now I can, I’m sooo excited to be launching into something new! Read more
I know – I didn’t post here at all after the first week, but I was so focused on the draft itself, I didn’t have the time or energy. Usually I give myself two months for initial revisions (and that’s what’s specified in my contract) but this book was already running late and I didn’t have that luxury.
It was a gruelling process, trying to revise a substantial novel in a month, but I got it done, finally handing in the draft to my editor Marc on Tuesday 7th May. He may still want a few tweaks before it goes to the copyeditor, but it’s basically complete as far as I’m concerned. If I got hit by a bus next week, the book could still go out and I’d be happy at the result. Well, not the being dead or incapacitated part, but you know what I mean.
At first I was so relieved to have hit my deadline—and so mentally drained—that I was just glad to have it done and out the door. It wasn’t until a couple of days later that I started to feel a bit sad that I won’t be writing about Mal, Coby and friends again, at least not any time soon. Their story has come to (for me at least) a satisfying conclusion and I’m ready to move on to new things. In any case it’s not over yet; there’s copyedits to check and the book release itself to look forward to, and even sooner than that—the cover reveal! Watch my main blog for more news on that, very soon
Having left Camorre after the deaths of their fellow Gentleman Bastards at the hands of the Bondsmagi, Locke Lamora and Jean Tannen are running a new scam in the Sinspire, a high-class casino in the city of Tal Verrar. Unfortunately the Bondsmagi haven’t finished with Locke yet, and he and Jean find themselves working—decidedly unwillingly—for a Verrari warlord with an ambition to rule the city outright. Temporarily abandoning the scam they take up their new mission, starting with a crash course in seamanship and a new cover identity as the dread pirate Orrin Ravelle…
Warning: here be spoilers! Because it’s otherwise hard to say what I liked (and didn’t like) about the book. And hell, it’s six years old, so I reckon many of my visitors will have read it already anyway. Read more
Yesterday I finished the final draft of The Prince of Lies – yay! – which inevitably left me feeling more than a little punch-drunk, like I’d been hit round the head with a 135,000-word manuscript…So I goofed around on Twitter a bit, and whilst chatting about book lengths and genre I realised that fantasy really needs a new name for a rather common sub-genre.
OK, before we get going, yes I know that sub-genres are artificial and that you shouldn’t try to shoehorn your work into one of them, but once you have a book – or three – written, and you start to look at what market you’re going to be aiming at, it can be helpful to have a label so that everyone knows what you’re talking about. Except – are they really talking about the same thing?
The discussion that sparked this was about the ideal length for a debut epic fantasy, which varies from agent to agent, but certainly somewhere in the 100-150k ballpark as a rule. For other kinds of fantasy, as well as SF, the suggested length is more like 90-120k.
The thing is, what do agents mean by “epic fantasy”? I suspect that for some in the business it’s a synonym for secondary world fantasy, or indeed anything that isn’t very clearly either steampunk or urban fantasy. Because it’s like Tolkien and George R R Martin, right? And in one respect they’re right – all non-contemporary fantasy has broadly the same audience, and it’s distinct from (though it may sometimes overlap with) urban fantasy/paranormal romance.
The thing is, a lot of the secondary-world fantasy that I read isn’t what I’d call epic. There are no continent-spanning wars or treks through sweeping landscapes, no wide-eyed young heroes venturing out of their comfy hobbit-holes and being swept along on An Adventure. Typically they’re based in one city (just like urban fantasy), with a cast of characters who are far from innocent: thieves, spies, assassins and the like. You know, those Hooded Men who’ve been gracing the covers of our favourite books for the past decade…
(As an aside, if you google “hooded man” images, the cover art for The Alchemist of Souls comes up quite high in the results. Which is ironic, since there’s not a hood in sight!)
This sub-genre used to be known as swords’n'sorcery, and it was typified by Fritz Leiber’s Lankhmar stories. Lots of swashbuckling swordplay, but also lots of monsters and evil wizards and the like. The thing is, modern-day S&S is typically quite low in magic and often the characters are all human, so the label doesn’t really fit any more. Nor does the newer label “grimdark” really help, as it’s a tone, not a subgenre as such. Both GRRM and Joe Abercrombie have been described as writing grimdark, but their books are also epic fantasy.
I raised this on Twitter, suggesting “cloak’n'dagger” as an alternative. I got some great (not always serious) alternative suggestions:
The Streets of Darkness
Hooded Figure Fantasy
Poignards’n'privies (very apt in my case!)
