Barb Caffrey's Blog

Writing the Elfyverse . . . and beyond

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An Excerpt From Stephanie Osborn’s Newest Novel, “A Case of Spontaneous Combustion”

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Folks, I’ve been without the Internet for most of the past five days. Because of this, I wasn’t able to take part in Stephanie Osborn’s online book release party for her latest novel, A CASE OF SPONTANEOUS COMBUSTION. This book is the fifth in her Displaced Detective series featuring Sherlock Holmes as brought to the modern day, and is a must-read for lovers of intelligent fiction.

So what follows is the blog I’d hoped to put up last weekend, to help celebrate Stephanie’s newest release. It’s a book excerpt, with a bit of set-up to help get you up to speed . . . at any rate, take it away, Stephanie!

* * * * *

A Case of Spontaneous Combustion: An Excerpt

By Stephanie Osborn

I am pleased to announce the release of book 5 of the Displaced Detective Series, entitled A Case of Spontaneous Combustion!

This book continues the science fiction/mystery adventures of Sherlock Holmes, who has been yanked from an alternate reality in the which he exists, into our modern day reality by Dr. Skye Chadwick, chief scientist of Project: Tesseract. Unable to return to his own place and time, Holmes is forced to adapt, learn, and grow. With Skye’s help, he succeeds admirably.

But when an entire village on the Salisbury Plain is wiped out in an apparent case of mass spontaneous combustion, Her Majesty’s Secret Service contacts The Holmes Agency to investigate. Unfortunately Sherlock Holmes and his wife, Dr. Skye Chadwick-Holmes, have just had their first serious fight, over her abilities and attitudes as an investigator. To make matters worse, he is summoned to England in the middle of the night, and she is not — and due to the invocation of the National Security Act in the summons, he cannot even wake her and tell her.

Once in London, Holmes looks into the horror that is now Stonegrange. His investigations take him into a dangerous undercover assignment in search of a possible terror ring, though he cannot determine how a human agency could have caused the disaster. There, he works hard to pass as a recent immigrant and manual laborer from a certain rogue Mideastern nation as he attempts to uncover signs of the terrorists.

Meanwhile, alone in Colorado, Skye battles raging wildfires and tames a wild mustang stallion, all while believing her husband has abandoned her.

Who ― or what — caused the horror in Stonegrange? Will Holmes find his way safely through the metaphorical minefield that is modern Middle Eastern politics? Will Skye subdue Smoky before she is seriously hurt? Will this predicament seriously damage ― even destroy — the couple’s relationship? And can Holmes stop the terrorists before they unleash their outré weapon again?

~~~Excerpt~~~

 Prologue — Changes in Routine

 

Stonegrange was a little old English hamlet in the County of Wiltshire in the Salisbury Plain of England, much like any other such ancient British village: a tiny central square in the midst of which crouched a hoary, venerated church, surrounded by a few small shops, and residences on the outskirts tapering off into the surrounding farmlands. On Sundays the church was full, and on Thursdays the outlying farmers brought their produce in to market. The occasional lorry carried in other supplies, and the Post Office ran every day but Sunday. So small was the village that the constable wasn’t even full time.

Still and all, it wasn’t very far from a main thoroughfare, the A338, that ran through Salisbury and on down to Bournemouth and Poole, and it wasn’t uncommon for lorry drivers to stop for a bite in the local pub, or even park their rigs in an empty lot just off the square for a good, safe night’s rest. Sometimes they even used the lot to hand off cargo from one freight company to another.

So no one thought twice when a flat-bed trailer showed up overnight in the lot, a large wooden crate lashed firmly to its middle. The locals figured it was either a hand-off, or someone’s tractor rig had broken down and been hauled off for repair, while leaving the cargo in a safe place.

* * *

Dr. Skye Chadwick-Holmes, horse trainer, detective, and one of the foremost hyperspatial physicists on the planet, answered the phone at the ranch near Florissant, Colorado.

“Holmes residence,” she murmured. “Skye speaking.”

“Hi there, Skye, Hank Jones here,” Colonel Henry Jones, head of security for Schriever Air Force Base, greeted the lady of the house from the other end of the line. “If you don’t mind, grab Holmes and then hit the speaker phone.”

“Oh, hi, Hank,” Skye replied warmly. “Good to hear from you, but I’m afraid I can’t oblige. Sherlock’s not here right now. Billy Williams called him down to the Springs to update him on some new MI-5 HazMat techniques; I completed my certification last month, but Sherlock had a nasty little cold and missed out.”

“Oh,” Jones said blankly. “Well, are YOU available?”

“Um, I guess so, for whatever that’s worth,” a hesitant Skye said. “Depends. Whatcha got?”

“Murder in the residential quarters at Peterson,” Jones noted, grim. “Suspects and victim were all Schriever personnel, though, so I get to have fun with it. Joy, joy.”

“And you could use a bit of help?”

“‘Fraid so,” Jones sighed. “As usual, I’m short-handed right now. The Pentagon never seems to get the fact that ‘Security’ means ‘document control,’ ‘police force,’ ‘guard duty,’ ‘investigation,’ and half a million other different jobs all rolled together, on a base like this.” He sighed again. “Listen, is there any chance you could meet me down there in about an hour or so, have a look around the crime scene yourself, then call your husband in when he’s available if you need to? As a favor to me? I need to get rolling on it A.S.A.P.”

“Um, okay,” Skye agreed after a moment’s thought. “Yeah, I can at least get started on it, and collect the initial data for Sherlock. Maybe even come to some basic conclusions and formulate a theory for us to work on. Gimme the address and I’ll buzz on down…”

* * *

The trailer remained where it was, off Stonegrange’s central square, for two days, and still no one thought to question. After all, tractors had mechanical difficulties just like the residents’ own autos and lorries, and sometimes those difficulties took a few days to repair. So no inquiries were made. The trailer was ignored.

Until, at precisely 11:02 p.m. three nights after its arrival, the crate emitted a soft, reverberating hum. No one was near enough to hear it, however—at least, no one curious enough to bother checking it out. Exactly five minutes later, a loud zap! sounded from the box.

Stonegrange was as silent as the tomb the rest of the night.

The next morning, the flat-bed trailer was gone.

~~~End Excerpt~~~

Again, folks, if you want to read the rest of Stephanie’s newest novel A CASE OF SPONTANEOUS COMBUSTION, please go here and take a gander.

