Duncan Lay's Blog, page 11
August 30, 2011
New dates for the new series
HarperCollins has let me know the new publishing dates for the upcoming series:
Book 1 (currently called The Cursed Tears but may well become Bridge Of Swords or indeed something else entirely!) will be out in August 2012.
Book 2 (now The Grieving Son but hopefully Pass Of Arrows) will be out February 2013
Book 3 (now The Raging Night but perhaps Hill Of Shields) will be out August 2013.
Now this means it will be fully two years between The Radiant Child (July 2010) and the first of the new series.
That's my fault!
HC pushed my dates back partly because of overseas releases but mainly because I have rewritten the first book so dramatically - and taken a long time about it.
Part of that was the injury to my index finger, which stopped me writing for the best part of a month but it was mostly the sheer scale of the rewrite.
Basically I took the main character, Sendatsu, and changed him completely. This means about 25% of the rewrite is all new and 50% is substantially changed - not a task you can finish in a few days.
The other issue was book two, which I had written about 80,000 words. Now Sendatsu had changed, about 70,000 words of this had to change. Basically I was back to the beginning with book two - and had to deliver that by the end of the year because of the old deadline.
I took the decision because of the feedback I was getting from my beta readers. The bottom line was the original character was too polarising - a real love/hate character. Hanging an entire trilogy on someone like that is too much to ask. The danger was readers would turn off him before he was redeemed.
It's a classic trap of a trilogy ... your character's arc is designed over three books, so you begin with an unsympathetic character who wins over the reader (ideally). The problem is, you can end up with one who turns off the reader, so they don't read on to find out what happens!
I've written before about David Gemmell, one of my inspirations for writing fantasy. He managed to do something similar with Sigarni in Ironhand's Daughter. His follow-up book, The Hawk Eternal, relegated her to a minor character and put someone more sympathetic front and centre.
Of course Gemmell had, by then, a large and dedicated readership who stuck with him.
I don't have that luxury!
I have many other stories I want to write - and want the opportunity to see them in print.
It was a big call to rip up a main character, change them utterly and go again. But the alternative was worse.
Honestly, it was a scary call but I've always been of the opinion you should do things that scare you!
The good news is, I'm sure it was the right decision.
Of my two beta readers, one said the new opening was ``100 times better'' and the other said they ``love, love, loved it'' and was ``instantly sympathetic to Sendatsu''.
Infinitas Bookshop, which has been a wonderful supporter of The Dragon Sword Histories, once said to me that fantasy was ``all about the characters''.
That's absolutely correct.
I had to get the characters right. I think they are now ... but it has taken longer than I thought.
Hopefully the wait will prove worthwhile!
Book 1 (currently called The Cursed Tears but may well become Bridge Of Swords or indeed something else entirely!) will be out in August 2012.
Book 2 (now The Grieving Son but hopefully Pass Of Arrows) will be out February 2013
Book 3 (now The Raging Night but perhaps Hill Of Shields) will be out August 2013.
Now this means it will be fully two years between The Radiant Child (July 2010) and the first of the new series.
That's my fault!
HC pushed my dates back partly because of overseas releases but mainly because I have rewritten the first book so dramatically - and taken a long time about it.
Part of that was the injury to my index finger, which stopped me writing for the best part of a month but it was mostly the sheer scale of the rewrite.
Basically I took the main character, Sendatsu, and changed him completely. This means about 25% of the rewrite is all new and 50% is substantially changed - not a task you can finish in a few days.
The other issue was book two, which I had written about 80,000 words. Now Sendatsu had changed, about 70,000 words of this had to change. Basically I was back to the beginning with book two - and had to deliver that by the end of the year because of the old deadline.
I took the decision because of the feedback I was getting from my beta readers. The bottom line was the original character was too polarising - a real love/hate character. Hanging an entire trilogy on someone like that is too much to ask. The danger was readers would turn off him before he was redeemed.
It's a classic trap of a trilogy ... your character's arc is designed over three books, so you begin with an unsympathetic character who wins over the reader (ideally). The problem is, you can end up with one who turns off the reader, so they don't read on to find out what happens!