Alchemical romance (by analogy with Wells’ “scientific romance”)
What do you think? Do we need a new label for non-epic, non-contemporary fantasy?
I started using virtual index cards back in 2006 when planning for my first NaNoWriMo, and I still find them a useful way of managing a big project like a novel. I like physical index cards as well, but they’re a pain to carry around with you – which is where an app like Story Skeleton comes in.
is an iPhone app that allows you create and export outlines in a variety of formats, including as a Scrivener .scriv project. It’s this that first interested me, and I used it for an initial outline of The Prince of Lies.
Overall it’s quite a nice little app. The design is a bit fussy in some respects – on a small screen, I prefer the controls to adhere more closely to Apple conventions – but not difficult to get the hang of. You can display cards fullscreen and swipe between them, or list them as thumbnails (see screenshot, right) and scroll up and down.
There’s no hierarchical structure, however. If you want to assign scenes to chapters or acts, a workaround is to set up “card types” (a customisable list of categories), but then of course you have to recategorise cards when you move them. It’s also iPhone-only – you can use it on an iPad but the whole interface gets resized to fit the large screen and is therefore rather blurry.
Another point against it from my point of view is that whilst it has import and export capabilities, it doesn’t actually sync with Scrivener as such – you can only import outlines previously created in StorySkeleton and exported in its custom format (e.g. as backup). As a result, I found it useful for quick’n'dirty outlining at the beginning of a project, but the limitations of both synchronisation and screen real-estate mean that it doesn’t really fit well into my workflow.
StorySkeleton is available from the iTunes App Store, currently priced at $2.99.
My name is Anne Lyle and I’m a stationery addict. There, I’ve said it. I have more notebooks, pens and other impedimenta of writing than is strictly necessary. A lot more. I discovered just how much more when I was between drafts recently…
I’d handed in the first draft of The Prince of Lies to my editor and was taking a few days off to decompress. I didn’t want to get too engrossed in a new project, as I knew I’d have to dive back into revisions pretty soon, so I decided to tidy the drawers of my desk and bureau, which had descended into chaos over the previous few months. So, I emptied them out, put all my “work-in-progress” notebooks, index cards and so on into my desk drawer, and all my unused notebooks into the top drawer of my bureau. The latter filled the entire drawer.
Now admittedly it isn’t a big drawer, and I also store spare loose-leaf pads and unopened packs of index cards in there, but still…! I have numerous Moleskines in different colours, sizes and paper types, including two specifically for use with EverNote and two special editions (Lego and Star Wars); a bunch of LiveScribe notebooks, also in several sizes, for use with my Echo smartpen; and a few other miscellaneous notebooks from Paperchase, WHS, Rymans etc. I even have a gorgeous leather-bound journal that I bought in Florence, which I will probably never use because it’s far too beautiful to sully with my scribblings…
And then there’s my “archive” drawer of used notebooks. I have had obsessions with different brands before Moleskine; for a while it was Bur-O-Class Aurora exercise books, in which I wrote my earliest longhand drafts, then more recently it was the Europa Major spiral-bound reporter’s notebook, with 300 pages between richly-coloured cardboard covers, in which I brainstormed the plots and characters for my Night’s Masque trilogy.
Rationally, I know I do not need all these notebooks, because I do a lot of my work electronically. And yet I’m addicted to the damned things! When I was in California in February, I bought two Moleskines in a bookstore solely because they were in colours (green and purple) seldom seen in UK shops.
It’s a common foible of writers, judging by my friends’ reactions, and I think it comes down to a combination of traits:
1. A love of books and paper. There’s something very sensuous and satisfying about a high-quality notebook: the handsome cover, the way your pen glides across the thick creamy surface of the paper, the snap of the elastic fastener, the slither of the silky placeholder ribbon… You just can’t get these pleasures from an app, no matter how cool it might be in other ways.
2. Romanticism. We imagine the great authors of the 19th and 20th centuries scribbling golden prose into their pocket notebooks, and we think that if only we could do the same, our books would be just as wonderful.
