Hi everyone! Today I’m welcoming Terry W. Ervin II to the Five Year Project. Today’s a bit of a long post, but chock full of information, so I’m just going to let him take over from here.
Take it away, Rachel.
Four reasons why it’s great to be an indie author
First of all, thanks for having me today, Misha!
Writing can be a lonely job. Especially if you’re an indie author. You don’t have the support of a giant publishing house behind you, you’re not getting paid millions of pounds to write and you’re still stuck in your day job for the foreseeable future. Let’s face it: in our lowest moments, everyone has those days when they’d rather just quit this whole writing business and become a hermit instead.
Well today, I’m here to spread the indie author love and tell you why being an indie author rocks. Here are my four reasons why you should be celebrating the fact that you’re an indie author:
1. You wrote a book
Okay, so this isn’t strictly reserved for indie authors, but I think a lot of indie authors don’t give themselves enough credit. Can we all just stop for a moment please, and recognise the fact that you wrote a book. An actual book. With actual words. That actual people can read. At some point you took all those weird little thoughts that have been swirling around your fantastically weird* brain and you’ve made something out of them. This is such a massive achievement and you should be shouting it from the rooftops. I’ve read a lot of blogs and articles from authors (whether traditionally or indie published) who say that it’s always been their dream to write a book. Well guess what? Give yourself a great big tick – you’ve accomplished that dream.
*this is in no way a bad thing. Weird brains are awesome. We wouldn’t be writers without them.
2. You get to keep creative control
I’ve heard horror stories about authors being forced to change every little thing about their books in order to fit in with what their editor/publisher/agent deems to be ‘marketable’. Or they’re expected to sign over all their rights to the highest bidder, regardless of what the author actually wants. But I like to think of the publishing world as a load of people frantically trying to find a needle in a haystack. No one really knows whats going to happen. No one really knows what the ‘next big thing’ will be. Yes, people can make educated guesses on what readers might like, but who would’ve thought that erotica based on Twilight fan fiction would’ve turned out to be such a huge success? Or Twilight itself for that matter? True, most indie authors don’t have thousands of pounds to spend on marketing campaigns, but my point is that no one can really predict the future, and no one can tell you with 100% certainty what readers will or won’t like. Want to write that book about cake-loving aliens? Or a mash-up between GoT and Terminator with a handful of Jurassic Park thrown in for good measure? Go for it. I’m not saying it’ll sell. I’m not saying it won’t. I’m saying that you should be writing whatever it it you want to write – no one else. And that’s why I love being an indie author. I can write what I want – if it works, great! If not, well then, I’ve learnt a valuable lesson and I can keep moving forward with my writing. And the cherry on top of the cake is that as an indie author, you also get to keep all your rights to your novel. Boom.
3. You can work at your own pace
It’s up to you how much (or how little) you write. Want to release one book a year? Or churn out five in six months? It really is up to you. You’re in control of your writing and your time – which can be a good or a bad thing, depending on how you look at it. It’s good because if you suddenly get busy at work, or you’re dragged out of your writing cave by your significant other to interact with real people instead of the ones in your head, it doesn’t matter in the grand scheme of things. You don’t have to answer to anyone and I find this an incredibly liberating thought. It’s up to me how much I write. My writing career is entirely in my hands – and I rather like the thought that I don’t have any kind of boss to answer to. On the other hand, if you’re a huge procrastinator (like me), this probably isn’t such a good thing. But hey, at the end of the day, your time and your writing is still your own. So go forth and write prolifically! Or not. Whatever, it’s all cool.
4. An awesome indie community
I’ve saved my best point for last. There is no way I ever would’ve had the courage or confidence to keep writing if it hadn’t been for the wonderful indie author community. Without their support and encouragement, I never would’ve had the confidence to self-publish my book. I honestly think that indie bloggers, reviewers and writers are the best bunch of people ever – each and every person that I’ve reached out to over the past few years has been friendly, welcoming, supportive and cheered me on every step of the way. I can’t thank them enough. They do amazing work every single day, simply because they love to do what they do, and I hope to be a part of this community for a long time to come. Being an indie author rocks, because you know that no matter what, you have the support of the whole indie community behind you.