All I know is, I plan to review both her fourth book in the Displaced Detective series, ENDINGS AND BEGINNINGS, and her newest very soon over at Shiny Book Review . . . so do stay tuned for that.

Guest Blog About the Elements of Romance Is Up

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Folks, I’m pleased to tell you about today’s guest blog over at Stephanie Osborn’s blogsite, Comet Tales. The subject I wrote on is the Elements of Romance in Modern Storytelling, which is part of an ongoing series that has featured writers Osborn, Aaron Paul Lazar, and Christine Amsden before me; other authors planning to write blogs for this series include Katharine Eliska Kimbriel and Dina von Lowenkraft, so there’s plenty more to read in this series if you are so inclined.

Because we were allowed to talk about anything regarding romance and what it means to us as storytellers, I decided to talk about it from a historical perspective. Here’s a brief sample of that:

So how did romance as a thing actually come to be? Well, feelings and hormones aside, the lot of women from early on was probably none too good in most societies. Being bartered in marriage was by far the least of these ancient women’s worries. But as our world matured and societies became more stable, there was more leisure time available – especially in the upper classes – and people started to think.

Why couldn’t marriages be made where both people respected and liked each other? Why, if everything else was equal, couldn’t a suitor actually romantically care about his proposed wife? Wouldn’t that be beneficial to all concerned?

Later in the guest blog, I talked a little bit about some of my favorite contemporary authors (including Osborn, Kimbriel, and Rosemary Edghill), and how they use romance — or don’t — in their writing.

So do go take a look at it . . . I promise you, it’s not like any other guest blog you’ve ever read, at least not on this subject.

And enjoy!

Written by Barb Caffrey

April 9, 2014 at 5:24 pm

Guest Blog About Writing and Cross-Promotion Up at Murder By 4

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Folks, as promised last week, I’m letting you know about my guest blog, which is up over at the prestigious writing website Murder By 4.

Here’s a small taste . . .

Writers often talk about effective cross-promotion, since we’re always trying to get the word out about our latest books and stories. Yet what does effective cross-promotion actually consist of? And why do some promotional activities seem to work better than others?

Go here to read the rest. (Enjoy!)

Written by Barb Caffrey

February 7, 2014 at 5:15 pm

A Guest Blog from Jason Cordova — ‘How to Genre Hop Without Driving Yourself Completely Insane’

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Folks, I’m pleased to welcome fellow author Jason Cordova to my blog.  Jason and I have known each other for several years now, and have even attempted to collaborate on a novel together (maybe that’ll come to fruition one of these years, as the idea was really, really good).  Jason wrote a novel, CORRUPTOR, and has sold a number of short stories, with the most recent sale being to the anthology MENTAL WARD.  He’s currently working on a number of projects and is one of the busiest people I know, which is why I’m really pleased he stopped by.

Jason is also the owner-operator of Shiny Book Review, which means that technically, he’s my boss over at SBR.  Fortunately, he doesn’t seem to think in hierarchical terms very often, which is why he’s a very good boss.

So here he is . . . the one, the only, Jason Cordova!

*********** Guest Blog Starts Now ***********

  Barb mentioned a few weeks ago (or last week, maybe) that she was open to me doing a guest post on her blog. Since her blog has many more visitors than mine (primarily because she actually has interesting stuff going on), I figured, “Sure, sounds like fun!” Then she even gave me a subject matter to discuss, which made it, like, even easier. So take a seat, relax, and have a sip of Earl Grey. I’m about to bore you to tears.

How To Genre Hop

(without driving yourself insane)

            *cue dramatic music*

One of the hardest things for any writer to do is to write in a genre they are unfamiliar with. Most of the popular writers get labeled in one genre and stay there. This isn’t always a bad thing, no. I myself have found that when I’m searching in the horror section, I’m looking for Dean Koontz. In fantasy, usually the team of Margaret Weis and Tracy Hickman catch my eye first. Science fiction? David Weber.

We mentally lump our favorite writers into their genres and keep them there. And for the most part, the authors are content to stay there. But… did you know David Weber wrote a fantasy series? I didn’t, not until someone pointed it out to me (The War God’s Own, for those of you interested). Would you read a science fiction novel by Margaret Weis? Or a romance by Dean Koontz?

Barb asked me once how I genre-hopped. You see, I write in just about every genre, and though I still think of myself as a science fiction author, I’ve published fantasy, horror, thriller, YA and alternate history. Barb’s question made me think about the difficulties of writing in various settings. How do you genre hop without tripping up? How do you keep the settings straight in your head? I then had a revelation. Perhaps that’s the difficulty with genre hopping? Perhaps the problem is that writers are focusing too much on the setting and it’s being difficult?

One of the first things I worry about when writing a story is the main character. Who are they? What are they up to? Why are they doing whatever it is that makes them worth writing about? I want them to be, well, cool. I want them to do things that I can only dream about doing (which includes, but is not limited to, being a super secret ninja warrior assassin in the 1000 BC). I want them to be funny, smart, and interesting enough that when a reader picks up the book, it doesn’t matter to them what the setting is, because they like the main character that much.

(side note/disclaimer: if Jim Butcher stuck Harry Dresden in space, fighting an alien invasion and using ray guns, I would read the sh*t out of that book.)

You see, the setting really isn’t all that important, not at first. Who your main character is, now that is important. It’s easier to build the setting around a fantastic character than it is fitting a character into a setting. Generally speaking, that is. I can already hear the clamors of “Well, that’s not how I do it, and I can hop genres fine!” If that’s the case, awesome. I’d love to review your book sometime.

Ray Bradbury had a solid piece of advice: First, find out what your hero wants, then just follow him!

So you’ve got the character set? Not yet? Okay, well, when you do, what do you do them next? For example, when I was writing Nightwalker, I had the image of a really articulate, well-dressed doctor traversing the Wild West to kill evil. I didn’t know much about where he was, but I knew all about him. A former Civil War doctor who had been injured in battle, he was cursed/possessed by an ancient demon in exchange for him life. The demon, however, is bound by oath to destroy all evil. So an internal struggle for the soul of a man. But is it horror? Urban fantasy? Something else?

Who cares? He’s an interesting character. He’ll find a home somewhere.

I think (I may be wrong here) that a lot of problems stem from a fear of writing the wrong setting. But if your character is just that awesome, does it really matter?

