What are writers to do when they have an idea and the ambition to write something they’re not yet skilled enough to write or don’t know how to tackle? How do you know if your capabilities are inadequate or you’re simply not working hard enough?
Kyle Winkler posted these questions on Twitter the other day, and they intrigued me enough to write this post.
When your literary reach exceeds your grasp
As readers first, writers can comprehend and appreciate writing at a level they’re not yet capable of producing. If you conceive an idea and attempt to write the piece but can’t pull it off for one reason or another, you’ve tried but may not have the skills to complete it or to fully realize your intention for it. Or you haven’t yet stumbled on how to approach it.
This doesn’t mean you’re not working hard enough; you’re simply working to the limits of your capabilities at this point in your career. Stephen King wrote Carrie first and The Stand later.
There’s also a difference between knowing something’s not right and knowing what’s not right—and how to fix it. This only comes with experience and continuing self-education and practice.
Enter the writing process
I recently developed a writing process I hope to perfect so that I’m always producing work. The phases I still find challenging are Ideation, Brainstorming, and Plotting—developing an initial idea into a workable plot with a beginning, middle, and ending. (Character development and theme also fall into these stages.)
“Working hard enough” may mean you shelve a piece, continue to write other things and study writing craft—for years or decades—before you get back to the piece with the increased capabilities to identify what’s wrong or what’s needed and then go on to fix it or otherwise fulfill your initial creative vision for it.
Development of a novella
For instance, I originally got an idea for what I thought was a supernatural horror short story back in September 2004 after reading William F. Nolan’s 3000-word story, “Diamond Lake.” The earliest draft of my story I produced, tentatively titled “Kissing Cousins,” was also 3000 words, dated March 2005.
But the story didn’t work, and I didn’t know why. I sent it out for critique and comments, much of which I incorporated in further drafts. It still wasn’t right, and I was at a loss to discern why.
More edits and another critique in 2007. Still not right.
In 2008 I workshopped this story at Borderlands Writers Boot Camp in Baltimore. I got some great feedback (altogether a terrific workshop experience that really boosted my writing at the time—I can’t recommend it enough), but I still couldn’t make the story work. I vaguely remember another participant saying, “The story should be longer.” That was helpful yet simultaneously frustrating because I didn’t know exactly how to do that—should I pour more words into it simply for the sake of making it longer? (This was the beginning of progressing from something’s wrong to what’s wrong.)
One of the many problems with the piece was that I relied on a lot of “telling.” Looking back on it now, it was an indication that, instead of the narrative of an actual story, I had the narrative of an outline of a story. (This is when I progressed from knowing what’s wrong to knowing how to fix it.)
In 2008, I completed a series of worksheets I’d previously developed from helpful writing texts. This got me closer to the story I wanted to tell, which I’d retitled as “Oddington.” From that process, I expanded some of the outlined portions into dramatized scenes and grew the piece from 3000 words/13 pages to 13,000 words/60 pages. I now called it “Dinosaur Rock.”
I was getting closer but, nope, the piece still didn’t come together. I shelved it for over adecade.
The missing puzzle piece
I wrote no fiction and read little in 2020, especially the second half. Terrible time with health problems compounded by COVID isolation. But at the beginning of 2021, I got back into reading writing-craft books and came upon three by K. M. Weiland: Creating Character Arcs, Structuring Your Novel, and Outlining Your Novel. (Character Arcs was new, but the other two I’d had on my shelves for five years and never read.)
What I learned in these books wasn’t new (I’ve read and studied hundreds of craft books in the past thirty years), but it crystallized a portion of my writing process. Along with the study of theme (The Moral Premise by Stanley D. Williams, Writing Your Story’s Theme by K. M. Weiland, and Writing Deep Scenes by Alderson and Rosenfeld), developing a workable process to get from Idea through Outlining enabled me to fill in the story’s holes so I could get to the Drafting stage. I developed many more worksheets/questionnaires that are now part of my Scrivener project template that I copy to begin a new book.
How I proved my writing process
I codified my writing process and cultivated a new idea received January 21 (for which I highly recommend Meredith and Fitzgerald’s Structuring Your Novel) into a Plot with a beginning, middle, and ending. Using the new worksheets I developed from the Weiland books, I co-developed my protagonist’s internal character arc with the external story/plot arc into a somewhat detailed scene-by-scene outline in a month. I spent another twenty-nine days Drafting. I finished April 18 with the first draft of novel #7, a 40,553-word horror/mystery. You can read more about my stats at Novel #7 Finished.