So, in conclusion, if you want a career that involves tears, tantrums, throwing your laptop across the room in frustration, becoming addicted to tea and sugar AND YET being able to write about fantastical worlds every day, and having the support of a truly fantastic bunch of readers and writers, then indie publishing just may be for you. There’s a whole lot more to indie publishing than what I’ve listed here, but if you’re an indie author and you’re having a bad day, just remember this: you rock.
Now go and conquer the world.
About the author
Rachel Pattinson graduated from Oxford Brookes University with a BA Hons in Publishing Media. Born and raised in the north of England, she shares a love for anything to do with tea, cake, bread and butter, rain, the dark, lakes, fells and Lord of the Rings. She now lives in Norfolk with her partner in crime and is currently working on several new projects. Her debut novel Synthetica is available now from Amazon.com and Amazon.co.uk.
If you fancy a chat or have a query, you can contact her on her blog, Rachel’s Ramblings.
Email her at: rachelsramblingsblog[at]gmail.com.
Or follow her on Twitter at: @REPattinson1
Add Synthetica to your TBR on Goodreads!
Hi everyone! This is the last Friday of the month, which means it’s time to update on my progress. For those of you who are new to my blog, Beth Fred and I host a bloghop where the entrants share their big, important or just crazy goals. Then once a month, we post updates on how we’re doing, and encourage each other.
If you’d like more information, or to visit some other people who are taking part, feel free to click here.
So my goals for June have been rather simple in theory. I simplified things as much as possible to help me get my two books published. Alas, my business (as in my day job) is still confounding me around every corner.
Honestly, I can’t complain. It’s a good thing that my business is showing movement and growth. It’s just a lot more difficult to manage two new businesses (because that’s what my publishing gig is too) when both are entering a high maintenance phase.
Anyway, this is how I did:
My Goals in June:
1) For TVK and THC: Finish everything that needs to get finished for the final formatted submissions by mid-June.
2) Send out review copies by mid-June. (Or a week after that if I must.)
Read enough to keep sane, but other than that, no set goal.
1) Get started on the materials needed for the blog tour.
2) Continue with the stuff I’ve been doing because it seems to be working.
Basically to keep growing my business and not go insane while I’m putting myself through a publishing hell of my own creation. Which might mean letting off steam with other crafts.
My Goals for July:
Holy cow it’s bright out here.
*Blink blink blink.*
People, things are going rough on my end. I’m having to prep both my books for publishing and grow my business at the same time. Which is why I’ve been so very conspicuous in my absence this past week.
I’m pushing to get final submission for both done this weekend, though. This is for two reasons: I still have a Europe trip looming sometime around the end of June and I want to give my reviewers a month’s time at least to read the books before the official release date.
Right now, I’m doing the final hard-copy proof-read of The Heir’s Choice. Basically to check if there are any edits that I’ve missed or any formatting for the paperback that’s gone wrong. Then I just need to implement the fixes and edits. After that, it’s the final formatting and adapting the covers to the paperback template, and I’m done.
Sounds easy enough. Just… not so much while my business is taking off at the same time. Because where I used to have plenty of quiet afternoons, now I don’t.
Of course, I’m not complaining. It’s good to have a thriving business again. And it’s amazing to see my books starting to sell once more.
I’m just feeling the pressure right now.
I don’t regret it, though. The sooner these books come out, the better. And the sooner I can get back to writing again. I really miss it. Haven’t written any fiction since the beginning of May and it’s really bothering me.
I just can’t focus on writing with my publishing to-do list lurking in the back of my mind.
A bit of good news is that things are currently going very well on Wattpad. Right now, I have two books on writing and The Vanished Knight ranking in their genres. (One book on writing is in the top 100.)
So yeah. That’s me in a nutshell right now. How are you doing? Anyone else prepping to self publish? Or entering the query and/or submission trenches?
This is probably going to get quite a few people upset. You know…in the same order of upset as “I don’t think hard selling on Twitter sells books.”
I was going to post something I’d written a while back about how I actually work on multiple goals at a time, but I haven’t had a chance to visit any blogs since Wednesday, so I don’t think it would be fair to subject people to a long(ish) post.
And although it’s only 8:30 pm at the moment, I’m exhausted.
It hasn’t actually been a really tough week, but I think the change of season has caught up with me with a cold or something draining my energy.
I’m thinking that going to sleep now and sleeping in will probably help me get over the slump. On the other hand, this will be yet another day where I haven’t continued final proofreading for The Vanished Knight.