I can already hear people shouting about A Song of Fire and Ice (aka Game of Thrones) and how George R. R. Martin focuses on the setting and it works for him. To which I reply “Really? So you’ve never come upon a certain character’s chapter and found yourself glazing over as you read, waiting for one of your favorites to pop up?” I know I do this when I read a Daenerys chapter (what? she’s gotten boring over the past three books!)**, and I’m fairly certain I’m not alone.

So try to remember that setting (by extension, genre) is secondary when it comes to your book and that your main character is what’s going to sell it. If you can make your character interesting (and cool; never forget the cool), then your book will be a little more memorable.

            For those of you searching for my titles, I have links on both my website (www.jasoncordova.com) as well as an Amazon author page (www.amazon.com/Jason-Cordova/e/B004CZHHPU/ref=ntt_dp_epwbk_0).

**********

Thank you, Jason, for that excellent guest blog,  Stop by anytime!

And for the rest of you, please do check out his new story in the anthology MENTAL WARD, which is available right now.

BTW, the ** is for my agreement with Jason over Daenerys’ character in the last three books in the Song of Ice and Fire series.  She’s a strong woman.  I know this, as I’ve reviewed all five of the books over at SBR (here’s a link to all of SBR’s reviews if you don’t believe me).  But these last three books, well . . . Daenerys seems sexually obsessed to the point of near-madness, and I don’t buy it that this is all because of her link with her three dragons.  And all of that makes her predictable at best, boring at worst — and makes those the chapters I’m the most likely to skip over and never read again if I can help it.

Jason is right.  He’s not the only one wondering what’s up with Daenerys, because I am, too.  And while I know that sex sells, especially on TV (it’s doing bang-up business for HBO, words chosen precisely), it can be really, really annoying to read the same sorts of scenes over and over and over again.

Written by Barb Caffrey

October 2, 2013 at 4:48 pm

A Guest Blog by Stephanie Osborn, Author of the ‘Displaced Detective’ Series Featuring Sherlock Holmes

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Folks, I feel like that guy on the José Cuervo ads (the most interesting man in the world): I don’t often have guest blogs, but when I do, I feature the most interesting, passionate writers writing today.

The Arrival coverCase in point is today’s guest blog for Stephanie OsbornShe’s previously discussed her “Displaced Detective” series here at my blog, but wanted to discuss the origins of her excellent series today, especially as her book THE CASE OF THE DISPLACED DETECTIVE: THE ARRIVAL is on sale right now over at Amazon for ninety-nine cents (yes, only $.99!) in e-book form.

In case you haven’t read her wonderful novels yet, here’s some links to my reviews of THE CASE OF THE DISPLACED DETECTIVE: THE ARRIVAL, THE CASE OF THE DISPLACED DETECTIVE: AT SPEED and THE CASE OF THE COSMOLOGICAL KILLER: THE RENDELSHAM INCIDENT over at Shiny Book Review.  (Because I’m now a Twilight Times Books author, I cannot review the fourth book, THE CASE OF THE COSMOLOGICAL KILLER: ENDINGS AND BEGINNINGS, via SBR as it would be a conflict of interest and we frown on such things.  I do plan to review it soon here at my blog and over at Amazon.)

Stephanie’s written mystery, fantasy, children’s stories, hard science fiction, soft science fiction, speculative fiction — in short, she’s a writer.  She’s also been a rocket scientist, which makes her novels about Sherlock Holmes as brought to the modern day by hyperspatial physicist Skye Chadwick all the more realistic.

Stephanie’s novels deserve a wider audience, which is why I’ve again turned my blog over to her.

Now, without further ado . . . here’s Stephanie Osborn!

*************** Drum Roll Sounds Here **************

A note from Stephanie Osborn:  It is my great pleasure to make another guest appearance in the Elfyverse. Barb is an amazing writer and editor, and I am so happy to have made her acquaintance through her review of several of my novels; she has become a special friend. We’ve been able to help lift each other up at times when things were down, and that’s so much better than trying to haul oneself up by one’s own bootstraps! I hope you enjoy my little cameo.

 

The Origins of the Displaced Detective

By Stephanie Osborn,

The Interstellar Woman of Mystery

http://www.stephanie-osborn.com

 

I suppose the first thing you should know about me is that, well, I really AM one of those rocket scientists you hear about. With degrees in four sciences and subspecialties in a couple more, I worked in the civilian and military space industries, sitting console in the control centers, training astronauts, you name it; and I lost a friend aboard Columbia, when she broke up over Texas. So yeah, I’m the real deal.

The second thing you need to know about me is that I’ve been a Sherlock Holmes fan… aficionado, whatever word you prefer… since I was a kid. Someone gave me a copy of The Hound of the Baskervilles for my birthday one year. I was in, what, third grade? With a hyperactive imagination. Scared me to death when I read it. But I loved Holmes immediately. If I could have done away with the scary story about the Hound, I’d have adored that book even then. It’s one of my favorites now.

By the time I was in high school, I’d discovered that big, single-volume compendium ― you know, the one with the rust-and-mustard dust jacket? If you’re a Holmes aficionado, you know the one I mean. If you don’t, go find it! I read it cover to cover. Wagged it around to every class with me, and every time I had 2 consecutive spare minutes, my nose was in it. Oh, I was devastated when I read The Final Problem. No, really: I went into mourning, like I’d lost family! And I could have turned handsprings for joy when I read The Empty House! Many years later, I acquired that same rust-and-mustard volume and placed it on my own shelves, where it has been read cover to cover many more times. I picked up what are known as “pastiches,” too, efforts by other authors to carry on the adventures, or create entirely new ones, or fill in gaps. (What did Holmes and Watson do when the Martians invaded? What about Jack the Ripper, and why did Watson never chronicle an adventure about him? Didn’t Holmes go after him? What really happened with the Giant Rat of Sumatra?) I watched television and movies ― to this day, I watch the BBC’s Sherlock, and CBS’ Elementary, and even the Guy Ritchie film franchise starring Robert Downey, Jr. And I have the complete set of the Grenada series starring Jeremy Brett, and a bunch of the Basil Rathbone films. Good, bad, or indifferent, they’re all Holmes!