The previous paragraph is here simply to prove (at least to me) my process works.
While #7 gelled before I began Editing, I wanted to get to work on something new. I toyed around reviewing my ideas file but, clicking through my FICTION folder on my laptop, I came across the dusty “Dinosaur Rock,” and a bloody flower budded in my twisted little mind. Forgetting everything about Lucy holding the football for Charlie Brown to kick, I reviewed the old worksheets and reread the 60 pages I’d written back in 2008.
I was convinced this piece still had potential and that finishing it was imperative because I had something important to say. (Certain pieces nag you for a reason—don’t give up!)
Even though part of my work was done years ago, in that I’d completed a few worksheets, I went through my entire, newly developed Brainstorming, Plotting, and Outlining stages and completed all of my current worksheets.
Lo, and behold, missing pieces showed up, and I began to see what was wrong as well as how to fix it.
I Outlined those plot holes, Drafted the dramatized narrative, and plugged the results into my Scrivener project. I compiled and printed, Edited it, and sent it off to a beta reader last week. “Dinosaur Rock” finally came out to 17,800 words/71 pages, a novella on the shorter side.
It took nearly twenty years, but because I intended to finish the piece, continued to study writing craft and occasionally worked on the story to apply new things I’d learned, I was able to move from something’s wrong to what’s wrong to how to fix it.
Certainly, I have more revision and editing ahead of me, but this piece is finally realized. And I now have a new perspective on “abandoned” ideas and Inspiration in general.
Knowing your process helps get you from something’s wrong to what’s wrong, and perhaps even how to fix it.
The prescient power of ideas
Second, not to get all religious or metaphysical (well, maybe metaphysical), inspiration takes faith as well as hard work to realize.
Have you ever had an idea for a book, but either didn’t know how to execute it or didn’t get around to writing it, and meanwhile someone else published a book based on that same idea? (I’ve kicked myself more than once over this.)
I believe that Inspiration in the form of Ideas is “out there,” seeking any and every channel to be communicated to humanity. Those with sensitive receivers (a.k.a good old-fashioned imaginations) pick up on these Ideas. Fewer have the capabilities and skills to develop these ideas into a Plot that can be encoded as narrative (Drafted). Others who have studied their craft and developed a process are able to realize those ideas into a finished product (Marketed).
Ideas are like seeds that seek to propagate themes in the soil of humanity’s minds. Inspiration, whether it comes from the Divine or the Collective Unconscious or your own creative brain, needs a process to materialize Ideas into marketable material that can be consumed by the reading public.
Some writers are fortunate enough to realize this process early in their careers. And some are blessed enough to have it internalized. I ain’t one of them.
I took AP English in high school. I earned a bachelor’s in English and a master’s in Writing Popular Fiction. I attended many workshops and conferences and classes, read hundreds of books on writing craft, and wrote a lot of unpublishable stuff. It took me fifty years (I started writing horror fiction in second grade) of grueling work to identify and codify a process to generate fiction from Idea to Market.
Inspiration doesn’t take your present skills into account. If you’re open to receiving an Idea, you’ll get it. Your ambition may outpace your capability at this point in time, but ideas and ambition have a prophetic influence on your career: They give you something to work toward and live up to; they call you to develop your art and skills so that someday you’ll be able to realize your literary visions.
Never criticize your capabilities. They are what they are at this point in time. And that’s good reason to keep working hard, reading fiction and writing craft, studying, trying, burying and resurrecting, and trying again. You can’t force professional development, but you can get better over time if you apply yourself.
How to nurture a big idea
If you’ve conceived a story you don’t yet have the ability or know-how to write, the first thing to do is set your intention that you will write it. If you can’t be positive about it, at least remain neutral; anything else is unproductive.
Recognize it will take a while until you get to it. Know that you’ll need to think about it, consciously and subconsciously, until things percolate. Understand you must continue to study and practice to get to where you can write it.
Then do what you can on the project today, even if it’s creating a folder on your computer, starting a Scrivener project with your working title, and making a bulleted list of possible ideas for the piece. (Again, I recommend Meredith and Fitzgerald’s Structuring Your Novel for its chapter on turning your idea into a plot.)
In some small measure, you’ve moved from thought to materialization. Even if you don’t touch the project for a year or a decade, you’ve begun. As further inspiration comes, be sure to capture it.