Or any of the other writing, critique, publishing and/or editing related things I’m supposed to do. And today is half way through this month.
How strange. I thought May was supposed to be my month off.
Anyway. I’m a bit frustrated at the moment. I want to get The Heir’s Choice online for pre-orders too. Because until I do, I’m a bit hampered in my marketing efforts. (Hard to point people anywhere when I don’t have anywhere for them to go to.)
And my problem is that I’m not getting the blurb the way I want. It’s seriously frustrating, because I’m great at helping other people with their blurbs.
My own, on the other hand, are constantly kicking my ass.
So I’m thinking I should just go sleep and start again when I’m refreshed. No point to trying to edit while sleepy.
How are you doing? Do you also have trouble with your own blurbs?
I realized this weekend that I’ve now passed the point where I’ll be able to publish this year. There’s simply no way for me to edit, format, get the cover and register for copyright before the end of the year. Or maybe it’s possible and I don’t know it yet. But for now, I don’t think I can be practical and say that I’m still going to get everything together.
Sure, I can still rush and get it done. But where’s the point in that? I know that in order to stand even a tiny chance of success at my big goal, I have to deliver high quality goods. Given that this will be my first attempt at self-publishing, I simply don’t think I’m capable of pulling everything together in less than six weeks.
Which means that once again, I’m having to postpone. But you know what? I’m okay with that. The way I see it, I’ve tried my best to get everything done with the time and resources I have. Beyond that, though, things happen as and when they’re supposed to happen.
No amount of planning, worrying, working or stressing will change this.
I’m not giving up, though. I’m still editing. I’m still writing and I’m definitely still putting together the grand plan of how I’ll be writing and publishing somewhere between 12 and 25 books in the next five years.
I still think it’s doable. And missing this first year in order to get everything in place isn’t necessarily a bad thing. Because really I’m close. I’ve basically got to wait on editor’s feedback on Birds vs Bastards. Once I apply the necessary edits to that, there’s only formatting left. The Vanished Knight is basically ready for formatting, but I’m waiting on the cover. (Which I could have had, but I got thwarted by the shoe biz yet again. So I have to wait for my cover designers to return from vacation.) The Heir’s Choice is the furthest from finished, but it’s still not impossibly far from done. I’ve got a few more CPs needing to finish the last few chapters. Then it’s the editor’s final pass and then formatting. Which, given that I can do edits to a book of THC’s length in a week or less, really isn’t an impossibly long time. And I can start registering all three for copyright as soon as those last edits are done.
No point to panic or anything though. However, this has told me the value of planning ahead a little more than I have this year. Which I will definitely do for 2015.
How’re your writing/editing/publishing endeavors going?
Today I read this article by Paul Krugman. He’s one of the giants in Economics. One of the rock-stars, so to speak. He won the Nobel Prize in Economics in 2008.
A market condition under which all prices reflect all market information. Since I’m not writing an academic article, I’m just going to come out and say that this is the fair market condition. Every supplier knows what their clients want, and how much they’re willing to pay for it. Each client knows what each supplier in the market for a specific product sells, what prices the suppliers are selling at and which product’s price will match his/her specific value for the product.
At a specific price, all books will be sold to everyone who wants that book. There will be no surplus or deficits in books. This price, known as the equilibrium price, is where the most books are sold to the most people.
The increase/decrease in quantities isn’t related to price on a one-to-one basis. Let’s assume that a book costs $2. If a book price could increase with one dollar, a publisher would most probably produce more than one book extra. If a book price decreases by a dollar, readers will probably buy more than one book extra.
See in the real world, book suppliers don’t have access to their clients. (I.E. Readers) And the clients have no way to actually know all the awesome and amazing books that are out there to read. Middlemen’s jobs are to bring books to the readers and readers to the books. They then charge a price for this service, paid for by either the client, the supplier, or some combination of both.
But this is where I’m going to rock your world. It’s also where my main problem with Krugman’s article comes in.
Krugman sees Amazon as a monopsony (a buyer that buys so many products from a supplier that it can in fact determine the price at which it buys from the supplier, most often to the supplier’s detriment.) This, I think we can all agree to be true, to an extent.