Now, back in Arthur Conan Doyle’s day, they didn’t have all the breakdown of literature into genres that we have today. Today we have science fiction (or SF, with its many subdivisions), fantasy, horror, and such. But all those, in the Victorian era, were lumped together and considered speculative fiction, or “specfic” as it’s known today. As it turns out, many if not most of the Holmes adventures would be considered as specfic ― and I started thinking…

…Other people have “done” Holmes in Victorian-era science fiction…

…But I want to be different. If I write Holmes, I want to do something that’s never been done before…

…Aha. What if, somehow, I could manage to drag Holmes into the modern world to go adventuring?

How to do it…how to do it…

I researched and I studied. And then it hit me.

What if I use the concept of alternate realities, which more and more scientific data indicates are real, and I combine that with something called M theory in order to be able to access them…

…And I was off!

I already had several novels written but unsold by that point, and there was publisher interest in my first one, Burnout: The mystery of Space Shuttle STS-281. (Yes, I like to mix science fiction and mystery. It seems to come naturally to me; I’ve always thought a good SF story has a distinct element of the mysterious. That’s why I got dubbed The Interstellar Woman of Mystery by certain media personalities.) So I knew about writing novels: See, it isn’t about page count, it’s about word count.

Different genres define book length by different word counts. YA is relatively short, say 50,000-80,000 words. The romance genre generally defines a novel at roughly the same word count. But SF and mystery, for instance, consider a novel to run from about 80,000-110,000 words, maybe a smidge more. (Think about the thinness of a typical Harlequin Romance as compared to, say, a Baen military SF novel.) There’s an arcane formula that ties word count to final page count, and another that determines the list price from the page count. So these are important numbers, these word counts.

Now that’s not to say that you can’t go over; you can… provided your last name is something like King, Weber, or Rowling. Because publishers know those names will sell books regardless of length. Everybody else? Don’t be too short OR too long.

So I sat down to write The Case of the Displaced Detective, the first story in what has become my Displaced Detective series, described rather aptly as, “Sherlock Holmes meets the X-Files.”

Two months ― yes, you read that right, months, not years ― later, I’d completed the rough draft… and it stood at 215,000 words. Writing that manuscript was kinda like tryin’ to hold a wide-open fire hose all by yourself. I ate at the computer. I all but slept at the computer. That story just came pouring out. I couldn’t stop until it was all written. By the time I’d polished it, it had ballooned up to around 245,000 words, and I managed to whack it down to about 230,000.

But it was too big for a single book. And nobody could figure out how to cut it down without cutting out essential parts ― not me, not agent, not editor, not publisher. See, it was really two stories in one: it was an “origin story” of sorts, how Holmes came to be in the 21st century, AND it had a mystery. It needed all of those 230,000 words to tell the story properly.

In the end, my publisher and I decided to make two volumes of it. That’s why, when you look at the covers, you don’t just see The Arrival, or At Speed. You see The Case of the Displaced Detective: The Arrival, and The Case of the Displaced Detective: At Speed. There’s not a hard and fast break between the origin story and the mystery; in fact the mystery starts within days of Holmes landing in the 21st century in The Arrival, and he is still trying to come to terms with everything in At Speed.

Then I went on to write the next story, The Case of the Cosmological Killer.

And durned if the same thing didn’t happen! Only this one took a smidge longer, because it was interrupted by an illness. All told I think it took about a year or so. And so books 3 & 4 are The Case of the Cosmological Killer: The Rendlesham Incident, and The Case of the Cosmological Killer: Endings and Beginnings.

I swear they’re not all going to be two volumes! In fact I just turned in A Case of Spontaneous Combustion, and it’s one volume only! I’ve started on book 6, A Little Matter of Earthquakes, and book 7, The Adventure of Shining Mountain Lodge, is mostly finished and awaiting the publication of 5 & 6. And I’m planning for adventures beyond that.

So in a manner of speaking, I suppose I’m still adventuring with my old pal Sherlock Holmes… only now he’s investigating mysteries that are more on MY turf! And I plan to do so until we both retire to the Sussex downs to keep bees!

* * * * * * * * * * * * (Insert hearty round of applause here.) * * * * * * * * *

Once again, thank you, Stephanie. I greatly appreciated your second guest blog, and I hope it will help you find a few more readers for your excellent books.

And if you haven’t read Stephanie’s books yet, take a gander at chapter one of THE CASE OF THE DISPLACED DETECTIVE: THE ARRIVALchapter one of THE CASE OF THE COSMOLOGICAL KILLER: THE RENDELSHAM INCIDENT, or if you’re just not in the mood for Sherlock Holmes today, take a look at the first chapter of BURNOUT.  (Then, for heaven’s sake, go buy her books.)

Dora Machado’s Guest Blog — “What an Editor Can Do for You”

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A few weeks ago, I wrote a post about four current titles available from Twilight Times Books (TTB for short)  — The Curse Giver by Dora Machado, Don’t Let the Wind Catch You by Aaron Paul Lazar, Lucid by Natalie Roers and Dina von Lowenkraft’s Dragon Fire.  I worked on three of those four titles, and said so.  But I was proudest of the work I did for Dora Machado’s The Curse Giver.

When I received The Curse Giver from TTB’s publisher Lida Quillen, I quickly recognized that much of the book was very good.  Some of it was exceptional.  But there was a problem at the beginning of the book that might’ve stopped a reader cold from understanding that the hero of the story, Brennus, is actually a good guy.  (Suffice it to say that Brennus does many things he’d rather not do for the best of reasons.)  Ms. Quillen wanted me to see what I could do to help Ms. Machado’s book, and gave me ample time to think about it.

Anyway, I edited Dora Machado’s book and suggested a number of things at the beginning that I thought might help in addition to the usual comments as regards to copy-editing and consistency-reading.  I made so many comments at the beginning that I was a little worried that Ms. Machado would get upset, even though I also pointed out where I thought the story worked particularly well to balance things out.  (Unless I’m really pressed for time, I always do this.  A writer needs to know that her editor understands her book.)

Fortunately for me, Dora Machado did understand, and was appreciative of my efforts.  She thanked me publicly in her book for helping her — those of you who are editors know how rare that is.  Then, she asked if she could write a guest blog discussing the editorial process from a writer’s perspective, discussing her experiences with me in specific, and I said, “Sure.”

I hope you will enjoy this blog as much as I did, even though I blushed to read some of it.

So without further ado . . . let’s bring on the guest blog!