Granted, not every idea you receive or generate will become published material. I have a slew of ideas I’ve recorded over the past thirty years that remain seeds. A few will someday germinate; others may never progress to Brainstorming. Some might make it to Plotting, where I’ll lose interest in them.
But there are certain seminal ideas that will not let you rest. They may frustrate or disturb you. They haunt you and won’t let you go.
If you’re in possession of one of these, nurture it. Though you may be unable to fulfill that vision today, don’t give up. Set an intention for fruition. Remain neutral and receptive. Do what you can do today. Develop your writing process. Study. Learn. Apply what you’ve learned. Try again.
One day, you’ll find the missing pieces that let you complete the puzzle and see the big picture.
Michelle Renee Lane started writing stories at the age of twelve and won a short story contest in elementary school. She really started exploring different kinds of writing in her mid-teens—poetry, fan fiction, short stories, and even a bit of erotica, “which,” she says, “I’m sure I would be embarrassed to read at this point.”
Lane now writes under the speculative umbrella, so her stories usually mix genres—horror, fantasy, often with a romantic/erotic element as well. “But,” she admits, “most of my stories don’t end with a happily-ever-after, unless you really dig monsters.” We do.
Michelle, what have you published so far, and where?
My first publication was actually in an academic journal. I presented a paper comparing the AIDS epidemic to vampirism for a colloquium at Shippensburg University many moons ago.
But my first short story, “The Hag Stone,” appeared in the anthology Dark Holidays (Dark Skull Publications). Earlier this year, my short story, “Crossroads,” appeared in Terror Politico: A Screaming World in Chaos (Scary Dairy Press). And my debut novel, Invisible Chains is available July 22 from Haverhill Housing Publishing LLC. I have a few other short stories coming out later this year, and next year as well.
Tell us about your new novel, Invisible Chains. What’s the most important thing you’re trying to say with this book? How does it express your experience as a human being that is uniquely you?
What am I trying to say with this book? That’s a great question. And honestly, for long time I didn’t know what I was writing about. I didn’t have any lofty goals or an agenda in mind. I wanted to write a vampire novel set in antebellum New Orleans told in the voices of several characters.
However, Invisible Chains evolved into a first-person narrative told by Jacqueline, a young Creole slave. In her quest for freedom, she encounters real monsters while dealing with the everyday horrors of slavery.
Jacqueline’s voice became the strongest voice in the story and I soon realized it was her story to tell. As I wrote her story, I realized she was experiencing many things that women of color are still experiencing today: racism, sexism, and violence against women. While history tells us that much has changed since Jacqueline’s time, there are several things happening in the novel that connect with the current state of our society that I hope will resonate with readers.
I also tried to create a vampire who was truly a monster. Despite his good looks and charm, I didn’t want to maintain the current trend of casting vampires as romantic leads. Personally, I love a good vampire romance. The bloodier, the better. But I often wonder how dangerous it is to keep creating male characters that normalize stalking and the threat of violence (sexual or otherwise) against female characters. While I enjoy reading about sexy vampires “wooing” their potential mates, I’m also aware that vampires are undead creatures who prey on the living. And, if you want your happily ever after with a vampire, your love interest must literally murder you.
What was the best money you ever spent as a writer?
My tuition to attend Seton Hill University’s MFA in Writing Popular Fiction Program. Not only did the program reignite my love of writing fiction, but the experiences and connections I made with mentors and fellow students gave me the confidence to really think of myself as a writer. I gained knowledge of the industry, an invaluable education in genre fiction, and friendships that have led to important introductions to the people who have decided to take me seriously as a writer and publish my work. SHU changed my life.
What was an early experience where you learned that language had power?
Growing up in rural Pennsylvania in the 1970s and 80s as a racially mixed kid meant that I heard racist epithets and jokes on a regular basis. I didn’t enjoy hearing this disgusting use of language, but it was common and, unless someone was targeting me, I tried to ignore it. Which seems odd now that I think back to how I coped with racism as a kid. People said a lot of hurtful things around me when they thought I wasn’t listening. Sometimes, I felt invisible. And other times, people said things directly to me that were more painful than any injury I’d experienced.
When I was fourteen, I was dating a boy I had known since first grade. We weren’t a couple in public. He cared about me, but it was a secret. I didn’t think much about that until I called his house one evening and his dad said, “Mark, your nigger is on the phone.” I remember the physical effect those words had on me. It felt like someone had kicked me in the stomach. I couldn’t swallow. My skin felt hot and feverish. I was stunned into silence. When the boy I cared about grabbed the phone from his dad, he told me that he would be right over and hung up the phone. About an hour later, he showed up at my house with visible signs that he had had a fight with his dad. He apologized to me, and my tears made him want to cry. Seven words changed both of our lives that day. And even though our young romance didn’t last, we both learned that regardless of whom you choose to love, love is worth fighting for.
