Today is a new era in many ways. I handle all my social platforms now. When you write to me at Facebook or any of my email addresses, it’s me you’re getting. What happens on those platforms is my decision and no one else’s. I feel more in touch and personally connected with my fans than ever. If I’m in the writing cave, you may not see me online or get answers to your emails for weeks at a time and for that I apologize but I trust you’ll be happy to know when you’re not hearing from me, it means I’m busy doing what I love most and I hope you love me doing most—writing.
Speaking of writing, when I sat down to begin the last installment in this story arc, I revisited the original notes I’d made many years ago, shortly after I had the dream that inspired the Fever series. I’d compiled reams of notes during the eleven years I’d been writing about Mac, Barrons, Dani and the crew and it was mesmerizing to look back over them, see how everything evolved, analyze where I felt I hit the mark and where I missed it, and plot how to bring it full circle. Five years ago, I wrote the scenes that became the final two chapters in Feversong. I was pleased to find I didn’t need to change a single word when I plugged those chapters in.
I feel as if an era in my life has ended. For the duration of the series, events in my life paralleled Mac’s in so many ways that I developed a superstition that my existence would never be normal again, until I wrote the final pages of Mac’s journey. I have high hopes for a much less chaotic future for both of us.
Hindsight is 20/20 and I couldn’t even begin to tackle writing Feversong until I’d analyzed the successes and problem areas in the series as a whole. I felt my biggest problem area was in stepping away from Mac & Barrons to write a Dani book while I healed from my tumultuous divorce. In 2011, I felt unequal to the task of writing about their epic love affair when my heart was broken and I wasn’t feeling in the least romantic. I knew I couldn’t do justice to them, and the Mega’s head was beguilingly easy for me to slip into: she’s sharp and bombastic, funny and tough, yet heartbreakingly vulnerable beneath it all. At that time in my life, Dani’s was a much easier skin for me to wear than Mac’s.
Yet—and this is a big yet—I wouldn’t un-write Iced for anything. I love that book and I love Dani’s character. She and Mac are completely different. I adore them both.
For the past few years, I’ve reflected that perhaps I should have gone straight from Shadowfever to Burned, while continuing to develop Dani as a side character, then once Mac & Barrons’s story arc was done, brought Dani to the forefront as a primary character and begun a new series. I think it would have been easier for the reader to absorb and digest as well. Looking back, Iced is the book that—were I to present the series in a sort of ‘which-thing-here-isn’t-like-the-others’ test—we’d all instantly point to it.
But while writing Feversong, my opinion changed, because I realized if I’d never written Iced, Feversong wouldn’t have turned out to be what it is. It wouldn’t work the way it does. It wouldn’t have half the pathos and emotion it ended up having. All because we got that ‘day in the life of Dani ‘the Mega’ O’Malley as part of the series foundation. There are some side characters whose voices are so strong writers have no choice but to move them to the main stage with the other principle players.
Upon the completion of the series, I look back and think—I’ll be damned, it turned out pretty much exactly the way I wanted it to. I’m not sure this wasn’t the way these four books were supposed to go. It was merely a rockier delivery than I would have preferred for myself and for you.
The questions that matter to me at the end of any book or series are:
1. Does it hold emotional, intellectual and psychological water? Does it have sincerity, cohesion and pathos?
2. Is each element that was necessary for the foundation cemented in place when I finally put the roof on the structure and close the front door?
3. Have my themes and motifs been established, developed and expounded upon?
4. Have I attained three-dimensionality of primary and secondary characters and does the ending of each of their journeys honor my initial vision, while doing justice to their essential character?
5. Is there enough light that the darkness is eclipsed? Have I achieved innate emotional integrity?
If I meet those criteria, I’m satisfied with how I’ve told the story.
Halfway through this series, I realized I was shooting myself in the foot professionally. It was one of the reasons I resisted writing the first five books initially. From the morning I woke up from my dream that became the Fever Series, I knew in my gut it was going to be a difficult challenge to tackle. When readers tell me this series feels different for them, it’s true on so many levels.
Most authors give you a beginning, middle and end in each book they write. For good reason. We readers like beginnings, middles and ends in one tidy package. It makes us feel complete. We can pick a book up, plunge in, race to the climax, get the climax, close the book with an HEA (or not) and get on with our lives.
