Besides writing what other creative outlets do you have?
Other than writing, photography has been my most consistent creative outlet. I loved taking pictures even when all I had was a disposable film camera.
I remember having at least one 35mm and one 110 film camera as a child. I can’t quite picture the 35mm, but the 110 was long and silvery. I was fascinated by my mom’s polaroid, and eventually, she bought me a couple kid-friendly instant cameras, one of which printed the pictures on stickers.
When my mom started selling antiques on Ebay, she bought a digital camera so she could photograph the objects she sold. When one camera would get old or become obsolete, I remember being able to use that to take pictures of and with my friends instead of my instant cameras.
I loved how digital cameras gave me the chance to see the picture right away without wasting material. If the picture didn’t come out right, I knew immediately. I could delete and retake it. This took away the stress of wasting material because of a mistake and I loved photography twice as much. Now, this is something I take for granted every time I pick up my camera.
I have to sit and think to remember what it was like to not really know if the image was going to be underexposed or blurry until it was developed. It’s hard to remember what it might have felt like to know I wasted material when an instant from my polaroid came out blurry too dark.
These days, the only images I print at all are my favorites.
Much like writing, photography is a medium of story telling with drafts, revisions, and edits.
Simply snapping a picture might be enough to just say “I was here.” Sometimes, that is enough. Other times, I might photograph the same scene or object over and over again at different angles and shutter speeds so I can tell a more detailed story. “I stopped to gawk because this caterpillar because those stripes are fascinating.”
I’ve never had the patience to really learn how to make the most of my camera’s manual settings, so often, when I get home and load my images to the computer, they fall short of my expectations and I end up in photoshop adjusting exposure and color balance and adding filters.
Sometimes, when I really want to tell a story without words, I’ll let my imagination run wild while I merge and blend different photos into something so strange and abstract that it might be some kind of art.
Mostly, photography and photo editing are hobbies, but I’ve been dabbling in cover art, and that, my friends, is paid work. It means getting paid to tell a visual story. It’s writing with pictures. Well, maybe more like writing a book blurb with pictures.
Note: As you read this post, you may notice I’m vague about the content of the review. You could probably go on Goodreads and figure out what I’m referring to, but I don’t want this to be seen as a response or rebuttal to the review. My goal is to capture my thought process as a new author seeing a negative review of their first novel.
Up until this week, all the reviews that I’d seen for Power Surge have been positive, which of course, made me skeptical. Inevitably, someone was going to burst my bubble.
It finally happened. Someone who didn’t finish the book left a review without a rating.
I disregarded advice I’ve heard across the internet and read the review. I’m glad I read it, even if I was surprised by my reaction.
At first, my brain processed it like feedback from a CP or beta reader. I had to squash my instinct to explain why I wrote something the way I did, and then I had to squash my urge to reply thanking the reviewer.
I thought about what I could’ve changed in a scene the reviewer alluded to. I came to the conclusion that in general, I need to be more careful about how my main character and my narrative voice react to characters who say problematic things or hold problematic opinions.
After a day, I realized that in my mind, the review had shifted from what it actually was something completely different. I had latched onto to a specific phrase the reviewer mentioned and made the whole thing about that scene.
Early in the morning when I just wanted to go back to sleep, I took it personally, as if the characters flaws were my own.
I realized one assumption the reviewer made was literally wrong.
I thought that it was the only review people are going to pay attention to. No one else would buy my book. No agent or publisher will represent future works of mine.
I thought the reviewer was wrong. I thought the reviewer was calling me out on an important issue. I wanted to thank them. I wanted to argue. I wanted respond, to know more, but I didn’t because writers need to leave readers and reviewers alone.
Instead of filing the feedback aside for future work and moving on, as you can see, I obsessed over it.
But something good did come out of it.
It reminded me that just says they don’t like a character or can’t connect with a character in a published work, I’m shouldn’t think much of it, especially when I know other readers have connected to that character. That type of thing is subjective and varies from person to person.
If a character makes someone uncomfortable? That’s okay. I’ve read books with characters that made me uncomfortable too, but that didn’t mean that book was bad.