Amazon is a middleman. It connects the publisher to the readers, by creating a place where a huge amount of readers go to buy books. Because so many readers buy through Amazon, Amazon is now in a position to charge more for its service, and Amazon wants to make books cheaper while Hachette doesn’t. Which, from Hachette’s point of view, is to Hachette’s detriment. (An yes, I can admit that they’re not wrong.)
However, Krugman has basically made a big mistake by saying the following: “By putting the squeeze on publishers, Amazon is ultimately hurting authors and readers. “
My problem with this comes down to a fact that everyone seems to forget:
The publisher isn’t the supplier. The author is. The publisher is yet another middleman.
A middleman who’s out to increase market efficiency to everyone’s advantage.
You hear that sound? Like distant thunder? Yep, that’s the sound of disillusioned authors everywhere laughing.
Why? Let’s look at some market realities, shall we?
A buyer that has so much market power that it can influence the market price. This is because it can threaten to stop buying from a given suppler if he/she/it doesn’t lower prices.
Pretty much since the first printing press was invented, people who’ve wanted to be widely read wanted to be published. After all, the more copies of something exists, the more people have a chance to read them. As time went on, publishers started gathering readers as well. People liked reading high-quality books and if a publisher was known for producing those, people kept buying from them.
Which is a dream come true for any writer. Not only does the writer now have a chance to see his works printed in volume, but there are actually people who want to read them.
However, there are many writers, and only a select few publishing houses with access to nice, big readerships. Readerships who would not read something unless it was, let’s say… printed by the writer him/herself.
This resulted in publishing houses being able to cherry pick what they thought would satisfy their readers’ wants/needs. Then, these few publishing houses became fewer. Some picked the wrong cherries. Others melted together into fewer, bigger publishing houses with more market power.
Who lost here?
The author. Industry standard at the moment is 25% royalties. Which means that they are paying 75% of profits from books they wrote for covers, editing, printing and distribution. They actually make less, because there’s a third middleman, the agents, which our big publishers force on writers. (“If you don’t have an agent, we ain’t even looking at your book.”)
The publishing houses offering bigger loyalties don’t have enough market power to actually be of much use to a writer. Yes, it’s getting the book published. But read? Not so much. And besides, these guys aren’t the ones Amazon has a problem with. Because most of them already seem to understand the value of selling books for cheaper. Especially e-books.
Ah. Yes. E-books. See Amazon wants publishers to decrease prices on e-books. Not all books. e-books. Where there is no technical cost to carrying copies. Because there are no copies to carry. No printing costs. No warehousing. No transport. And yet big publishing houses usually charge more for them than physical books, and give writers the industry standard of: 25% royalties.
Yep. The same amount as for print books. But the expenses are less.
Which means that basically, big publishers created market ineffiency in order to benefit themselves.
But wait. There’s more.
A market condition where the market or industry is dominated by a small number of sellers. These sellers have market power to influence buyer activity and price, since it’s easy for a few companies to band together and collude to fix prices.
So big publishing charges 75% of a book’s net price for covers, editing, printing and distribution. Marketing? Weeeeeeeelll…. No. See they put all their money together, and then decide who to spend their marketing budgets on. They choose which books gets displays in stores. They choose which books gets placement at airports and other premium selling spots. They choose which book gets the big mural at underground train stations in London and which ones get advertised in big readership magazines.
In other words: These companies influence which books get seen by their readership. Which means that the readership thinks they’re seeing everything out there to buy, but really, they don’t.
So what this means is that publishing houses actively withhold information from their readers through manipulating which books the reader is aware of, and further adds to this by not charging the equilibrium price. In fact, they’re not even trying.
This results in readers losing, and either buying fewer books or not buying any books, because they don’t see anything that appeals to them. And because they’re less likely to find something where the price matches the reader’s perceived value for the book.
Who loses here? Actually… everyone. Readers lose for the reasons stated above. Writers lose because the potential amount of books sold isn’t realized, which means they’re not making the money they could have. (Even Lee Child and James Patterson.) Amazon loses for the same reason, because they can charge selling costs on fewer sales. And so do the publishing houses.
Why then, would publishing houses continue to act to their own detriment?
A move toward market efficiency and why this is unattractive to Hachette and publishers like it.
First, I want to say that I don’t for a moment think that Amazon is the guardian angel to all writers everywhere. I know that they’re motivated by their need for greater profit, not for some particular goodwill toward writers.