I've written before about David Gemmell, one of my inspirations for writing fantasy. He managed to do something similar with Sigarni in Ironhand's Daughter. His follow-up book, The Hawk Eternal, relegated her to a minor character and put someone more sympathetic front and centre.
Of course Gemmell had, by then, a large and dedicated readership who stuck with him.
I don't have that luxury!
I have many other stories I want to write - and want the opportunity to see them in print.
It was a big call to rip up a main character, change them utterly and go again. But the alternative was worse.
Honestly, it was a scary call but I've always been of the opinion you should do things that scare you!
The good news is, I'm sure it was the right decision.
Of my two beta readers, one said the new opening was ``100 times better'' and the other said they ``love, love, loved it'' and was ``instantly sympathetic to Sendatsu''.
Infinitas Bookshop, which has been a wonderful supporter of The Dragon Sword Histories, once said to me that fantasy was ``all about the characters''.
That's absolutely correct.
I had to get the characters right. I think they are now ... but it has taken longer than I thought.
Hopefully the wait will prove worthwhile!
March 8, 2011
World Building
One of the ways in which my second series will differ from the first is in the world the characters inhabit.
At first glance this might not seem to be so, for they are actually in the same world ... the same rules of magic apply, the same theology and the same lack of woodland pixies and other ``magical'' folk.
But where my desire in the first series was to throw readers into the story and the characters' problems, in this series there was more of a need to develop the world.
This was for two reasons: the culture and development of each country becomes a vital plot point as the series moves on and, secondly, part of the story is about an "elf'' banished into the human world, so the contrast between what he knows and how the other humans live is a vital part.
In The Dragon Sword Histories, most countries had a similar level of technology and I concentrated more on the differences in attitude among the people. Thus the Norstalines took some inspiration from America between the two world wars; insular, arrogant and certain that they were the only place of importance. The Berellians took some inspiration from Nazi Germany and the indeed other totalitarian regimes. The Tenochs were a rough mix of Aztec and Mayan.
But in the new series, I needed a different approach.
Each country has its own culture - but a culture muddied and often forgotten thanks to what the "elves" (really Elfarans - humans who think they are the elves of legend) did to them centuries ago.
So what they have is a ghost of a culture, memories or fragments really, which are not important to them but become so as the series moves on.
The Velsh, from The Vales, are - perhaps obviously - based loosely on the Welsh.
Part of my fascination with this comes from the battle of Pilleth, one of the major inspirations for The Dragon Sword Histories. Popular culture has made much of the Scottish struggle for independence - there have been many books and movies, most famously Braveheart.
But the Welsh are the Britons, driven west by the Saxon invasions, and their story has not had the same prominence. Yet it is the story of Arthur, the - supposed - historical British warleader who stopped the Saxons.
I also found it fascinating for they lived among the faded glories left them by the retreating Romans. The idea of seeing technology far beyond your own, buildings you could never hope to make and the effect that would have on a people really resonated with me and, by substituting my "elves" for Romans, adapted this.
Research into my Velsh meant going into Celtic history and daily life. Obviously the Internet makes this much easier but books such as Horrible Histories also throw up some fascinating, quirky insights into life then.
Huw, the bard, is Velsh and his journey unlocks the hidden secrets of the Velsh/Welsh culture.
Next come the Forlish, loosely based on the Saxons. Their leader wants to return Men to the glory he sees around him every day in the "elven" ruins - by uniting every country under the one flag and pooling their knowledge. He just chooses to do this by the sword.
Rhiannon, the dancer, is Forlish and her journey includes discovering that humans can do magic, not just elves, a discovery that will change everyone's future and fate.
And the elves. Theirs is a bastard culture, partly the Elfaran culture we met back in the Dragon Sword Histories, which was loosely based on the Roman culture, and partly the culture their forebears adopted when they left the dragons' service and found themselves wives, and families among a people called the Nippon (loosely based on the Japanese).
Sendatsu, the "elf" has been banished for not having magic and he is the key to unlocking these mysteries, as he knows some of the secrets of the elves, as well as the story of the humans.
