The new edition of Beneath the Deep Wave is now available!
Goodreads | Barnes & Noble | Other Stores
I hope you enjoy it and Mystical Greenwood if you haven’t read them already. Reviews are always appreciated, especially on Amazon and Goodreads.
The new edition of Beneath the Deep Wave is now available!
I hope you enjoy it and Mystical Greenwood if you haven’t read them already. Reviews are always appreciated, especially on Amazon and Goodreads.
The new edition of Beneath the Deep Wave is available for preorder!
Once again, I am grateful for Fae Corps Publishing for allowing me to have my books copyedited and re-launched. And I’m especially grateful to Liza Achilles for copyediting my book.
Stay tuned!
The new edition of Mystical Greenwood is now available!
Goodreads | Barnes & Noble | Other Stores
Don’t forget that the songs are available, too! Listen to them, and maybe you’ll want to add them to your playlists!
I’m continuing to make progress on the final book in the trilogy. And a few other projects have wheels turning. For one, a story that I shared an open mic reading of last year, I am now working with an illustrator to turn it into a children’s book. I never thought I would be exploring that world, but I am. Liz Gauffreau, thank you for the suggestion!
Also, it’s been suggested I compile all my short works, published and unpublished, into a collection. My only reservation on that is how varied they are (it’d be a big mishmash). For anyone who’s seen the anthologies I’m in, it’d be a combination of holiday, scary, fantasy, and so forth. Another writer suggested making eBook-only editions of the stories and essays. So I ask you, would you read a mishmash collection of poetry, short stories, and essays of mine?
The Kindle for the new edition of Mystical Greenwood is available for preorder!
It is also on Goodreads, and you and preorder the Nook and from other eBook venders.
I am grateful for Fae Corps Publishing for allowing me to have my books copyedited and re-launched. And I am especially grateful to Liza Achilles, whom I met at the Maryland Writers’ Conference last October, for agreeing to copyedit my books. If you are looking for a copy editor, I highly recommend Liza.
And I must also thank the conference’s keynote speaker, Reed Farrell-Coleman, for telling me that it’s never too late to hire a copyeditor.
Stay tuned!
Many people are talking about advancements and dangers in A. I. these days, so I felt I ought to express my own thoughts. Well, to start, perhaps like me, a lot of people imagine A. I. as depicted in the movies when they first hear it. Certainly, I’ve always hoped that’s something we will never see. There are some things, I feel, that ought to never be discovered. Like Dr. Malcolm in the film Jurassic Park pointed out, humanity should not be so focused on whether they could that they forget to think if they should.
That being said, a difference has been pointed out between creative and editorial A. I. And certainly, I am not a supporter of the former. It devalues the hard work and effort real people put into the words they type and the stories they create entirely out of their own imagination. I watch a lot of documentaries about lives of writers, in which I learn of the trials and tribulations they went through, because it not only fascinates me how they came up with their stories, but also gives me comfort to know that I am not alone in what I have gone through.
As for editorial A. I., as a tool, it potentially can be helpful. I’ve seen how MS Word’s editorial features, and it has helped me fix a lot of things. But it’s best to remember that it is a tool, not a guideline to follow to the letter. I’ve noticed that not everything highlighted as a mistake is an actual mistake, and just because it is highlighted doesn’t mean that a writer has to change it. And certainly not all features have to be used. Humans can choose not to. For one, I do not use Copilot.
Sometimes one editorial program will highlight something as an error or a potential error that another won’t. Plus, human eyes can detect things about a story that machines are incapable of noticing. My own judgment is still important, as is a real editor’s. Editorial A. I. would have a field day with Adventures of Huckleberry Finn, yet the way language is used is one of the things that makes it special.
Technology can certainly be beneficial for writing. I remember writing long hand, and I am grateful for computers and how they make editing easier than by hand or with a typewriter (though at times I have wondered it would be like to type on one). But it is a double-edged sword. It was shameful to hear about how A. I. has pirated authors’ works to improve itself.
I certainly hope we don’t see machines replacing people, nor churning out books like in Nineteen Eighty-Four. While it seems advancements in A. I. are here to stay and will continue to come, let us not forget that it should be a tool and not a replacement for human ingenuity or choice.
Many thanks to Robert Jolles and Heather Flaherty for giving me the opportunity to be interviewed on this podcast!
I think I may have to take Rob up on his suggestion for a re-launch party.
