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This is the End!

Why are endings so darn hard to write? Ever read a great book with an ending that just infuriated you so much you wish you’d never read the book at all? Some endings can leave readers bewildered, or have too many questions unresolved. Others are just plain unsatisfying. All that build up, for THIS? Or always a favorite, the cop out ending. Even an average reader can tell when an author has written him or herself into a corner with no way out, and fixed it with a magic solution that has no believable explanation. Nobody wants to be THAT author–the one who leaves readers hanging, annoyed, rolling their eyes, or even completely pissed off. By contrast, a great ending will have your readers raving about your book to their friends, and make them hungry for your next book. So yeah, there’s a lot of pressure to come up with that perfect end to the story you’ve already poured your heart into.

I’m feeling that pressure right now as I finish up the last couple pages of my WIP. What makes a good ending anyway? Read this week’s edition for a few key points to consider as you approach the end of your story, and for other great information.

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How To Murder Your Good Ideas

Life is an amazing journey if you choose to do more than survive each day. As we walk beneath the canopy, facing the back and forth of everyday opinions, we are constantly challenged to adopt the beliefs and feelings of others.  In fact, we may often find that the greatest social disgrace is not accepting the most popular opinion, or not having an opinion at all! What we believe, how we feel, and what we perceive to be worth thinking about is constantly in question, ridiculed by those surrounding us. For writers, we also do this to ourselves.

Again and again, I have started a book with an inkling of an idea and an image only to make it fifty pages and decide to start over. I may have developed the perfect setting, the perfect characters, and the perfect plot. Though, there is something about the story being written which mirrors what readers would expect. When writing this way, the writing can appear to be…well, writing…

Read the rest of the article and get lots of other great information with this week’s Fantasy Fix.  If you’re not yet subscribed, check it out.

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Your Votes are in!

Last week I gave YOU the power…

to choose the cover art for my upcoming novella.  Well, the votes are in, and the response was overwhelmingly in favor of…*drum roll*…

Cover Concept #1!

The artist will be developing this idea into my new cover.  Thanks to everyone who participated! The comments I received gave me great insight into why this particular cover resonated with so many of you.

concept_shot1


newsletter headerThis week’s Fantasy Fix Newsletter is now available–check out the current edition, put together by Renee Scattergood. Like what you see? Subscribe to get each edition emailed directly to you.

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I’m Giving YOU the power!

Whoever said “you can’t judge a book by its cover” clearly wasn’t an Indie Author! Let’s face it, being your own publicist isn’t easy. There’s no marketing team, staff cover artist, or editing specialist at your disposal. There’s just you, a lot of heart, and a lot of hard work. When your name is largely unknown out there in the book world, your cover might be the first and only thing readers see. If it doesn’t stand out amidst the sea of other covers vying for attention, the blurb that tormented you for weeks as you tried to perfect it might not even get read.

My novella, Into the Shadow Wood will be released soon, and I’m excited to say that I have an artist making a custom cover. He just sent two rough concept sketches for me to choose between before he fills in all of the details, and I’m asking you, the Fantasy Fix readers, to help me decide!

Which one would you pick up off the shelf first?  CLICK TO VOTE

concept_shots for poll


Read the rest of the newsletter and get more great information in this week’s edition.  If you’re not yet subscribed, check it out.

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fictional mothers: How do they measure up?

Sunday is Mother’s Day, so I thought I should dedicate this edition of the Fantasy Fix Newsletter to mothers. After all, many of us are mothers, trying to find that delicate balance between work, family, and our creative pursuits, whatever they may be. We all have mothers, too, whether present in our daily lives or not.

For those of us who are writers, our characters all have mothers with stories of their own to tell. We place them within the bounds of a specific time, place, and culture, trying to predict how they will react, and how in turn those reactions will affect their children whose voices guide our narrative…


Read the rest and get more great information in this week’s edition.  If you’re not yet subscribed, check it out.

Like what you see?  Subscribe to get each edition emailed directly to you. Next week’s edition will be put together by Renee Scattergood.

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The PoweR of Setting

Fantasy is a dream genre for writers like me who love world building. We can reshape what we already know of this world into something slightly different, or we can escape it completely and fashion a new and unique universe. However, once we’ve created our fantasy world, we still need to be able to get it down on the written page in a way that allows others to visualize what we see in our heads. That’s not always an easy task when we’re trying to balance action with description; juggling plot, characters, pacing, conflict, and everything else that goes into making an excellent story.

During Camp NaNoWriMo this month, I’ve been trying to finish my novella, Into the Shadow Wood, and I got the chance to enlist the help of a book coach. (It is a service I’ve never used before, but highly recommend!) One of the things my book coach pointed out to me was that she was having trouble visualizing the setting of my story. This really took me by surprise. I had already built the world—establishing the Shadow Wood as an untamed wilderness, steeped in ancient evil, with a history all its own. The rumors and mythology were all there, along with the corresponding sense of dread and fear in the hearts of my characters. Yet once I had actually placed them in the Wood, I had gotten so caught up in what they were doing, and feeling, that the experience of the journey was getting lost. I had unintentionally glossed over the setting. In doing so, I was losing an opportunity to add an extra layer of meaning, not to mention creepiness.

The setting can sometimes say things to a reader that the characters or narrator can’t. It can affect mood, create or diminish conflict, or even serve as a metaphor for something far deeper than the visual it provides (ever read Heart of Darkness by Joseph Conrad?). As I’ve gone through making revisions to my tale, I’ve made a point of giving my setting a greater voice, and the story has become more profound as a result.

If you’re a writer, what role does your setting have in the story you’re telling? Has it become a vague backdrop against which all the action takes place, or is it something more? If you’re a reader, can you think of a story where the setting stood out and intensified the experience of the book?


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The Heart’s Bane

Fantasy fiction often seems to be about external conflict — sieges and escaped gods, blasphemous magic and tyrannical rulers, or eternal racial wars and betrayal. Then again, sometimes we find character conflict has to do with some kind of internal suffering: depression, pain, or a longing for something never known. But good conflict is about values.

What lies in the heart of a character is what we understand and relate to the most. Read the rest of the article and get more great information with this week’s Fix.  If you’re not yet subscribed, check it out.

Like what you see?  Subscribe to get each edition emailed directly to you. Next week’s edition will be put together by Allison D. Reid.