Different people react differently to different characters. A good chunk of this bad review was based off of things I think of as subjective, and some assumptions the person made because they stopped reading too soon.
However, when I see a reviewer mention something harmful, like misogyny, it is worth reflecting on. The reviewer mentioned a phrase a character used in a scene, and I think I could’ve done a better job showing the main character and the narrative voice’s disapproval of that attitude.
Now, that might not have fixed it for the reviewer, who might have perceived an overall tone that I’m somewhat oblivious to, but to me, that change would’ve helped.
If a reviewer calls an author out on problematic or harmful ideas, then the author needs to listen. They need to take that into account and reflect. Maybe the reviewer is onto something. Maybe they are misconstruing it or their reading is being influenced by some outside factor. Either way, it’s something for me to keep in the back of my head when I’m revising the sequel and other works, especially since I do tend to include characters who hold problematic opinions or say harmful things in some of my works.
Sometimes those characters change.
Sometimes I kill them.
Sometimes they don’t actually mean the things they say, but feel they are expected to act that way fit a certain mold…or they are just trying to piss someone off.
In future science fiction and secondary world fantasy, I’m open to leaving those characters out and writing about societies that have out grown a lot of the problems that plague Earth today. On the other hand, when I write books like Power Surge, urban fantasy with a contemporary setting, the nasty side of present-day humanity rears it’s ugly head.
Sometimes problematic ideas creep in unintentionally, stemming from things I may not realize I internalized. Other times, I think I am deliberate exposing the dirt and raking up the muck, yelling “Look! This is a problem! Do you see why?”
I need to careful that the narrative voice isn’t endorsing their harmful words and to remember that silence equals endorsement. I need to acknowledge that some readers don’t want to see certain harmful concepts represented on the page in any way, shape or form, and that if those readers pick up a book like Power Surge, they might have a problem with.
Books that ignore problematic concepts and try to show us a better way to live and think and act are incredibly important. Books that get messy and roll around in humanity’s, books that acknowledge harm ideas and punch them in the face are also important.
Reading a critical review of my book ended up being a thought provoking excercise that was worth the stress it created.
If you are interested in reading Power Surge, for yourself, here are some buy links.
I love how Vasya resists the gender roles of her time, how she grows into herself and figures out who she really is. Her persistence, pain, wildness, courage, and dedication are tangible things. I loved struggling and succeeding and navigating a myriad of complicated relationships through her point of view. Morozko was my second favorite character, perhaps made more intriguing by the fact that readers really did not get to see much from his point of view. The others were okay, but every time the narrative shifted to them, I just wanted to get back to Vasya.
I did find myself annoyed at the way the book shifted point of view. This varies from reader to reader, but I prefer to read from one point of view for a whole chapter and get annoyed when scene breaks indicate a switch in point of view. On more than one occasion, I found myself rereading to remind myself which character’s eyes the world was being filtered through.
The world building was fantastic. I was smelling, tasting, touching, seeing, and hearing right along with the characters. And it wasn’t boring or overwhelming. Every detail Arden chose to focus on was relevant and added to the tone or mood of the scene. I loved that the magic system and creatures were based off of actual myths, and that some of the characters were named after people who actually existed and fought in a battle the one in the book was based off of.
One downside of historically accurate fiction is that it is often loaded with sexism and misogyny the contemporary world is struggling to shake. Throughout this trilogy, were there was no shortage of sexist men treating woman like inferior beings or objects. However, I was happy that there were less of those in this book and that Vasya had earned the respect of men who previously looked down on her.
As much as I enjoy escaping to worlds without sexism, to worlds where gender isn’t a rigid binary thing people are judged by, I do believe there is plenty of room for those books to co-exist with novels like this that don’t censor the shitty parts of history. Historical fantasy has it’s value too. It makes me appreciate how far society has come.I’ll certainly miss Vasya, Morozko, and their complex, slow burn romance, but I’ll look forward to reading whatever Arden writes next.
Thankfully, I’m a fast reader, and this was a fast book (in a good way).
So, what is the story?
A group of teens who just failed out of an elite space academy survive a attack that takes out their classmates, flee the system, and fight to stop the terrorists from killing more people.