So we have a series of cultures, all bastardised by the "elves" at first wanting to help the humans and then in fact stealing their culture, their magic and religion, leaving them nothing more than hollow memories.
The search for the truth behind these memories is a vital part of the story.
Obviously there is much more to it - the journeys of my three main characters, as well as the underlying heart of the books - but in this series, far more than my first, world building plays an important part.
Even the placenames, based on real names, tell a story.
All through the first book, particularly, are little clues and fragments that hint towards future revelations and, while they may not seem like much at first, will prove to be vital.
I look forward to sharing it with you!
At first glance this might not seem to be so, for they are actually in the same world ... the same rules of magic apply, the same theology and the same lack of woodland pixies and other ``magical'' folk.
But where my desire in the first series was to throw readers into the story and the characters' problems, in this series there was more of a need to develop the world.
This was for two reasons: the culture and development of each country becomes a vital plot point as the series moves on and, secondly, part of the story is about an "elf'' banished into the human world, so the contrast between what he knows and how the other humans live is a vital part.
In The Dragon Sword Histories, most countries had a similar level of technology and I concentrated more on the differences in attitude among the people. Thus the Norstalines took some inspiration from America between the two world wars; insular, arrogant and certain that they were the only place of importance. The Berellians took some inspiration from Nazi Germany and the indeed other totalitarian regimes. The Tenochs were a rough mix of Aztec and Mayan.
But in the new series, I needed a different approach.
Each country has its own culture - but a culture muddied and often forgotten thanks to what the "elves" (really Elfarans - humans who think they are the elves of legend) did to them centuries ago.
So what they have is a ghost of a culture, memories or fragments really, which are not important to them but become so as the series moves on.
The Velsh, from The Vales, are - perhaps obviously - based loosely on the Welsh.
Part of my fascination with this comes from the battle of Pilleth, one of the major inspirations for The Dragon Sword Histories. Popular culture has made much of the Scottish struggle for independence - there have been many books and movies, most famously Braveheart.
But the Welsh are the Britons, driven west by the Saxon invasions, and their story has not had the same prominence. Yet it is the story of Arthur, the - supposed - historical British warleader who stopped the Saxons.
I also found it fascinating for they lived among the faded glories left them by the retreating Romans. The idea of seeing technology far beyond your own, buildings you could never hope to make and the effect that would have on a people really resonated with me and, by substituting my "elves" for Romans, adapted this.
Research into my Velsh meant going into Celtic history and daily life. Obviously the Internet makes this much easier but books such as Horrible Histories also throw up some fascinating, quirky insights into life then.
Huw, the bard, is Velsh and his journey unlocks the hidden secrets of the Velsh/Welsh culture.
Next come the Forlish, loosely based on the Saxons. Their leader wants to return Men to the glory he sees around him every day in the "elven" ruins - by uniting every country under the one flag and pooling their knowledge. He just chooses to do this by the sword.
Rhiannon, the dancer, is Forlish and her journey includes discovering that humans can do magic, not just elves, a discovery that will change everyone's future and fate.
And the elves. Theirs is a bastard culture, partly the Elfaran culture we met back in the Dragon Sword Histories, which was loosely based on the Roman culture, and partly the culture their forebears adopted when they left the dragons' service and found themselves wives, and families among a people called the Nippon (loosely based on the Japanese).
Sendatsu, the "elf" has been banished for not having magic and he is the key to unlocking these mysteries, as he knows some of the secrets of the elves, as well as the story of the humans.
So we have a series of cultures, all bastardised by the "elves" at first wanting to help the humans and then in fact stealing their culture, their magic and religion, leaving them nothing more than hollow memories.
The search for the truth behind these memories is a vital part of the story.
Obviously there is much more to it - the journeys of my three main characters, as well as the underlying heart of the books - but in this series, far more than my first, world building plays an important part.
Even the placenames, based on real names, tell a story.
All through the first book, particularly, are little clues and fragments that hint towards future revelations and, while they may not seem like much at first, will prove to be vital.
I look forward to sharing it with you!
March 6, 2011
The new series - what title do you want?
I am over the moon to be able to say HarperCollins has signed me up for a second trilogy, which will be published in April 2012, October 2012 and April 2013 ... so still 12 months to the first book being on the shelves but then not long to wait between them!