3. The OCD impulses of the typical writer. Allied to the above, we believe that if we have just the right notebook, fresh and crisp and virginal, we too can be brilliant. We start a notebook with dewy-eyed optimism, which often devolves into despair at our terrible handwriting, multiple crossings-out and rambling prose. So, we abandon it for a fresh notebook. Once the habit becomes entrenched, we make sure we always have a good supply of shiny new ones to hand, because the next one is going to be perfect…
I think, though, that the seeds were sown in school. All those separate exercise books for each subject, often with a different colour per subject as well. And—this being a provincial girls’ grammar school with pretensions of grandeur—we had to write our homework in fountain pen (biros were for “rough” only). That kind of thing is liable to make a girl just a little obsessive!
How about you? Do you have a weakness for a particular brand or style of notebook? Or do you eschew paper for a purely digital writing experience?
Bit of a journal hiatus last month, as I was analysing the plot and working out fixes, so I didn’t really have anything to say that wouldn’t be spoilers. Now I’ve had feedback from my beta-readers and my editor Marc, so I can finally knuckle down to the rewrites!
This first week has been slower than I hoped – despite taking time off work, I’ve only managed one or two chapters a day. The first three chapters went particularly slowly, but I think that was a combination of post-con exhaustion and the fact that the opening of any book requires a lot of care. Although I don’t expect new readers to pick up the series at this point, Book 3 needs to refresh returning readers’ memories without getting bogged down in infodumps, and that’s always a tricky balancing act. Add in some minor but fiddly plot illogicalities, and it required a lot of thinking.
Fortunately I hit a stretch of chapters that needed only light editing to bring them up to scratch, so I’m now on Chapter XI and thus almost a third of the way through the book. I can’t rest on my laurels, though – it’s back to the day-job today, which means fitting my edits into mornings, evenings and weekends. I’m hoping to finish by the end of April, then do a final spellcheck and polish before sending it in for copyedits. Then it will be onward to the next project!
I’m a bit later with this report than intended, mostly because I had so much fun at Eastercon I was too exhausted to process it!
This was my third Eastercon, and whilst last year’s was memorable for very personal reasons, this year was pretty good too. I’d been a bit doubtful about the location, as the convention venue was mainly a conference centre and had few bedrooms, meaning most people had to stay in city centre hotels about two miles away, but a constant flow of free minibuses meant that this was only a minor inconvenience. A bigger problem, as with Birmingham, was the lack of good places to eat within easy walking distance; the conference centre provided a relatively inexpensive buffet at lunchtime and in the evening, but the food was about the quality you expect from cheap mass catering. Fortunately we found a US-style diner over the road, where the food was excellent (though the service was very slow). However, enough about logistics – what about the convention itself?
There was a good selection of panels and of course the traditional Saturday evening live screening of the latest Doctor Who episode, complete with bags of jelly-babies (and a few technical glitches, so I’ll probably watch it again on catchup TV). A great new addition to the programme was the “genre get-togethers”, which were a series of informal book-signing-and-mingling-with-the-authors sessions. This was also an opportunity for authors (or their publishers) to give away books to interested readers, rather than putting them into goodie-bags at random only to be thrown away. Angry Robot kindly supplied me with a box of The Alchemist of Souls, so I was able to give some away at the get-together and the rest soon disappeared from the “free books” table on Sunday!
I was on three panels, the best of which was probably “The Changing Portrayal of Gender and Sexuality in SFF”, which moderator Penny Hill turned into a cozier discussion format than the usual “five people behind a table” panel, with lots of contributions from the audience. I also went to a couple of other panels: one on non-Western SFF, and a flash fiction contest featuring my friend and fellow Angry Roboteer Emma Newman (below).
Emma won the contest, and my side of the room won the quiz that Lee had put together to keep the audience entertained during the writing, so our plan for world domination continues apace. Also, it appears that I know more Chitty-Chitty-Bang-Bang lyrics than the average SF geek, which is maybe not something to boast about!
The non-Western SFF panel also gave me an excuse to talk to Stephane Marsan from Bragelonne, a French SFF publishing house, and we ended up having a long chat in the bar about Asterix, European children’s TV in the 70s (remember the Czech Mole cartoon?), and Kenneth Branagh’s Othello (filmed in Italy, with French actress Irene Jacob as Desdemona). It wasn’t all networking, though; mostly I just hung out with old friends from previous conventions (Sarah Newton, Emma Newman, Mike Shevdon, Adrian Faulkner, et al) and made new ones, or at least met people I already knew online (e.g. Brian Turner from SFF Chronicles). It was a lot of fun as always, if exhausting, and I’m now I’m really looking forward to the rest of my conventions this year, especially World Fantasy in Brighton.
Now, I really must go and sign up for Eastercon 2014…