What do you owe the real people upon whom you base your characters?
Ha! I’m almost afraid to answer this question. Carlos Velasquez is based on a real person. When I was fifteen and very impressionable, I had a pen pal that was ten years older than me and more obsessed with vampires than I was at the time. He dressed like Barnabas Collins, fantasized about becoming a vampire, wrote extremely inappropriate love letters to me with erotic fiction that featured our vampire alter egos, and he even sent me a vial of his blood. I met him in person three times. The second time, he tried to convince me to spend the weekend with him in New York when I was sixteen. Can you say sexual predator?
Perhaps unwisely, I maintained contact with him until I was about twenty-five. So, it was a long and strange friendship. He never hurt me though or tried to do anything inappropriate beyond the fantasies he shared with me in his letters. As you can imagine, he made a lasting impression.
What does literary success look like to you? Do you think you’ve attained it?
I suppose success is something my favorite writers have achieved—publishing multiple books and stories, establishing a writing career that pays the bills, gaining a following of readers who look forward to their next book. Writers I admire who immediately come to mind as successful are Toni Morrison, Jim Butcher, Charlaine Harris, Joe R. Lansdale, Anne Rice, Octavia Butler, and Joe Hill. With these folks who inspire me in mind, no I haven’t attained it, but I’m going to keep writing in the hopes that I do.
Have you read anything that really made you think differently about fiction?
Jewelle Gomez’s The Gilda Stories (1991) had a major impact on how I thought about my own writing and the kinds of stories I could tell as a woman of color. I wanted to write about vampires, but as far as I knew, women of color weren’t writing about them.
I had read a lot of vampire fiction, seen a lot of vampire movies and TV shows, but there weren’t many black characters in these stories. Aside from the Blaxploitation film Blacula (1972) and Akasha and Enkil, the original vampires in Anne Rice’s The Queen of the Damned (1988), I wasn’t seeing a lot of black vampires. To be honest, I didn’t really think of Akasha and Enkil as black even though they were Egyptian, because their skin had turned to the color and texture of marble. Gomez is not only a woman of color, but she wrote a vampire novel about a black bisexual female vampire that challenged many aspects of the traditional vampire myth. Gomez’s book gave me the green light to write the kinds of stories I wanted to write. So, a few months ago when Jewelle Gomez agreed to read Invisible Chains and had some very positive things to say about the book, I was beside myself with joy. I think I actually squealed when I read her feedback.
What was your hardest scene to write?
There were a lot of scenes that were hard to write, because they deal with some very difficult subjects. But, oddly enough, one of the hardest scenes to write is when Jacqueline takes back her power and stands up to the vampire. I don’t want to give too much away, because I hate spoilers. While I was writing that scene, I felt like I was Jacqueline summoning the strength she needed to protect herself and establish herself as a formidable and powerful woman. I had to dig deep and exorcise some of my own demons to write that scene. It took me three months to finish it, and I had a lot of encouragement from my mentor, Lucy A. Snyder, and my critique partners, Patricia Lillie and Amber Bliss. They gave me the support I needed to make that scene happen.
Does your family support your career as a writer?
Very much so. I am extremely fortunate to have such a supportive family who believes in me and encourages me to keep following my dreams.
How often do you write?
Not as often I should. I’ve been struggling to make writing a top priority for quite some time, but I know that must change if I’m going to take myself seriously enough to keep cranking out fiction. I work full-time and I’m a single parent, so there are plenty of days when I don’t write a single word. But I’ve come to realize that writing is one of the few things that makes me happy and, unless I’m doing it every day, I’m not happy.
What, according to you, is the hardest thing about writing?
At the moment, finding the time and motivation to write every day. I get hung up on all the other things happening in my life and I neglect the thing that matters most to me.
What would you say is the easiest aspect of writing?
Finding story ideas. My brain is constantly coming up with plotlines and snippets of dialog for characters I’m writing about or who want to be written about. I live in a fantasy world inside my head much of the time, so coming up with stories is easy. Making the time to write them, not so much.
Do you read much and, if so, who are your favorite authors?