Now, despite being asked, this trilogy will NOT be featuring Martil, Karia and Merren.
I do have a second trilogy planned for them, taking place about 10 years after the events of Radiant Child but I'm not quite ready to write that one yet.
I sincerely hope I do have the opportunity, however!
Anyway, to the new series:
It is set in the same world, although on a completely different continent. However, there is the same rules of magic and the same theology - and one common thread with The Dragon Sword Histories.
It features descendants of the Elfarans, who truly believe they are the elves of legend and saga - and what that mistaken belief means for the humans living around them.
It features Sendatsu, an elf (Elfaran) banished from his kind because he cannot do magic, and exiled to a brutal human world, where he discovers his knowledge and skills make him a wild card in a people's battle for freedom.
It is also the story of Huw, a bard, whose hopes of a better world and courage to stand up for his beliefs - courage that came with a bitter price - could change history.
And the story of Rhiannon, a dancer who dreams of performing for the elves but whose ability to use magic will destroy what everyone believes to be true about elves, humans and their places in the world ...
At the heart of the story is a dilemma that we all face; the decision we must make at some point in our lives where we can either follow our parents' beliefs, and the path they want us to take - or we we try and find our own way ...
There is a fair bit of humour in here, as well as action.
Book one is essentially written, and will be ready to hand to HC by the end of March 2010.
One thing I am still working on, however, is the titles for the series.
I originally planned to call it Empire Of Bones - however, that has been taken.
At the moment I have a few ideas, of which my current favourites are as follows:
1) The first set of titles is loosely inspired by the Mabinogion, Welsh fairy tales or legends contained in several ancient books. Foremost among these are the Red Book of Hergest and the White Book of Rhydderch. Adapting these, we get a trilogy called:
The Black Book Of Elves
The White Book Of Forland
The Red Book Of Vales
However, explaining these titles may take too much time ...!
2) As much of the books are set in Vales, among the Velsh, with a recurring theme of the impact our parents have on us, I was drawn to the Dylan Thomas poem Do Not Go Gentle Into That Good Night, which is arguably written for his father and certainly about his father dying.
From it comes these three titles:
The Grieving Sun
The Cursed Tears
The Raging Night
What do you think? What appeals to you? I'd love to hear!
Now, despite being asked, this trilogy will NOT be featuring Martil, Karia and Merren.
I do have a second trilogy planned for them, taking place about 10 years after the events of Radiant Child but I'm not quite ready to write that one yet.
I sincerely hope I do have the opportunity, however!
Anyway, to the new series:
It is set in the same world, although on a completely different continent. However, there is the same rules of magic and the same theology - and one common thread with The Dragon Sword Histories.
It features descendants of the Elfarans, who truly believe they are the elves of legend and saga - and what that mistaken belief means for the humans living around them.
It features Sendatsu, an elf (Elfaran) banished from his kind because he cannot do magic, and exiled to a brutal human world, where he discovers his knowledge and skills make him a wild card in a people's battle for freedom.
It is also the story of Huw, a bard, whose hopes of a better world and courage to stand up for his beliefs - courage that came with a bitter price - could change history.
And the story of Rhiannon, a dancer who dreams of performing for the elves but whose ability to use magic will destroy what everyone believes to be true about elves, humans and their places in the world ...
At the heart of the story is a dilemma that we all face; the decision we must make at some point in our lives where we can either follow our parents' beliefs, and the path they want us to take - or we we try and find our own way ...
There is a fair bit of humour in here, as well as action.
Book one is essentially written, and will be ready to hand to HC by the end of March 2010.
One thing I am still working on, however, is the titles for the series.
I originally planned to call it Empire Of Bones - however, that has been taken.
At the moment I have a few ideas, of which my current favourites are as follows:
1) The first set of titles is loosely inspired by the Mabinogion, Welsh fairy tales or legends contained in several ancient books. Foremost among these are the Red Book of Hergest and the White Book of Rhydderch. Adapting these, we get a trilogy called:
The Black Book Of Elves
The White Book Of Forland
The Red Book Of Vales
However, explaining these titles may take too much time ...!