*********** Guest Post Separator ***********

What An Editor Can Do For You . . . If You Let Her

By

 Dora Machado

When it comes to editors, I haven’t always a believer. As a writer, part of me assumed that if you needed an editor, you weren’t ready for prime time. The smarter part of me suspected that the cocky part of me was being—well—cocky. So a few years back, I decided to challenge my assumptions and hired an editor to review my manuscript prior to submission. Wow. The mind-blowing, eye-opening experience resulted in the award-winning Stonewiser series.  I realized that, no matter how well you write, every author can benefit from having an editor, and a qualified, experienced, insightful editor can impact both a story and an author in profound and lasting ways.

Of course, the editing experience has a lot to do with the quality of the editor, the interaction between the writer and the editor, and the author’s ability to capitalize on the editor’s advice. I have been extremely fortunate to work with some of the best editors in my genre, but I have to credit my publisher, Lida Quillen of Twilight Times Books, for making this latest match. When she assigned Barb Caffrey to edit The Curse Giver, she brought together two experienced, opinionated, passionate lovers of the fantasy genre with stubborn streaks, high standards and even higher expectations. I have to wonder: Either Lida Quillen is a troublemaker or she’s the wisest publisher on the planet.

Generally speaking, an editor’s contributions range from the very simple to the very complex. Writer’s ego aside, a good editor will always remind us of the basic principles of writing and the pesky details we might overlook when submerged in our manuscript’s depths. I’m always surprised—not to mention embarrassed—by the simple finds, the nits, typos and common mistakes my editor catches. I blame writer’s myopia for those easy-to-fix bloopers. When you’ve read the same paragraph twenty-six times, the eye doesn’t see what’s before it anymore, but rather what the mind thinks the eye should see. I might be sharp and thrive at self-editing, but once the eyes go numb, self-editing becomes a delusion.

Beyond the simple contributions, an editor has a lot more to offer, not just to the author but to the story. A good editor can offer perspective and objectivity, which can often become casualties of the creative process. Objectivity is an important quality when evaluating a story. It’s not about how well the story is written. It’s about how well the story reads, how it flows—not in your author’s mind, where the movie has played so many times—but in the virgin mind, where the story runs what can sometimes be a very different course through a new geography.

This is exactly what happened when Barb Caffrey read The Curse Giver‘s manuscript. She pointed out the strengths right away—assets I immediately wanted to preserve during the editing process. But she also sensed a weakness, a kink in the story’s flow, a blind spot for the reader that didn’t exist in my author’s mind because I knew the story’s outcome all along.

Barb recommended that I add a new point of view to the story. I gasped when I got her e-mail. I imagined my word count—the bane of my writer’s existence—soaring. I thought about all the work it was going to take to integrate this new point of view into the story, the details I would have to tweak, the time and energy I would have to spend . . .

I sat on my author’s indignation for a whole five minutes before I began to consider the suggestion in earnest. I had been sort of wondering if The Curse Giver‘s first few chapters were strong enough to capture the reader’s mind and launch them into the grand adventure that awaited them. You know an editor is gifted when she jabs that needle directly into your nerve. You know she is exceptional when she answers the very question you feared asking.

“Okay, all right.” I took several deep breaths and forced my mind open. “So maybe Barb has a point.”

I had the perfect character built into the story to develop a new point of view.  As Barb pointed out, I could keep my word count down by using the new point of view sparingly in a ruthless and utilitarian approach. She kindly encouraged me to at least give it a try. It doesn’t hurt when your editor combines excellence and kindness, so I sat down, wrote out the new POV, and tested it by inserting it in the story.

I purred like a satisfied kitten when I reread the amended story. My questions were answered. My doubts were put to rest. The story flowed beautifully. The new point of view strengthened and clarified the opening chapters, supporting the early development of the reader’s trance. Added bonus? Readers loved Severo, and they routinely tell me how much they like this quirky character who got his own POV at the last minute, courtesy of Barb Caffrey.

If you are a writer, you know that writing requires continuous self-development. Our trade demands the highest standards of critical review and our stories are improved by a rigorous editing process. An editor can provide all of that and more, especially if she has tons of practical experience in the genre, is a good fit to your style, and has secured your trust with high-impact recommendations. In addition, a good editor helps you build confidence in your writing. But remember, editing works only if the author is open to changes and suggestions. Take it from me:  An editor can improve your writing and your manuscript . . . but only if you let her.

************

Thanks, Dora, for that excellent guest blog.  I truly appreciate it.

As for the rest of you, please go buy THE CURSE GIVER without delay if you love fantasy, dark fantasy, romantic fantasy, fantasies that feature complex yet realistic world building, or just are up for a great read.  Trust me — THE CURSE GIVER will not disappoint.  (Further editor sayeth not.)

Written by Barb Caffrey

September 4, 2013 at 10:20 pm

Guest Blog: Jennifer Lunde and “The Next Big Thing” Blog Chain

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Folks, my niece, Jennifer Lunde, has responded to my earlier blog tagging her for the Next Big Thing blog chain.  So without further ado, here’s a guest blog from Jenni which gives her answers as to what she’s working on now . . . and why she believes this is her next, big thing.

*** Jenni’s answers start . . . now. ***

What is the working title of your book?  Arc.


Where did the idea come from for your book?  I get most of my ideas from dreams. This particular idea has been chipping slowly through the walls of my skull for years now (Pulse, my previous big project, was an attempt to capture a piece of this idea). The dream that prompted Arc is unusually surreal in my experience: it was entirely silent and in black and white, and as I stood by, I watched a city of dark stone rise out of an ocean. I looked around for who had done this and found Niela standing a little above the water. She waved.


I dealt with Niela in a minor way in Pulse, but the person I saw in my dream was not a worn-out, vengeful ghost: this was a woman at the height of her powers, reasonably happy and with her whole life in front of her. I saw her before I killed her, and the sight hurt me. In Pulse I identified more with Caderyn (the guy who killed her) more than Niela; she likes power, not responsibility, and she likes to make the people who hurt her (lots of those) suffer. Despite this tendency in her, she was always a problematic villain for me to write. She’s betrayed by her best friend and loses both her life and her child, and that isn’t even the end of her tragedy. In Pulse I both punish her and provide her with some form of resolution, but that story has less resonance unless I explore what happened to her first. That’s part of what Arc is all about.


It’s not all doom and gloom, of course. Like I said above, I always identified with Caderyn pretty easily, and his family is a wild bunch. I’ve spent entirely too much time writing the exploits of his aunt and uncle—they’re a riot. And the world of Arc is older than Pulse’s, newer, less corrupted and more magical. It’s been fun to build the story from the beginning instead of starting at the end like I usually do.

