The new Rich & Roulo short story volume 2 just released on Amazon.
Like Volume 1: DESIRE, Volume 2: RUINS contains a pair of short stories.
Emerian Rich wrote a mummy horror story.
My story, Great Asp, is a dark fantasy story about a woman warrior struggling to survive in the ancient world. The incarnation of Death haunts her journey, tempting her with the opportunity to become an immortal hero and ignore the terrible task she has set for herself. Great Asp first appeared as a podcast story on HorrorAddicts.net.
The new Rich and Roulo: RUINS is now available as an ebook from Amazon for $0.99.
I’m thrilled to announce that publisher Permuted Press has signed a multi-book deal for my new Plague Masters series. Their tagline is “Enjoy the Apocalypse,” and I think they are an ideal fit for my YA science-fiction zombie series.
Here’s more about Permuted Press:
Permuted Press was established in 2004 with a modest goal: to produce a single, high-quality zombie anthology titled The Undead. From this simple goal grew a publishing company that has published over 80 titles targeting the apocalyptic, post-apocalyptic, and survival horror fiction markets. Permuted Press has relied heavily on the power of the internet and advances in publishing technology to establish itself as one of the best known publishers in the apocalyptic niche. Permuted has utilized print on demand (POD) technology, eBooks, and grassroots internet marketing to catch and cater to its ever growing fan base.
Permuted’s greatest successes include Plague of the Dead by Z.A. Recht (originally published online), John Dies at the End by David Wong (now from St. Martin’s, movie coming in 2013), Day by Day Aramgeddon by J.L. Bourne (originally self-published), Ex-Heroes and 14 by Peter Clines, and The Infection by Craig DiLouie.
In mid-2008, Permuted was approached by Borders/Waldenbooks with special stocking terms. This allowed Permuted to continue producing its releases with POD technology, while bringing its special brand of apocalyptic mayhem to fans nationwide.
In mid-2009 Permuted entered a co-publishing venture with Simon & Schuster to release co-branded editions of some of Permuted’s most popular titles as well as new, original titles contributed by Permuted. Initially set to include 7 titles, the venture has since grown to include 12 titles with releases scheduled into 2012.
As of late 2009, most Permuted new releases debut in both trade paperback and eBook formats; with over 50% of the total catalog available in eBook edition for Kindle, nook, iBooks, and other formats. With the swift growth in the eBook market, many Permuted eBooks outsell their trade paperback editions by 2 to 1 or more.
In late 2010, Permuted inked a deal with Audible.com to produce audiobook editions of 11 of its most popular titles in a special event during summer 2011. Audible.com continues to produce audibook editions of most Permuted releases, with Peter Clines 14 reaching the #1 bestseller spot in the Audible.com sci-fi/fantasy category in mid-2012 and again in October, 2013. The Permuted Press relationship with Audible.com now extends audiobook editions to most of the titles we publish.
The book deal took many years of writing and the support of some amazing friends. Please congratulate me, and rest assured I’ll let you know as the books become available.
Read my short story Besieged online for free at InfectiveINk.com. Their theme for the month is Fairytales.
When I think of fairytales, my mind harks back to Spencer’s fairy queen, tales of souls lost in the woods, the battle between paganism and Christianity, the feminine and masculine. In this story, the language and style is more elaborate than I’d usually indulge in, but not taken too far, I hope. I don’t believe I use thee or thou, though there may be a ’tis or two.
Blurb: In Besieged, Isabelle is lost in the woods. Unable to find her way back, resisting the fairy queen’s lure to join the world of the fae, she survives in a twilight dimension of mushrooms and magic. She remains trapped between worlds until a wandering knight enters the fairy glen. He threatens the delicate equilibrium she’d achieved, and if they cannot trust each other they mayboth be delivered into the queen’s hands. But fairies are the most devious of creatures, and the past Isabelle fled is the key to her ultimate choice to move on, or join them.