However, Amazon has been leveling the playing field between publishers and writers. They’ve collected a huge amount of readers to themselves. And then basically gave writers free direct access to those readers. This in itself has brought about a huge and long over-due innovation in the publishing industry.
Yes, the traditional industry is still cherry picking, but those who didn’t get picked simply went to Amazon and got published anyway. And Amazon, through their use of algorithms, keywords and search engines made it possible for readers to be more likely to find the book they want to read, even if they never knew it existed. They’re creating ways for authors to at least try to get books before their readers. Something that cannot be underestimated, but that publishers aren’t at all that keen on. You see that bit where Krugman talks about Amazon being able to kill the buzz for a book?
Publishing houses have done this through spending one book’s income on another’s marketing, and then blaming the author of the former for not writing a good enough book and then all but destroying that author’s career. And for good measure, holding onto the book rights forever, just in case the author wanted to sell it elsewhere and actually make money with it.
Before, authors had to sigh and say “oh well.” Now, they don’t. Now, they can buy their own covers. They can find their own editors (who often free-lance with big publishers as well). They can hire their own PR firms. And they can publish both e-copies and paperbacks on their own terms.
Amazon brought in print-on-demand, which means that only the amount of paper books that are wanted at a specific price need be printed.
Which means that publishing houses, once in a position of supreme bargaining power, aren’t actually as necessary to writers to be published and seen.
Which means that more and more people aren’t even interested in being traditionally published any more.
Which in turn means that publishing houses are clinging more to their industry standard royalty rates. They thereby “maximize” (and I use this term loosely) their profits by taking their own profit and most of the value taken from readers and writers, while delivering less and less of the benefit they might have had before. Marketing money? Gone to cover over-heads. Huge advances to help author cash-flows as they write the next one? All but gone, or otherwise part of a punitive system where authors who don’t even get marketed, get dumped and made out to be bad writers if they don’t earn out their advances. Editors? Still there, but I can find quite a lot of them by googling. What’s more, writers can hire more and more of them as publishing houses lay them off to lower overheads.
My point and the elephants in the room.
I’ve been watching what’s going on for a while, and what I’ve seen and experienced have turned me off traditional publishing. However, from what I’ve written above, I want to point out the following:
No matter how many times Paul Krugman and other traditionally published writers might call Amazon wrong, it doesn’t make Big Publishing Right.
Amazon isn’t the cancer destroying the publishing industry. The publishing industry’s unwillingness to innovate is.
The sooner publishing houses realize that writers now have more bargaining power and act accordingly, the sooner everyone wins.
There will be a point where no one will be willing to pay 75% of a net book price for what will basically amount to the old publishing world’s diminishing prestige and validation that no longer means anything to the readers.
No one wants Amazon to be the only connection between writers and readers, but it’s obviously happening.
Amazon is starting their own publishing imprints. These imprints offer services AND higher royalty rates. If publishing houses want to survive, they should stop blaming Amazon and start competing with them.
Competition between Amazon and Publishing houses benefit everyone. Amazon will get those lower e-book prices. Writers get more sales. Readers buy books they want for prices they want and those publishing houses who are able to efficiently do their jobs while turning a profit will survive. Unlike the current ones who refuse to budge off their own business models. Those are doomed to fail thanks to the vicious cycle they refuse to get out of.
The sooner writers realize that they should start pushing more to call the shots, the better for all of us. Assuming that big publishing dies. Amazon will be alone to shove us around. Alone, we’ll be easily shoved. Together, on the other hand… Honestly, I’d prefer a perfect market, but given that we could end up with Amazon as a full-blown monopoly, we need to figure out how to balance market power.
Amazon isn’t writers’ big savior. But then, neither are publishing houses. Clearly.
To those of you who actually read to the end. Thanks so much for reading! Let me know in the comments if you have any thoughts/questions.
For those of you who’ve missed these posts, Beth Fred and I host a bloghop once a month where people can share their crazy or crazily important goals with us. Mine is, as stated at the top of the blog, to earn $7500 in royalties per month, every month, for a year, by 2018.
So how am I doing with that?
I got set back by a lot this year. At first, issues with my former publisher. Now, my business. The wonderful thing about the business is that it’s taking off in a huge way and very fast. The bit less than wonderful thing (specifically when it comes to my five year goal) is that it’s slowing down my process. By a lot.