I mentioned some of the writers I admire earlier, like Charlaine Harris, Toni Morrison, and Jim Butcher. I try to read often, but lately I’ve been listening to audiobooks because I can do other things while I listen. In the past three years, I’ve listened to every novel in the Night Huntress series by Jeaniene Frost, and her Night Price series.
I dove into the Mercedes Thompson series by Patricia Briggs. I enjoyed listening to Joe Hill’s Heart Shaped Box, Horns, The Fireman, NOS4A2 and Stephen King’s Doctor Sleep, so I’m well-acquainted with Inscapes.
Some of my guiltier pleasures include the 50 Shades series, which is great to listen to on long drives because the books are very entertaining and can make you feel much better about yourself as a writer. I have some biographies lined up to read later this summer to research some new characters while plotting the sequel to Invisible Chains.
Welp (that’s a “well” plus a gulp), I just slapped down the fifty-dollar admission fee, sealing my decision: I’ll be heading back to Seton Hill University to get “F”ed.
I completed SHU’s Writing Popular Fiction master’s program to earn a Master of Arts in genre fiction writing in 2006. DEATH PERCEPTION was my thesis. They’ve since upgraded the program to an MFA, so I applied again and was accepted. I’m going back for the F in January.
The extra 27 credits will center on the teaching of creative writing and writing about popular fiction—something that I want to do more of in the coming years. I also would like to teach at the university level someday.
The program consists of two week-long residencies, one in January and the other in June. If all goes well, I’ll finish the program around this time next year. Since SHU is only forty minutes away, I’ll commute and save some dough.
I attended Seton Hill University’s In Your Write Mind writing conference June 28-30, 2013. It was the third time I presented, this year on “Self-editing for Publication,” which was well-attended.
Matt Dowling of FCTV’s Going LIVE, a variety show focusing on arts and entertainment, was there to interview many of the authors. Here, I share the spotlight with the fabulous Sally Bosco, author of The Werecat Chronicles.
Asylums once used to confine those deemed mentally unfit to linger, forgotten behind trees or urban development, beautiful yet desolate in their decay. Within them festers something far more unnerving than unlit corners or unexplained noises: the case files left to moulder out of sight, out of conscience.
Stephanie M. Wytovich forces your hands upon these crumbling, warped binders and exposes your mind to every taboo misfortune experienced by the outcast, exiled, misbegotten monsters and victims who have walked among us. The poetry contained in Hysteria performs internal body modification on its readers in an unrelenting fashion, employing broad-spectrum brutality treatment that spans the physical to the societal, as noted in Stoker Award winner Michael A. Arnzen’s incisive introduction.
GREENSHIFT is a tale set within the world of AMBASADORA.
Mari’s rare eye color makes her a pariah within Upper Caste society, which is why she prefers plants to people… except David, the former Armadan captain who shuttles scientists around on a refurbished pleasure cruiser.
But someone else is interested in Mari and her distinctive look—an obsessed psychopath who tortures and murders women for pleasure.
When the killer chooses Mari as his next victim, the soldier inside David comes alive, but it is Mari who must fight for her own life and prove she isn’t as fragile as the flowers she nurtures.
As a creative exercise in second grade, Teacher had her pupils write a story. “Be as creative as you can be, children.” I penned—penciled, rather—my debut horror fiction on a ruled school tablet. Teacher, ostensibly pleased with her prodigy’s genius (more likely concerned with a tow-headed eight-year-old’s mental health), passed my work to the elementary school principal. (“Children, ‘principal’ ends with P-A-L—the principal is your PAL.” Keep reading, and then decide…)
Unknown to me, Principal Sprunger, also the president of the local Lions Club chapter in Berne, Indiana, read my story to the men of our little Swiss community and then in good humor fined my father a dime because the preacher’s son had written such an “awful tale full of skeletons, witches, and blood.”
That is the story of money first changing hands in relation to my fiction. (That dime never found its way into my pocket. If it had, I would have biked down to the White Cottage and bought myself a small soft serve cone, for sure.)
I continued to write through elementary and high school. The Brookville, Pennsylvania, Jeffersonian Democrat newspaper printed our school newsletter, for which I’d written a grisly Halloween story. They decided to reprint my story in the town newspaper. This should have overjoyed me, but they printed it anonymously and didn’t pay me for it, either. Bastards.
I placed a short story and some poetry in Indiana University of Pennsylvania’s New Growth Arts Revue. I stopped writing for a few years, but started again when I envisioned a scene about a young man who had been shot in the stomach and stumbled into an alley to die. I developed this into my first suspense novel for the Christian market, WHEN THE MUSIC STOPS, long out of print.