What genre does your book fall under?  Fantasy (not for children). Pulse is tamer than this project (almost out of necessity).

Which actors would you choose to play your characters in a movie version?  Ack. I don’t typically write with movies or movie actors in mind. Samuli Vauramo (“Sam the Slammer” to you American audiences) might make a decent Caderyn. I like Sophia Miles for Saerys; she has the right kind of combination of sweetness and toughness. Niela is impossible to cast, and given her ability to disrupt reality at any given moment, she might have to be mostly computer-generated. She needs a dark voice: it’s definitely not a typical Hollywood starlet part. John Hurt would be wonderful as Ashan, old as he is. I can’t honestly cast anyone else…

What is the one-sentence synopsis of your book?  Arc will probably be split in two when it’s done, but here’s the basic idea: A mysterious source of power called the heart of the earth regulates energy (including magic) within the world of Anavila, and when a man manipulates that energy to bring a dead child back from the dead, the consequences—for the man, the child, her family, and the heart of the earth—are devastating. (Pulse deals with some of these consequences, and it’s set three hundred years after Arc.)

Will your book be self-published or represented by an agency? I’m not entirely sure yet. It isn’t done.

How long did it take you to write your book?  Right now, it’s 245,000 words long. (Yikes.) It will eventually be split in two at an appropriate point; I haven’t determined that point quite yet. I’ve written about half of the story so far (some of it is writer’s crutches/filler to remind myself of things), and I started in June. At this rate I’ll be finished with the first draft by May 2013.

What other books would you compare this to within your genre?  All fantasy is indebted to Tolkien, but Arc nods toward darker themes covered by authors like Stephen R. Donaldson (Thomas Covenant, The Gap Cycle), Patricia McKillip (The Book of Atrix Wolfe, Ombria in Shadow) and Margaret Atwood (Cat’s Eye, The Robber Bride). I can also cite Faulker’s Go Down, Moses as a major influence for some developments in the story, but he doesn’t quite fit in the genre, does he? 🙂

Who or what inspired you to write this book?  My dream prompted me to return to this universe and let me know that my work there was unfinished, but my true inspiration came much earlier. I was a child when I first came up with this idea (exactly where it came from is lost to the rubbish bins of history), and my initial attempts to get it down on paper were clumsy and sometimes humorous. (I still have some of these abortive attempts in my files.) Since then, the basic story—which has always revolved around Niela to some extent—resurfaces at odd times, in my writing or in my own life. When I was in service for Americorps for a year, I ceased writing for a period of six months. I did this deliberately in a fit of despair (how many writers have had those? :P), but at the end of those months I had my dream, and a week after my dream I had 15,000 words. Niela brought me back. She told me that our work wasn’t done. I’ve been doing what she says (with minor alterations) ever since.

What else about your book might pique the reader’s interest?

As the synopsis suggests, this story deals with family relationships quite a bit, and none of the relationships are even remotely superficial—though some are very strange. I became aware as I was writing that Arc has all the elements of a psychological drama dropped into the plot of an ancient Icelandic saga: it’s the kind of story where everyone is out to stab everyone else all the time, but after the stabbing’s done everyone left alive feels broken up about it. It’s a heady mix to write, and it isn’t one that I’ve ever read, either. I find it interesting. Maybe someone else will, too. 🙂

***********************

And that concludes today’s guest blog from my niece, Jennifer Lunde.  (May the happy dance commence!)

Written by Barb Caffrey

December 26, 2012 at 12:46 am

Guest Blog by Stephanie Osborn About Her Displaced Detective Series

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Folks, it’s Sunday. And as promised, it’s time for a guest blog by novelist Stephanie Osborn, who’s written three of my favorite novels: THE CASE OF THE DISPLACED DETECTIVE: THE ARRIVAL, THE CASE OF THE DISPLACED DETECTIVE: AT SPEED, and THE CASE OF THE COSMOLOGICAL KILLER: THE RENDELSHAM INCIDENT, all featuring the legendary detective Sherlock Holmes and hyperspatial physicist Skye Chadwick. (My reviews of these novels are available here and here over at Shiny Book Review.)

Stephanie has kindly agreed to discuss her rationale for this series, plus some of the research that went into it and her plans for the near future, which include the hotly-awaited book four of the Displaced Detective series, THE CASE OF THE COSMOLOGICAL KILLER: ENDINGS AND BEGINNINGS. So without further ado, I give you . . . novelist and rocket scientist Stephanie Osborn!

* * * * * * * * * * * * * * *  (Insert drum roll here.) * * * * * * * * * * * *

A note from Stephanie Osborn:  It is my great pleasure to make a guest appearance in the Elfyverse. Barb is an amazing writer and editor, and I am so happy to have made her acquaintance through her review of several of my novels; she has become a special friend. We’ve been able to help lift each other up at times when things were down, and that’s so much better than trying to haul oneself up by one’s own bootstraps! I hope you enjoy my little cameo.

The Displaced Detective series, which Twilight Times Books debuted in late 2011 and which now includes 4 books with more on the way, involves bringing Sherlock Holmes from an alternate reality (supported by judicious use of M theory) into “our” modern world. (In actuality, even the spacetime continuum depicted in the books isn’t really ours, but it’s close enough to hardly tell the difference. The only way one can tell this is in knowing Colorado Springs, CO and environs, especially the geology, which I studied intensively during my trips there some years back. Also, the Sherlock Holmes museum, depicted in Book 3, has statues of Holmes and Watson in real life.) Currently the books comprise The Case of the Displaced Detective: The Arrival, The Case of the Displaced Detective: At Speed, The Case of the Cosmological Killer: The Rendlesham Incident, and the soon to be released The Case of the Cosmological Killer: Endings and Beginnings. Future books already in work include A Case of Spontaneous Combustion, A Little Matter of Earthquakes, and The Adventure of Shining Mountain Lodge. I plan on writing in this “world” for as long as I can, because I love it!

Anyway, the Displaced Detective series was my way of bringing my two favorite genres, SF and mystery, together, and using my favorite detective into the bargain. But it wasn’t a simple task.