If I can shake the cough that’s struck me down over the last few weeks, I plan to attend Rustycon from January 17-19. Hope to see you there!
|Sat Jan 18 10:00:am||Sat Jan 18 11:00:am||Art of Editing|
|Spokane||What drives an editor to drink…or simply pass by…your submission.|
|Chad Brink Heather Roulo Katie Cord Rebecca Birch Tim Nightengale|
|Sat Jan 18 1:00:pm||Sat Jan 18 2:00:pm||The Undead Have Attacked, Now What?|
|Snoqualmie 2||Lets talk about the things that go “Braaaaiiiinsss” in the night and many ways to combat them along with your fears. Drawing from readings, movies, games, and general knowledge on how to defeat the undead.|
|Alaina Ewing Heather Roulo Katie Cord Richard Gilmore Steve Perry Todd Tepper|
|Sat Jan 18 4:00:pm||Sat Jan 18 5:00:pm||Joss Whedon & His Universes|
|Everett||Come discuss the Universes of Joss Whedon and listen to our panelists give their views on him (and his universes).|
|Heather Roulo Katie Cord Michael Montoure Shoshana Glick|
|Sun Jan 19 11:00:am||Sun Jan 19 12:00:pm||Activism through science fiction|
|Salon F||Ways in which science fiction has helped to tear down societal and cultural barriers|
|Heather Roulo Justice McCartney Mike Birch Richard Gilmore Sarah Steever|
Have you ever worn a Fitbit, Nike+ Fuelband, or pedometer? Ever jogged along to Zombies, Run!, the immersive running game that motivates exercise with an imaginary band of zombies? How about participating in an ARG (Alternate Reality Game)?
Experts and procrastinators agree that motivation is hard to come by. Many times people need to take action, but the consequences aren’t close enough or obvious enough. We have tunnel vision about what’s needed, but it’s possible to move rewards and consequences “into our tunnel.” The book Reality Is Broken: Why Games Make Us Better and How They Can Change the World by Jane McGonigal suggests that games are more thrilling, rewarding, and adept at tricking the human psyche into taking action and deriving satisfaction than the real world around us.
Social changes start small and grow. My flash piece “Immeasurable”, now available in Nature, explores the possibility of motivating ourselves to be better and the costs that come when people assign point values to life. It’s free online.
Think about it– we’re already being manipulated by advertisers and campaigners, so why not manipulate ourselves with points, rewards, and feedback?
If I were a real marketer, I’d motivate you with promises or offers to encourage the action I want. Leave a comment below.
My fantastic summer kept me from blogging, but hopefully everyone else was equally awesome and busy and didn’t notice. You didn’t did you?
The fourth annual Wicked Woman Writers contest is currently underway. As a past winner and long-time evaluator (like Simon Cowell but nicer) I’m always thrilled to listen to the stories created by clever female horror writers based off the current challenge. This year, each story is only ten minutes long. There are thirteen tales of terror. Check it out at horroraddicts.net. You may recognize my voice after each of the even numbered stories, as well as in the promo as one of three ghastly Norns. Norns of gods and men, comparable to the Fates in Greek mythology.
The Masters of the Macabre contest is also sponsored by HorrorAddicts.net for the guy writers.
I recently sold a short piece of near-future speculative fiction to Nature, the weekly journal of science. Naturally, I’ll let you know when that is scheduled, as well as the confirmed date for Blood Type. Unfortunately, the story I sold to Insatiable may never appear, since they have become unresponsive. I’ll keep trying a bit longer, but may have to start submitting the piece elsewhere.
I’m gearing up for great things this year, including some collaborations.
I love hearing from you. Contact me with your thoughts and ideas. Thanks!
In attending numerous writers’ conventions, small critique groups, and writer workshops I’ve realized that amazing writers aren’t inherently prepared to critique constructively. It’s a separate skill from writing.
Feedback from qualified writers leads to a more polished product than a writers get from well-meaning but untrained friends and family. However, surprisingly little instruction is provided in most critique groups. Given a handful of manuscripts and eager writers, a critiquer needs to read without bias (ignoring favorite genre leanings, for example), and provide judgment in a way that a sensitive writer can accept, internalize, and act on. It’s as tricky as plotting a 7-book George R.R. Martin series.
When I began critiquing, I did everything at the line level with ‘track changes’ enabled. This led me to feel useful (I get to show off my understanding of grammar!) but ultimately buried important observations in a flood of red comments.