Too bad I wasn’t offering you anything remotely like that.
Darkfever was a beginning. Bloodfever, Faefever and Dreamfever were middles. Shadowfever was an end. (It’s no wonder most people like Shadowfever more than any of the others. Endings get all the good stuff.) Then, as if I hadn’t tortured myself and you enough, I did it again, even more jarringly: Iced was a beginning. Wait—Burned was another beginning. Feverborn was a middle and Feversong is the end.
Who the f*&^ writes books like that?
People don’t like books like that. They’re aggravating, unsatisfying and linger in your head because you have no resolution. You end up shipping the characters in your spare time. The author becomes the enemy because that wench is withholding your ending and by the time she finally gets around to writing it, if it doesn’t go where you shipped it, you’re doubly irritated with her.
Never. Again. Henceforth all my books will individually contain beginnings, middles and ends. I’m done with that nightmare of a blueprint. I’ve evolved. I can more wisely navigate the path the Muse leads me down and the path I take on behalf of my characters and readers.
But I digress.
The point of this was to set expectations for Feversong and I haven’t yet broached that topic.
I had to decide many things before I wrote the first sentence of this final book. There were too many characters/storylines for me to resolve them all in a single installment, so the first decision I had to make was how to distill focus.
Expectation 1: Most secondary character’s stories do NOT get resolved in Feversong. I made a conscious decision to tightly focus on the main protagonists, gently sweeping all the secondary characters to the side of the stage. I neither ignore nor advance their stories. I mention them so you know where they are in events, but leave their stories open for the future. I couldn’t do justice to both primary character and secondary character stories in a single book and I’m unwilling to hurriedly whiz through secondary stories because A: I have big plans for some of them, and B: I would have had to sacrifice the innate integrity of their story arc. Did I mention I have BIG plans for some of them?
Expectation 2: Mac and Barrons’s story is completed at the end of Feversong.
Expectation 3: Other stories are just beginning.
Expectation 4: I’m not yet willing to discuss what comes next. I’ll tell you when I am.
Expectation 5: Feversong is split between two primary characters: Mac and Jada/Dani. Though the book has four ‘parts,’ to me it has two significant parts. The first half is one thing, the second half is another. I don’t know that I’ve ever written a book quite like this one before. I endeavored to alternate from one main POV to the next, as consistently as possible but there were times when the action and emotion defied the formula and I will never adhere to a formula at the expense of the story.
Expectation 6: Feversong came in at just under 160,000 words. Shadowfever was approximately 190,000 words. Rule of thumb is 100,000 words usually equals about 370-400 book pages. However, it depends on how the book is typeset: how many lines on each page, what size font. 160,000 words can end up being 450 printed book pages. Or 700 printed book pages. Final page count is out of my hands and in the publishers. This is why I go by word count.
Expectation 7: There’s a glossary is in the back. Please factor that in when you’re nearing the end, if you’re using an e-reader. I know it can be jarring but also helpful in recalling the plethora of details.
A final expectation: the writing industry is a tough market. It’s not what it was ten, five or even two years ago. The reader speaks with their money. Traditional publishing is facing many challenges and the writer’s ability to make their bosses a profit dictates what the writer can do. Not because the publishers says ‘no’ but because if what I do doesn’t make them money, I don’t get paid and can’t support my family, my employees and their families.
Expectation # 1 for future books: If there are certain characters you’d like to see more of, please show your support through pre-orders, first week sales and social media. Writers, characters and fans together—are a team. I have to prove myself every day to my bosses. I have to prove the financial viability of my storylines and characters to them via sales.
I might have a strong desire to write a specific set of characters but if readers don’t buy those books straight out of the gate…well, I know how smart my readers are. You hear what I’m saying.
In closing, I hope to see many of you at the Feversong Book Launch party in NOLA 2017. It’s the first con I’ve planned myself down to the last detail and I’ve been having a blast with it. I’ve got a total dream team of fans and friends that have thrown themselves into it with true Fever passion. We’ve got one hell of a party planned for you.
Thanks for being such terrific readers, fans and friends.
Published on October 01, 2016 08:05