The first thing I had to do was to determine if Holmes was in the public domain. That’s a long story right there in itself. It seems that the initial copyright on all of the stories expired 75 years after Doyle’s death as per normal, and then was, through much legal wrangling, pulled back under copyright again by the estate, but THOSE copyrights have now expired entirely in the UK, and all, except for the Casebook collection, have expired in the US as well. So Holmes was in the clear for me to use as a character, despite much controversy on the subject. (The gist of the controversy seems to stem from the estate wanting the Holmes stories to be placed in the same category as, for instance, the Tolkien stories. However, Tolkien set up a trust to maintain possession of the copyrights in the case of the Lord of the Rings books; Conan Doyle made no such provision.)

I’ve read Holmes since I was young. In fact I was given a copy of The Hound of the Baskervilles for my birthday when I was still in elementary school. This actually set me back a bit, because frankly it scared me half to death. But it never quite got me to stop reading them, and I’m now so familiar with the stories that I can, and have, beat the average person hands down in a trivia contest. (Another Holmes aficionado, maybe not quite so readily, but I can make it a good horse race.) I’ve also read a lot of the aficionado studies, and much of that stuck in my memory too. But I wanted to make sure I got the character right, so throughout the writing of the books, I’ve periodically immersed myself in the original Conan Doyle stories. I’ve joined the Nashville branch of the Baker Street Irregulars (“The Scholars of the Three-Pipe Problem”) under the so-called canonical name “Boswell,” and I participate in their activities whenever possible, which adds to the ability to study and get more perspective.

But that’s hardly all I’ve done.

I acquired several broken-in pipes, ranging from a long-stemmed pipe to a half-bend pipe, in everything from apple-wood to briar-wood to clay. (Contrary to popular belief, Meerschaum Calabash pipes are not the pipes that Holmes actually smoked, in all likelihood; they were introduced by stage actor William Gillette, because that type is well balanced for hanging from the mouth while he delivered his lines.) And I learned to smoke them. It turns out that there is a distinct talent to smoking a pipe; it is not easy, and it almost always requires lighting twice. The first time seems to heat the tobacco, and goes out quickly; the second time actually lights the pipe properly so it will stay lit – if properly attended. A pipe ignored for more than a minute or so will go out entirely and require the whole double lighting protocol all over again. Tobacco is an interesting substance; the smoke is very soothing to the smoker, and aids in putting aside things that one does not desire to think about, and I can see why it would have helped Holmes concentrate. Unlike most, however, I was fortunate not to find myself becoming addicted to the stuff.

As brandy is one of the more commonly mentioned liquors in the Holmes stories, I also researched the brandies in existence at the time. Now, brandy is the common English term for cognac, and it was developed by distilling wine. Given the long periods of time required to transport kegs of wine via ship, often the wine spoiled, or turned into vinegar, by the time it arrived. Transporting bottles was a poor idea; should the ship encounter high seas, the bottles would break. Converting the wine to brandy was a way to keep the liquor from spoiling. It was intended to be reconstituted back into wine at its destination, but proved to be tasty in and of itself.

Myself, I thought Holmes might be a bit of an Anglophile, and so I selected Hennessy as the brand I would drink with my pipe; my research demonstrated that it existed in Holmes’ time, and was easily obtainable now. (Interestingly, Glenlivet, a popular old single malt Scotch, was a relatively new label back then.) However, as Holmes was related to the French painter Horace Vernet (a real person in our own timeline) via his grandmother being Vernet’s sister, it is entirely possible he might have favored French cognac. Watson referenced brandy, however, not cognac. And so I felt my selection was reasonable for my research.

Unfortunately one night I discovered the reason why so many Victorian gentlemen retired to the study after dinner for a smoke and a drink. Firstly, you should know that I emphatically do not like the sensation of being drunk, on the few times it has ever happened by accident, and so I stop when I feel the buzz hitting, if not before. But it seems that tobacco “potentiates” (multiplies) the effects of any drug with which it is used. I later found that this is the reason that hookahs using a blend of opium and tobacco were used in opium dens; it provided a bigger high for less quantity of drug. In my case, the tobacco rendered the alcohol in the brandy much more potent than I had expected. It is the first, last, and only time I have ever been so drunk I threw up. I immediately decided at that point that I had more than enough knowledge of pipe smoking to write Holmes effectively, and while I still continue to collect pipes as an eclectic hobby, I no longer smoke them. Brandy, not so much either.

As mentioned, Holmes and Watson were both smokers – pipes, cigars, and cigarettes. But the cigarettes were hand-rolled, and all were lit with either matches or hot coals, or possibly at the jet of a gas lamp. The fusee, a type of flare or flintlock, was the first kind of automatic lighter, and was not particularly safe, especially, I have gathered, for men with facial hair.

There are other things that I had to take into consideration, such as the items of everyday existence. When Holmes was introduced to the modern day, he discovered that simple things like personal hygiene had changed considerably. Whereas we take the modern disposable razor for granted, as well as shaving foam or gel, Holmes would have used a straight razor, shaving soap, and brush, and would periodically have visited his barber for a beard touch-up. The beginning of what would become our modern razor was developed about that time, and was termed a “safety razor,” because the blade was contained within the head and it was more difficult to produce a serious wound with it. (No Sweeney Todd types with that.) Toothbrushes looked much the same, but were made of different, more natural, materials – when they were used at all. There was no such thing as toothpaste, per se. Various tooth powders were used, ranging from baking soda to literal powdered stone, e.g. pumice – which often eroded the tooth enamel, undermining their purpose. Deodorants existed; one of the first that was introduced (as “Mum”) later became the brand “Ban.” But they were typically pastes or creams applied with the fingers and as such, rather messy. After-shaves, while in use, would have been basic preparations of alcohol or witch hazel, possibly lightly fragranced, blended and provided by the local apothecary, or as known in London, “chemist.” Likewise any personal fragrances, colognes, etc.

Then there was the matter of furniture. Holmes’ flat at 221b Baker Street contained an item of furniture known as a tantalus. My research indicates that the tantalus still exists today, but we know it by different names: the wet bar, or liquor cabinet. That liquor cabinet would contain multiple decanters, likely of crystal, which in and of itself might not have been so healthy: crystal in those days contained lead, and alcohol is a solvent. How many people suffered from lead poisoning as a result, I have not researched. These decanters were probably marked with a metal sign hanging around the neck of each, denoting its contents. The cabinet also would have contained a “gasogene,” the early form of a seltzer bottle. It consisted of two bottles held together with wicker or wire, one containing tartaric acid and sodium bicarbonate which reacted to produce carbon dioxide, and the other containing water. When the handle was depressed, carbonated water emerged for mixing into drinks – when the thing didn’t explode from pressure, that is.