After completing my master of arts in Writing Popular Fiction from Seton Hill University, I entered the publishing arena and compiled a trade paperback anthology of shorts based on the Ten Commandments. THOU SHALT NOT came out in 2006. It’s a great collection of horror and dark crime. Check it out.
I’ve placed a few short stories for pay in the past decade, but after hundreds of rejections, two years ago I decided to take a different route.
One of the reasons I’ve had trouble in placing my work, especially novels, is because they don’t cleanly fit into a genre slot. Why is this important? Because brick-and-mortar bookstores need to know where to shelve a book. So part of the writing-for-print-publication process is writing for a shelf spot. (And length requirements in genre fiction in part are based on how many books will conveniently fit in a cardboard carton for shipping.) I think that’s just ridiculous.
I had been working on a novel proposal for Dorchester Publishing/Leisure Books. But after the debacle with their selling ebooks without remunerating authors, I stuffed that idea down the disposal.
In a nutshell, since second grade, I’ve learned that publishing by the traditional route is inorganically restricted and highly improbable. The royalties paid (if they pay)… well, suck.
So I recently published my second novel, THE SIXTH SEED for e-readers and trade paperback. It cost me nothing to post it, and I’ve been selling downloads at a 70% royalty. And I can add meta tags with no concern for a shelf spot or how I will otherwise categorize “a dark paranormal fantasy fraught with suburban Pittsburgh horror—family drama with aliens.”
I followed the same path for DEATH PERCEPTION, my latest supernatural thriller tinged with horror and peppered with dark humor:
Nineteen-year-old Kennet Singleton lives with his invalid mother in a personal care facility, but he wants out. He operates the crematory at the local funeral home, where he discovers he can discern the cause of death of those he cremates—by toasting marshmallows over their ashes.
He thinks his ability is no big deal since his customers are already dead. But when his perception differs from what’s on the death certificate, he finds himself in the midst of murderers. To save the residents and avenge the dead, he must bring the killers to justice.
Lee Allen Howard is quickly becoming a huge favourite of mine. He crafts his characters so well and gives them depth, flaws and realism that you expect from a much more seasoned writer.
DEATH PERCEPTION is a well-thought-out story about Kennet, a troubled yet gentle young man who lives in a nursing home with his elderly mother. He has a job in a crematorium working for a profit-driven, moral-less boss, but Kennet does his job with dignity and provides a graceful ending for all the people he deals with, regardless of cost.
Then people start dying in the home where Kennet lives… and the death certificate doesn’t quite match up with what Kennet sees as the cause of death. Kennet’s gift is to see how people die, and therein lies the problem.
I loved this. What a great read. Kennet is a character that I really want to read more about [because] he was brilliant. I loved his outlook, the way he related to everyone, his spirit, everything about him.
DEATH PERCEPTION is smart, funny, engaging, and endearing. A true work of art. I love this book and I hope there will be many more Kennet stories.
Sometimes a battle between good and evil doesn’t look much like the ones they show in movies. The good guys don’t always wear white, and they don’t always walk away with the win.
And sometimes you’re better off with the devil you know.
The last time Preston went down to the crossroads, his best friend died and he nearly lost his brother. But Old Scratch doesn’t take kindly to fools, especially not those who come knocking at his front door. And before all is said and done, he’s going to teach Preston a thing or two about what it really means to sacrifice.
And the winner of the DEATH PERCEPTION giveaway is…
What a release party it was! On Facebook from May 15–31, 2013, I posted special offers and trivia questions for prizes, including DEATH PERCEPTION magnets, signed limited edition postcards, coffee mugs, books, and… a Kindle Paperwhite!
Winner of the Kindle is Meg M. of Michigan. Congratulations, Meg!
I will be sending out prizes this week. A BIG THANK YOU to all who participated and purchased a copy of DEATH PERCEPTION! All trivia contents on the Facebook events page are closed as of May 31, 11:59 pm.
I’ll be reblogging the guest posts hosted at various sites over the past two weeks. Thanks to everyone who hosted me.
I’ve gained about 50 new Twitter followers, and over 100 new followers on my Facebook author page. THANK YOU, everyone, for your growing interest!
You made the release of DEATH PERCEPTION a special and exciting time for me. I hope you enjoy the book. If you’ve read it, I’d love to hear from you personally, or in a review on Amazon, Barnes & Noble, Goodreads, or my book page.