Said group of teens is pretty awesome.
The narrator, Nax, is a bi pilot coping with anxiety from a wreck he was in a few years ago. I loved seeing how he decided to say things that made him seem like a classic, cocky, hotshot pilot while being very scared and insecure. I was rooting for him from the start, and loved his interactions with a crew that was diverse in terms of gender, sexual orientation, race, and nationality.
Terrorist attack aside, this future was super optimistic.
For the most part, humans weren’t fighting each other. There was peace on Earth and in the “the colonies.” Most people were getting along…except for this one group that wanted to kill everyone…but that group was a small portion of the population. Most groups got a long way better than they do today.
The word “colonies” made me cringe a little the first time I saw it on the page, however, it’s un-inhabited planets, not cultures and people, that are being colonized. This universe is similar to the one Firefly was set in, where humans have found habitable worlds and terraformed others to make them habitable, but have not yet discovered other sentient life in the galaxy.
I also loved how the book handled diversity. It wasn’t about diversity. It wasn’t about being bi, muslim, trans, black, gay, white, or straight. It was about teens trying to save the galaxy. Their identities were part of them, added richness to their personalities, made them unique, and made them feel real. The book gave me hope that one day, things like racism, transphobia, islamophobia, and homophobia will be things of the past. This future is the kind I seek out in science fiction.
I’ve read books like this before, that do all the amazing this one does, but most of them have been from small presses. I’m happy to see that larger publishing houses are finally catching on.
2018 is just about over, and while it may not have been my most fruitful year for producing new work, it was a fantastic year for publishing. My first novel was published. My short fiction and poetry appeared in nineteen publications
December 5 question – What are five objects we’d find in your writing space?
My writing space changes with the season. April through September, I wrote on my screened-in-porch, or, on really nice days, the picnic table by the lake.
When heat becomes necessary, I move to the kitchen table. No matter which space I’m using, my laptop is always there because it’s what I write on. For the sake of this list, I’ll focus on things unique to the space.
Winter Space (aka a mess)
Summer Space (aka heaven)
No matter where I am writing, Goose the Cat aka The Meowditor-In-Cheif, is near-by. He likes to the delete words. Nothing is allowed to be fluffier than him.
When I want to buy books as gifts for friends and family who love to read, the trickiest part is usually figuring out what books they haven’t actually read yet. Going into a book store, whether it be my local indie or a Barnes and Noble, I always see books from the big names and the same big publishers on the shelves.
If I’m buying a book as a gift, I don’t want to buy something the person already has. I want to get them a unique gift; something I know they haven’t read but might become one of their new favorites.
The best way to do this is to steer clear of the big names that dominate the shelves in bookstores and to turn to the small press’ whose books stores often hesitate to take a chance on or just never discover.
Here are eight great books you might not find on the shelves of your local shop:
The Ardulum series is one of my favorite space operas and would make a great gift for anyone who is a fan of Firefly. Complex, colorful characters, fiber based space-ships, original aliens, and a traveling plant make this book truely unique.
If you know a teen who loves urban fantasy, this hilarious, high stakes romp through a magical version of New York City might be the perfect the gift! It reminded me a little of Sherrilyn Kenyon’s Infinity or a goofy, male-narrated cross between Tithe and a pg-13 Deadpool.
Omen Operation is the first of three books in the Isolation Series, which the author describes as a cross between Resident Evil and X-men. If you know someone who likes contemporary science fiction with lots of action, lots of kissing, a wide range of LGBTQ+ representation, and complicated characters, Omen Operation will make a great gift for them.
If you’re searching for a gift for an adult reader who likes magical realism, Kurt Vonnegut, and/or Martin Millar, I recommend Smoke City. Rossen “blurs genre and literary fiction” with reincarnation, road trips, alcoholism, and mysterious smoke ghosts.
Phaethon mixes Eoin Colfer’s Artemis Fowl series with Holly Black’s A Modern Faerie Tales series and makes it a standalone book for adults. It’s a perfect gift for fans of urban fantasy who enjoy seeing faeries wreck havoc in the modern world.