2) As much of the books are set in Vales, among the Velsh, with a recurring theme of the impact our parents have on us, I was drawn to the Dylan Thomas poem Do Not Go Gentle Into That Good Night, which is arguably written for his father and certainly about his father dying.
From it comes these three titles:
The Grieving Sun
The Cursed Tears
The Raging Night
What do you think? What appeals to you? I'd love to hear!
January 19, 2011
Radiant Child DVD extra
One of the struggles I had with The Radiant Child was fitting everything in! You might think a 180,000-word limit seems pretty generous but I found it pretty difficult to strike the right balance and kep everything in that were essential to the story.
For those who have read Radiant Child (and I would encourage anyone who hasn't read the book to finish to before going any further, as it both contains spoilers and requires a certain knowledge of the storyline), here is a short novella if you like that I was forced to cut.
It concerns Kesbury, the former Ralloran sergeant who helps Martil and eventually redeems his deeds at Bellic to become a priest of Aroaril.
I did want to show a different path to redemption, and explore a character I liked further but, after the first draft, it became very clear that I had to jettison quite a few sub-plots. This was one of them.
Bear in mind that you are reading a first draft quality - although some of these scenes made their way into the final draft, albeit considerably changed.
Anyway, I'd be interested to hear what you think ... does this add anything to the overall story or was it better indeed that it was cut!
http://www.facebook.com/note.php?created&¬e_id=10150090894998844
For those who have read Radiant Child (and I would encourage anyone who hasn't read the book to finish to before going any further, as it both contains spoilers and requires a certain knowledge of the storyline), here is a short novella if you like that I was forced to cut.
It concerns Kesbury, the former Ralloran sergeant who helps Martil and eventually redeems his deeds at Bellic to become a priest of Aroaril.
I did want to show a different path to redemption, and explore a character I liked further but, after the first draft, it became very clear that I had to jettison quite a few sub-plots. This was one of them.
Bear in mind that you are reading a first draft quality - although some of these scenes made their way into the final draft, albeit considerably changed.
Anyway, I'd be interested to hear what you think ... does this add anything to the overall story or was it better indeed that it was cut!
http://www.facebook.com/note.php?created&¬e_id=10150090894998844
January 1, 2011
Writing around the Christmas Tree
It's the holiday season and, like many other families, we try to make a special occasion out of decorating the Christmas Tree.
But, while doing so, I was struck by the similarities between the rewriting process and dressing the Christmas Tree.
I should say at this point that I have become even more of a fan of the rewriting process than I was before. There are some writers who can punch out a book in one sitting - I remember reading that Enid Blyton used to knock out a 50,000-word Famous Five book in one weekend (and still have time for a cracking tea with lashings of strawberry jam). I'm not one of them.
My first draft is when I get to know the characters - and then I start to play with them, to add texture and richness and sub-plots and detail.
Each subsequent draft adds a little something more, each draft not necessarily making radical changes but constant, subtle ones, until the finished product is drastically different from the first draft.
Not unlike the Christmas Tree.
First of all you have the bare foliage - the bare bones, if you will.
Next comes the lights, which have to be positioned just right. Following them the tinsel is draped around the tree, spaced evenly and given due weight.
Next comes the special ornaments, the ones that have particular meaning. These are spaced properly, placed to give them the prime position.
Then come the Christmas balls; next the ribbons, then the other assorted ornaments and finally the candy canes.
After each stage, we stand back and look at the tree, consider it from several different angles, and possible reposition things. A precious ornament might be in just the right place - but it means the tinsel, or possible a light, need to be moved.
It's an organic process, which takes time, until all are in agreement that it is looking the best it possible can be - even better, in fact. It is perfect.
All of this is not unlike the writing - and re-writing - process.
Each layer adds something new, works in with what is already there and adds to the whole.
At the end, far from the bare bones, you have something that is a pleasure to the eye and inspires comment from others.
If you can do that with a book, then it's been a good Christmas indeed!
But, while doing so, I was struck by the similarities between the rewriting process and dressing the Christmas Tree.