Like me, many new critiquers tend to focus on small-picture items, but a sentence level approach is nearly meaningless without context.
BE A GOOD CRITIQUER: Ask the big questions first
1) Author’s Purpose for seeking a critique: Ask yourself whether the author is seeking to improve this particular piece, or general writing skills. Usually, you can quickly get a sense of the skill level of the writer. If it’s someone young or starting out, provide a different level of critique than you would give to someone seeking to finish polishing a dog-eared piece they’ve taken to every conference for the last 5 years. (Free advice: Write something new.)
2) Author’s Purpose for the piece: The intent of the author (whether they want to seek paid publication, explore an idea, or seek catharsis for a personal issue) is absolutely integral when you address the piece, but is rarely stated prior to the critique. Be certain a story is intended humorously, for example, or your comments can come off as mocking to a sincere writer. If the work is art or exploratory, then judge it at that level, but if it’s intended commercially you’ll know how to measure it.
3) Format: I’ve marveled at critiques that offer advice at odds with the format the author has chosen. Don’t ask for more back story in a Flash piece, you should expect a quick start to a short story, and don’t wonder why a novel section isn’t resolved. At the same time, I beg all submitters to mark on their submission whether the piece is complete. The critique will be so much more valuable this way! It’s frustrating to watch reviewers comment on a short story only to discover it was a novel chapter all along.
4) Genre: If the genre isn’t clear, that’s a problem with the piece. If the genre isn’t one you are familiar with, then acknowledge it and judge its other merits. I dislike it when someone bashes a paranormal romance and calls it “Twighlight-like” then admits to never having read Twilight and not knowing anything about the genre. I, too, have preferred genre (sci-fi pieces get more comments from me), but I won’t knock a high-fantasy piece for being what it is.
5) Story/Plot Elements: Address what elements of the story work and don’t. Authors are notoriously bad at identifying plot holes in their own stories. Don’t offer a solution, and if you can’t help yourself then offer it without the expectation that the writer will accept that suggestion.
6) All that other stuff you thought was important: If the other items are addressed, you’re finally permitted to point out words used incorrectly, bad grammar, and all the nit-picky basics. Choose only one or two items to mention, since it’s pointless to focus on these items if the other elements need work. If the story is poor, who cares whether the person knows how to use a semicolon or write great dialogue?
I’ve virtually given up giving line edits, since that isn’t what will help most writers grow. You want to hear the same thing we say a million times per critique session? Here’s my 30 second overview on the tips you need at each level–
- Basic: Format properly to be taken seriously; use active verbs; eliminate unnecessary words; choose pronounceable names; adhere to proper mechanics; avoid clichés. (i.e., don’t open with weather, the character doesn’t awaken in an unfamiliar room, it’s not a dream, name your characters)
- Advanced: Open with an intriguing beginning; swiftly provide who, when and where; smooth transitions; stop relying on adjectives and adverbs, especially around dialogue; adhere to POV.
- Master: Identify the theme and seek to reinforce it; suggest a market (if they plan to sell the piece); strong characterizations; is the goal and what’s at stake consistently clear?
The irony of critiques: It’s the stories I like the most that I critique most harshly, because I want them to achieve the greatness they’re so close to. I can see what they’re striving to deliver. The stories where I’m not certain of their intended message, or what idea prompted enough enthusiasm to generate the story, get fewer comments.
If you’ve ever gotten a particularly useful or useless critique, let me know about it. If you’ve ever gotten a critique from me, let me know if it was helpful, if you made changes, and how I can improve.
If you’d like me to expand on any of these points, let me know. I didn’t mean for this post to be as long as it is, actually. But I have lots to say when it comes to the art of writing, and the particularly sensitive topic of critiques.
About the Author:
Heather has critiqued in the annual Horror Addicts Writers Workshop (2012, 2013), Baycon Writers Workshop (2012, 2013), Cascade Writers Workshop (2012), Norwescon (2013), Marlene’s Writers Critique group (ongoing), and Cloudcity Wordslingers as well as online forums such as Book Country.