When it comes to adult readers who like spies and science fiction, I recommend Seven-Sided Spy, a cold war era novel with a super-soldier and survival plot that appeals to fans of Agents of Shield and Peggy Carter.
Last but not least, I have to plug my own book. Power Surge is great for older teens and young adults, especially those who enjoy dark urban fantasy. Readers of Jim Butcher, Cassandra Clare, and Holly Black will definitely enjoy it!
How has your creativity in life evolved since you began writing?
I’ve been labeled “creative” and “imaginative” my whole life, but what that means to me has changed over time.
Most of the time, I took it as a compliment. However, there have been a few times I wondered if people called me imaginative because my ideas were just so weird.
However, writing and publishing fiction has showed me that a lot of my ideas aren’t as unique as I used to think. I’ve gotten plenty of rejection from editors saying my short stories were too familiar, too cliche, or two similar to overdone tropes.
On the other hand, I’ve gotten rejections along the lines of “it was a very imaginative piece, but it wasn’t right for us.”
It’s not just my definition of creative that has changed over time. The ways I express my creativity have evolved as well.
Making up stories has been a part of my life as along as I can remember, but writing them down used to be an inconsistent practice. In the times I wasn’t writing, my creativity showed in other ways.
The last two years I was in college, I was photographer at a mall portrait studio.
When I was in graduate school, I made just as much money making and selling beach glass jewelry as I made working part-time as a photographer.
Now that writing fiction is my main creative outlet, how I view creativity in terms of writing has changed. I used to think that drafting was the creative part, but I’ve since learned that revising, and even editing, is a rather creative process.
Want to see the results of my creative writing and editing? Buy a copy of Power Surge and read it.
Because adults are the ones writing YA, publishing it, and spending money on it, teen voices often get left out of the genre. This had me wondering if my YA fiction was guilty of isolating teens, and if as someone who doesn’t spend a lot of time with teens, I should even be writing books labeled as for teens.
I’m still grappling that and one way I am pursuing it is by reflecting on how I read as a teenager so I can see how it impacts my assumptions about teen readers. What I discovered about the later is worth sharing.
I was high school from 2002-2006, and I was barely aware that there was a category of fiction labeled as “Young Adult.” I think read about five YA titles on my own, unless you count the Harry Potter or Artemis Fowl series, but I think those are really middle grade.
Some of the books I was forced to read, like Lord of the Flies or A Separate Peace might be labeled YA now, but they were written long before YA was an official category.
I was actually in college when I started seeking out and reading YA novels. I met a girl who called herself Artemis, and she let me borrow a copy of Tithe by Holly Black. She introduced me Libbra Bray, and eventually Cassandra Clare (whose books made me shelve Power Surge for a long, long time).
If I wasn’t reading YA in high school, what was I reading?
The Star Wars Expanded Universe, which sadly is no longer cannon. There were plenty of books in that series to keep me busy for a long time. Why would I bother with the YA shelves when all the good Star Wars stories where in the Sci-Fi section?
I’m almost certain I was a senior in high school when I started reading The Dresden Files, though it might have been the summer after graduation. I know was not happy when I got to White Night and realized it wasn’t out yet.
I loved these books. I bought them in used book stores, or the used “Section” of my favorite indie bookstores (Jabberwocky and Toadstool). If I couldn’t find it used, I went to the new section, and if it wasn’t there, Borders almost always had it. The staff often said they could special order things for me, but I never wanted to wait that long.
I didn’t really write reviews since I didn’t spend much time online. There was one computer in the house that I shared with my parents. The only review I remember writing of a bool was for my local new paper’s teen authored page. Normally, they published teen authored movie reviews every Saturday. But one week, they let me choose a book from a selection of ARC’s they’d gotten. I picked a science fiction novel by Mike Resnick.It wasn’t YA. I don’t remember which one and I don’t think I’ve ever read any other books.
I occasionally pre-ordered things, especially if it was summer and I had money from my job as a game attendant at Canobie Lake Park.
Like many of the teens mentioned in Vicky’s post, I did not have a huge influence on the industry.
The other question is, did I connect to those characters?