I should say at this point that I have become even more of a fan of the rewriting process than I was before. There are some writers who can punch out a book in one sitting - I remember reading that Enid Blyton used to knock out a 50,000-word Famous Five book in one weekend (and still have time for a cracking tea with lashings of strawberry jam). I'm not one of them.
My first draft is when I get to know the characters - and then I start to play with them, to add texture and richness and sub-plots and detail.
Each subsequent draft adds a little something more, each draft not necessarily making radical changes but constant, subtle ones, until the finished product is drastically different from the first draft.
Not unlike the Christmas Tree.
First of all you have the bare foliage - the bare bones, if you will.
Next comes the lights, which have to be positioned just right. Following them the tinsel is draped around the tree, spaced evenly and given due weight.
Next comes the special ornaments, the ones that have particular meaning. These are spaced properly, placed to give them the prime position.
Then come the Christmas balls; next the ribbons, then the other assorted ornaments and finally the candy canes.
After each stage, we stand back and look at the tree, consider it from several different angles, and possible reposition things. A precious ornament might be in just the right place - but it means the tinsel, or possible a light, need to be moved.
It's an organic process, which takes time, until all are in agreement that it is looking the best it possible can be - even better, in fact. It is perfect.
All of this is not unlike the writing - and re-writing - process.
Each layer adds something new, works in with what is already there and adds to the whole.
At the end, far from the bare bones, you have something that is a pleasure to the eye and inspires comment from others.
If you can do that with a book, then it's been a good Christmas indeed!
November 2, 2010
Christmas signings
I've had a few stores ask me to come back out for a Christmas signing ... so if you want a book signed, feel free to bring it along and say hello!
Here's the dates:
Sunday December 5: A+R Kotara - from about 11.30am
Sunday December 12: A+R Miranda Fair - from about 12pm
Thursday December 16: A+R Town Hall Square - from about 12pm
Sunday December 19: Borders Tuggerah - from about 1.30pm
I don't have any time off through December (I even have to work Christmas Day!) so have had to keep it a bit limited but I'd be happy to see anyone at any of those locations!
Here's the dates:
Sunday December 5: A+R Kotara - from about 11.30am
Sunday December 12: A+R Miranda Fair - from about 12pm
Thursday December 16: A+R Town Hall Square - from about 12pm
Sunday December 19: Borders Tuggerah - from about 1.30pm
I don't have any time off through December (I even have to work Christmas Day!) so have had to keep it a bit limited but I'd be happy to see anyone at any of those locations!
October 26, 2010
First draft of a first book
It occurred to me the other day that writing the first draft of a first book can be compared to many things - but I like to compare it to a stumble across a darkened room.
But not just any room.
I like to check on my kids just before I go to bed and, as I was trying to sneak quietly out of my daughter's room the other night, decided that this trip was not unlike writing the first draft of the first book in a new series.
Let me explain.
You know the starting point (the bedside). You can see where you have got to get to (the lit hallway outside). But the route you take to get there can end up very different, even if you have envisaged it clearly in your mind beforehand.
There's a night light in the room, which changes colour four times in a cycle, from quite a bright blue light to a dim red glow. At any moment, your path forward can be plunged into darkness, or revealed in a burst of dazzling light.
There are any number of pitfalls waiting for your uncertain step. Obstacles that must be avoided, or stepped over, or even moved to one side to enable you to go forwards. Some feel soft, and safe - but could make a terrible noise. Others are sharp and will cause you lingering discomfort.
Sometimes the best route is to take a few steps sideways, even one step back - but always you must press on forwards. Head for the light.
But don't rush. Often, when you are striding forwards confidently, a sudden plunge into darkness can throw you off balance. An obstacle you were sure you could avoid is suddenly somewhere underfoot. A wrong step could be disastrous at this point.
Occasionally you must pause, wait for a little extra illumination to be thrown on the subject, to see your way forward.
Naturally reaching the end is a relief.
But take time to look back and see where you mis-stepped, or over-stepped, or perhaps could have strode out a little stronger. There is always a better route to take. Hindsight allows you to examine your progress critically, see where you might do better next time.
But never forget, you have safely reached your goal.