A proper gentleman, such as Holmes, would be attired from the skin up as follows: vest and pants (these today would be called boxers and undershirt – NOT a t-shirt, but a tank top style), stockings (socks), a shirt with replaceable collar (ring around the collar? Throw it away and get another), button-up trousers (modern pants, trousers, or slacks, but with a button fly) held up by braces (suspenders), a double-pocketed waistcoat (“WES-kət,” now known as a vest), and if in public or with visitors, a suit-coat of various styles, and a tie of some sort, approximating the modern bow or regular tie, or something even fancier. The tie was often referred to as a cravat. Shoes were leather, usually ankle height, and buttoned up, or possibly laced. Note also that some men of the era wore corsets, although there is no evidence that Holmes or Watson did so.

Accessories would include cufflinks and a pocket-watch. The watch was properly placed in one waistcoat pocket; the chain was threaded through a buttonhole in the waistcoat and over to the other pocket. On the other end of the chain would be some necessary trinket such as a pipe tool (for cleaning and/or tamping one’s pipe) or a jack-knife (pocket knife), and this would be tucked into the waistcoat pocket opposite the pocket-watch. If the gentleman were well-to-do, had a special keepsake/heirloom, or inclined toward ostentation, a decorative watch fob (in Holmes’ case, the gold sovereign coin Irene Adler presented to him while he was in disguise) might dangle from the watch chain. In addition, when going out, no London gentleman would be caught dead without his cane (young or old, handicapped or no), kid leather gloves, and silk hat (top hat). Optional accessories included studs instead of shirt buttons, a stick pin for the cravat, spats (to protect expensive leather shoes from the mud on the streets and in the gutters, which not infrequently still contained the contents of chamber pots, at least in certain parts of London), and overcoats and wool scarves in winter.

The only skin which showed on a Victorian male or female in public – if they were of any station at all – was the skin of the face and upper neck.

So imagine Holmes’ surprise to be in our modern society: women in trousers and jeans, short sleeves on everyone, low necklines, sport coats, shorts, tank tops, halter tops, and so forth. Hats are rarely seen except for cowboy hats in some circles, and baseball caps in others; top hats are only stage props. Canes are for the elderly or injured; t-shirts are worn as outerwear – and let us not even mention swimwear! To quote Dr. Skye Chadwick, Holmes’ foil and the other protagonist of the series, a Brazilian string bikini would “make your Victorian sensibilities run away screaming, if not outrightly curl up and die.” Holmes actually finds the military uniform much more comfortable mentally, as they are styled more along the lines to which he is accustomed, and uses them freely (under the government’s sponsorship) in his disguises.

As the series progresses, I’m finding myself delving into other historical aspects, such as the differences in dialects just within the city of London during Holmes’ time. How many Americans, outside of dialecticians, could tell the difference – or even know there was one – between an East End and a Cockney dialect? (Not many.) What do rural Englishmen sound like? (Not so different from redneck Southerners, but with a slight twist.) What exists in London today where 221b should be? (A bank headquarters, since converted to an apartment complex.) Did 221b ever exist in our reality? (No, it didn’t. Upper Baker Street, where Holmes’ flat would have existed, didn’t get numbers until 1932. The street numbers only went to 100 at the time Conan Doyle wrote the stories. This was apparently a deliberate choice on Doyle’s part, to prevent strangers turning up at someone’s door looking for Mr. Sherlock Holmes.) Did the Baker Street Irregulars really exist? (Yes, they did, but not as street urchins. In WWII the headquarters of the Special Operations Executive, an espionage, reconnaissance and surveillance organization that eventually merged into MI6, was located in Lower Baker Street, and took on the nickname, which is not to be confused with the international fan organization of the same name.) Is there an Underground station nearby that Holmes and Watson could have used? (Yes, the Baker Street Station, one of the world’s oldest. It was recently refurbished, and the newer part – since an additional tube was added and this station became a hub – decorated in a somewhat kitschy, amusing Holmesian theme; the older part, which was in place during Holmes’ time, has been restored to its original appearance.)

It’s been a fun ride so far, and I’ve no doubt it will continue to be!

~~Stephanie Osborn

http://www.stephanie-osborn.com

* * * * * * * * * * * * (Insert hearty round of applause here.) * * * * * * * * *

Once again, thank you, Stephanie. I greatly appreciated your guest blog, and I hope it will help you find a few more readers for your excellent books.

And if you haven’t read Stephanie’s books yet, take a gander at chapter one of THE CASE OF THE DISPLACED DETECTIVE: THE ARRIVALchapter one of THE CASE OF THE COSMOLOGICAL KILLER: THE RENDELSHAM INCIDENT, or take a look at the first chapter of BURNOUT for further details.  (Then, for heaven’s sake, go buy her books.)

Wrote Guest Blog for Stephanie Osborn About Book Reviews

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Folks, I’m excited.  I just did my first guest blog ever for author Stephanie Osborn, writer of the Displaced Detective series featuring physicist Skye Chadwick and everyone’s favorite detective, Sherlock Holmes, brought into our time via physics and the parallel worlds theory.

Here’s a link to my guest blog, which is called “The Oft-Misunderstood Art of Book Reviewing.”  And here’s just a little bit of it, to whet your whistle and perhaps make you visit Stephanie’s site (a very worthwhile site it is, too; Stephanie’s a physicist herself who knows more about space travel than most, and can actually explain it in a way non-scientists like me can understand, as she did here in an extensive interview at Blog Talk Radio for the JeffTrek program):

Now, you might be wondering, “Why talk about book reviewing at all? Surely it can’t be that difficult to review a book – can it?” Well, that all depends on the book.

And the fact that book reviewers are often just as misunderstood doesn’t help. Some of the popular misconceptions run the gamut from, “Those who can’t write, review,” and, “What does she know about books, anyway?” Yet writing a book review isn’t that much different, if you do it properly, than writing anything else – the trick is to read whatever book you’re planning to review thoroughly, then ask yourself a number of questions.

As for what the questions are, you’ll just have to head to Stephanie’s blog to find out, now, won’t you?  (Insert evil laugh here.)

Written by Barb Caffrey

September 18, 2012 at 6:50 pm

Posted in Book reviews

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