Jaina Solo and Mara Jade Skywalker are still two of my favorite heroines and I’m not sure I’ll ever forgive Disney for erasing them. Mara was an adult, but when I started reading, Jaina was a teen who acted as much like a teen as one can when being a Jedi and the daughter of Han and Leia. She acted more teen-like than the adult characters, and as she aged, her voice matured appropriately.
And with the other stories? Tolkien? Butcher? Kurtz?
No. Their characters weren’t other teens with relatable experiences. They were fascinating heroes I could vicariously live through for days on end, but they didn’t really share problems or experiences with me.
They weren’t necessarily characters I needed. They didn’t show me it was okay to be depressed, or that medication wouldn’t change who I was or ruin my ability to be creative. They didn’t help me understand why I was so jealous of the girls who boy’s clothing or help me understand that I could dress like that too if I wanted to.
Honestly, I can’t say the actual “YA” books did any better. Later, when I read YA in college, I found those characters relatable to my self as a college student. They weren’t much more relevant to high-school me than Harry Dresden or Bilbo Baggins.
These are books that had a big impact on my writing: Holly Black for the better and Cassandra Clare for the worse (because I thought there wasn’t room on the shelf for both of our demon hunter books).
I try to write the books I think would’ve helped me if I picked them up as a teen, but I’m 30 and I can’t help but wonder: are my teens to mature? Did I Erin Evanstar grow up too much between draft 1 and draft 15? Will they help teens how I imagine? Will teens even read Power Surge?
So far, more 3/5 of my reviews are from adult men.
The only non-adult feedback I’ve gotten is from the 7th grader in my neighborhood who hangs out with the adults more than the kids. They said they were loving it so much that their mom had to take it away so they could do their homework. They said it was relatable, but when I asked why, they said it was because of the protagonist used “they/them” as a pronoun. How much of this kid connecting was because the 17-year-old character as a whole was relatable, and how much of it was because they just hadn’t read many other books with enby protagonists?
I have no clue.
Going forward, if I truely want my books to serve teens, I need to seek out feedback from teen beta readers and read whatever teen authored reviews and book blogs I can find, otherwise, my “YA” will be for adults who are young, not teenagers.
This week, I attended my first two book-related events as an author: a book talk / signing at Jabberwocky Books and the Merrimack Valley Halloween Book Festival.
For someone with lots of social anxiety, planning, committing too, and/or attending events is no small feat, but somehow, I managed to set up a launch event and sign up for a book festival.
After convincing myself that one event or another wasn’t going to happen, they did. I did my talk and signing at Jabberwoky. I sold books at the festival.
I learned a few things.
For first time authors, launch events are really for family and friends. Unless you have a fascinating non-fiction topic people want to learn about, if they don’t know who you are, they are probably not going to take time out of their Friday night to listen to you talk about your book. That’s my theory, anyway.
On the other hand, my family and friends showed. They were super excited to be there, to have me sign a copy of Power Surge, and to congratulate me. I was the only one that seemed disappointed that there weren’t any “strangers” in the audience.
It is a lot easier to stand at a podium and talk to strangers than it is to talk to people I know.
The book festival wasn’t any different than the craft fairs I attended back when I sold sea glass jewelry. A lot of people attended, but there were also a lot of vendors. People walked by the table, picked up books, said good things about them, and walked away, saying they needed to look more before buying.
90% of people who say they will or might come back do not.
I brought about fifty copies of Power Surge and sold three. I brought ten copies of Drabbledark and sold four. At craft fairs, I’d have at least fifty pieces of jewelry, and I’d sell somewhere between four and ten pieces.
I made some mistakes:
As usual, I left something I needed at home.
I arrived at the venue with just enough time to set up, but not enough time to take a breath between set up and people walking in.
I had to make three trips to the car because I brought too much and it wasn’t packed up efficiently.
These three mistakes are ones I made early in my craft fair and flea market days.
It wasn’t all a disaster. I remebered to get plenty of one dollar bills, so I could make change. I brought snacks, and ALL the pens and sharpie I needed.
Next time, I won’t let anxiety and imposter syndrome stop me from preparing. I’ll pack efficiently, and get everything ready the night before. I’ll have a larger variety of items.