Anything is possible from here.
But not just any room.
I like to check on my kids just before I go to bed and, as I was trying to sneak quietly out of my daughter's room the other night, decided that this trip was not unlike writing the first draft of the first book in a new series.
Let me explain.
You know the starting point (the bedside). You can see where you have got to get to (the lit hallway outside). But the route you take to get there can end up very different, even if you have envisaged it clearly in your mind beforehand.
There's a night light in the room, which changes colour four times in a cycle, from quite a bright blue light to a dim red glow. At any moment, your path forward can be plunged into darkness, or revealed in a burst of dazzling light.
There are any number of pitfalls waiting for your uncertain step. Obstacles that must be avoided, or stepped over, or even moved to one side to enable you to go forwards. Some feel soft, and safe - but could make a terrible noise. Others are sharp and will cause you lingering discomfort.
Sometimes the best route is to take a few steps sideways, even one step back - but always you must press on forwards. Head for the light.
But don't rush. Often, when you are striding forwards confidently, a sudden plunge into darkness can throw you off balance. An obstacle you were sure you could avoid is suddenly somewhere underfoot. A wrong step could be disastrous at this point.
Occasionally you must pause, wait for a little extra illumination to be thrown on the subject, to see your way forward.
Naturally reaching the end is a relief.
But take time to look back and see where you mis-stepped, or over-stepped, or perhaps could have strode out a little stronger. There is always a better route to take. Hindsight allows you to examine your progress critically, see where you might do better next time.
But never forget, you have safely reached your goal.
Anything is possible from here.
September 7, 2010
AussieCon 4
Just back from AussieCon4, the world fantasy convention held in Melbourne and it was truly an amazing experience.
I found it a bit strange just because I am not a big fantasy reader! It is ironic that I enjoy writing fantasy but have not read the genre as widely as many people - and certainly not to the degree that many of the fans had.
It's almost embarrassing - and I certainly got some funny looks from volunteers at a book signing - when you admit you've never heard of another ``famous'' auth...
I found it a bit strange just because I am not a big fantasy reader! It is ironic that I enjoy writing fantasy but have not read the genre as widely as many people - and certainly not to the degree that many of the fans had.
It's almost embarrassing - and I certainly got some funny looks from volunteers at a book signing - when you admit you've never heard of another ``famous'' auth...
August 23, 2010
AussieCon/WorldCon
Like many other fantasy fans and authors, I shall be attending WorldCon, or AussieCon 4, in Melbourne from September 3-5.
If anyone is also going along, and is interested in catching one of the panels I am on, or attending a reading, a signing or a kaffeeklatsche (a small group chatting over coffee), here is my itinerary:
Friday Sept 3 at 5pm, Room 213: Six Years On An Island: Discussing the TV show Lost.
(Earlier this year I interviewed Jorge Garcia - Hurley - for The Sunday Telegraph TV Guide,...
If anyone is also going along, and is interested in catching one of the panels I am on, or attending a reading, a signing or a kaffeeklatsche (a small group chatting over coffee), here is my itinerary:
Friday Sept 3 at 5pm, Room 213: Six Years On An Island: Discussing the TV show Lost.
(Earlier this year I interviewed Jorge Garcia - Hurley - for The Sunday Telegraph TV Guide,...
July 29, 2010
The Big July - finished at last!
I can barely believe it - my madcap month of planes, trains and automobiles to get me around to so many bookstores is actually over.
In the end, I only visited 49 bookstores in the 31 days I set aside ... although I do have Number Fifty, A+R Town Hall, set aside for Thursday August 5 lunchtime, although I won't call it truly part of The Big July.
But, and here's the fantastic bit - I sold 1016 books to wonderful people across three states and the ACT!
Along the way, The Radiant Child hit the Dym...
In the end, I only visited 49 bookstores in the 31 days I set aside ... although I do have Number Fifty, A+R Town Hall, set aside for Thursday August 5 lunchtime, although I won't call it truly part of The Big July.
But, and here's the fantastic bit - I sold 1016 books to wonderful people across three states and the ACT!
Along the way, The Radiant Child hit the Dym...