Art often imitates life. In searching for stories and ideas, they often come from real life. Real people, events, situations, whether from the author’s life or from others’ experiences, make excellent soil to plant story seeds in. Sometimes the real story is told through the lens of fiction with fictional names for people and places (known as a roman à clef, or novel with a key; film à clef for movies), which allows for stretching of truth a little more. Yet this calls into question how close to the truth should a writer stick. What’s more, how will the people upon whom characters are based react?
If characters are not composites but primarily based upon specific individuals, there is a risk they might not like how they are portrayed, especially if it is in a negative light (such as caricatures, a technique used by a fictional writer in the mystery shows Magpie Murders and Moonflower Murders who wasn’t a good person). Ernest Hemingway has been accused of antisemitism due to the character Robert Cohn, based on his contemporary Harold Loeb, in his roman à clef, The Sun Also Rises. As revealed in Ken Burns’s program, Hemingway used people’s real names in his first drafts, but he changed them so as not to be sued.
If people’s real names are used, even if it’s just the first name, the risk is even greater that they will be forever associated with the fictional versions. It was true for Peter Llewellyn Davies, Alice Liddell, and Christopher Robin Milne. Even aliases in nonfiction/memoir can be viewed negatively, as it was with Donald Sinclair and the family of Fritz Pfeffer, respectively, over “Siegfried Farnon” and “Albert Dussel” in All Creatures Great and Small and The Diary of Anne Frank, or if unflattering names are used for fictional characters.
Then, of course, it’s not just themselves but those they care about, and trying to say counterparts aren’t the real people may not matter. William Randolph Hearst not only disliked that his life was the main inspiration for Citizen Kane, but he also hated how the counterparts to his mistress Marion Davies and his mother were depicted. He used his influence to sabotage the film’s box office success.
Of course, when telling a fictional narrative with fictional names, one can always claim plausible deniability. Plus, hopefully most people won’t mind, especially if the writer is on good terms with them. Nevertheless, it is always something to bear in mind when fiction is drawn from reality. There is a boundary regarding fact vs. fiction, and it should be taken into account when crossing it.
Many thanks to Melissa for this opportunity to talk about my books and my writing!
Telling a Story Well: An Interview with Andrew McDowell
Years ago, I talked about the influence of Joseph Campbell’s The Hero with a Thousand Faces (one of my recommended resources), and how I saw Mystical Greenwood as the Departure phase in the hero’s journey. Thus, I planned for Beneath the Deep Wave to be the next phase, known as the Initiation. Likewise, I sought to look for little ways to stand out from the traditional storyline.
The “Road of Trials” is most prevalent in this phase, so I knew there would be a lot of traveling like in the first book. However, when I look at both books together, in terms of plots spelled out in another resource I recommend, 20 Master Plots and How to Build Them, I see Mystical Greenwood more of as an actual “Quest” story whereas Beneath the Deep Wave is much more an “Adventure.” The seeking more aligns with what the book refers to as the MacGuffin (made famous by Hitchcock). It makes sense, I suppose, since the Trials are meant to prove the hero’s worth.
I knew going in also that Beneath the Deep Wave was going to include romance, so this would tie in more with the “Woman as Temptress” rather than “Meeting the Goddess,” as I’d imagined Dermot might be faced with a dilemma: would his love compromise his vows to his magical order? Then, of course, there’s the “Atonement with the Father.” By the end, I don’t know whether this is a combination of “Apotheosis” and “Ultimate Boon,” but in some ways, akin to Dan Brown’s The Da Vinci Code, I thought about physical vs. symbolic treasures, in this case tying them in with the elements and the natural world. I shouldn’t say any more, for fear of spoilers.
I’ll end this post by saying that the last phase, the Return, will be and is an inspiration for the plot in last book in One with Nature. Happy Father’s Day!
I have a few author appearances coming up in the next few months. Mark your calendars!
In a few weeks, I’ll be participating in Balticon 59. This will be my second time at Balticon. I had a good time last year and hope I will have a good time this year as well. Here is my schedule:
I will be the moderator on the Name panel, a subject I was eager to contribute to, having done a presentation on it. And my autograph session will be alongside one of the guests of honor this year, Sebastian de Castell!
I also have an update on tickets for the Maryland Renaissance Festival, where I will be doing another author signing on August 30th, Labor Day Weekend, from 11-5pm. Tickets are required for entrance to MDRF and must be bought in advance, online only. Daily tickets will go on sale August 4th 10am Eastern Time, and multi-day passes will be available July 7th 10am Eastern Time. Also, the event is on Facebook.
On a last note, the Maryland Writers’ Association is accepting presentation submissions for their annual conference in October. The deadline to submit is at the end of the month. I hope to present myself, but I’ll have to wait and see whether that’ll happen.