I mean, I currently have very little time in which to do edits. Problematic, because I wanted to publish the two YA Epic Fantasy books in my series by 31 October. The problem is that I’m just not happy with the editing to the second one. (As in, I’ve edited a lot, thanks to some awesome critiques, but I’m still not sure that the story is “done” enough to start with final polishing.)
As such, I’m going to postpone the publication date by a month and see if I can make that. I might. I suspect that those extra 30 days will be all I need. That said, it also depends on the editor who’ll do the final copy edits and the cover designer. And of course, given that I’m sending my book out to another round of beta readers, on how long they take to get through the Heir’s Choice. Incidentally, if you’re looking for a crit partner/beta reader/just plain sounding board/help on finding the flaw in your submission, I’m looking for Beta Readers too. Click here for more info.
Oh yeah. I forgot to mention “formatting two books for publishing.” I’ve decided that I’m just going to have to learn this skill for myself, so you’ll probably be reading a lot of grumbly posts on this subject in the near future.
Okay. So let’s look at what’s been done in September:
1) I’ve almost finished the rough edits to The Heir’s Choice. I’m hoping to finish them completely by Monday.
2) Got ISBNs for three books: The Vanished Knight, The Heir’s Choice and Birds vs Bastards.
3) Gave Birds vs Bastards (and both its planned sequels) an awesome name. Which I’ll announce specially when there’s not so much going on in a post.
4) Wrote and edited the blurb to The Heir’s Choice. At the moment, I’m pretty happy with it, but I’ll look at it again at the end of the month.
5) Sent Birds vs Bastards out for copy edits. Yep. This one really is almost publishing ready.
6) Contacted graphic artists to design all three covers.
What should be happening in October:
1) I want to send out The Heir’s Choice to beta readers.
2) I want to do the copy-edits on Birds vs Bastards. (Assuming the lovely ladies helping me with this get the editing done.)
3) I want to critique/whatever the exchange is for someone beta reading The Heir’s Choice.
4) I want to start playing with formatting to learn. Birds vs. Bastards will probably be my test subject for this.
5) Lastly, I want to resume drafting my mystery project, the sequel to The Heir’s Choice, ES1, SS1, P, MDtS and RH. I want to see if I can finish the rough drafts by the end of the year.
6) I also want to get some reading in. I’m woefully behind, but being honest, this is pretty low on my priority list.
One more thing in October:
This cover really is perfect for this time of year, don’t you guys think?
Twisted Earths is a collection of tales from Untethered Realms, a group of speculative fiction authors. The stories are as varied and rich as the types of soil on this and other planets–sandy loam, clay, knotted with roots and vines, dreaded paths through unexplored planets, and in enchanted forests, lit by candlelight and two moons.
M. Pax, author of the series, The Backworlds and The Rifters spins a tale called Patchworker 2.0. Specialists with digital interfaces are the only ones who can distinguish between biological energy and mechanical pulses, and “patch” AIs, which hold the world together. Patchworker Evalyn Shore meets up with an AI with deadly intent.
Cherie Reich, known for her epic fantasy series The Fate Challenges and The Foxwick Chronicles, presents Lady Death. Umbria, a beautiful and powerful swordsmith, is given an impossible task by her brother Leon when he asks, “You are the assassin. Are you scared to destroy Death when you are up to your elbows in it?”
Angela Brown is the author of the paranormal Shadow Jumpers and NEO Chronicles series. In her story, In The Know, Jacob, a loyal family man is struggling to stay out of debt when he’s hired to report on big plans for a future Detroit. He’s given a mysterious manila envelope with instructions to “open it alone” or pay the price. With switchback twists you won’t see coming, a debt of a much steeper cost is what he just might end up paying for his involvement.
Catherine Stine, author of the futuristic thrillers, Fireseed One and Ruby’s Fire, offers The Day of the Flying Dogs, a sinister tale of brilliant, troubled NYC high-school student, Theo. He experiences a day at Coney Island that includes drugs, delusions, a lonely capybara, Nathan’s hotdogs and a mind-bending lesson in our very twisted universe.
Christine Rains, known best for her paranormal series The Thirteenth Floor, gives us The Ole Saint, a story at once sweet, horrific and heartrending. Ezra longs to fit in and have boys stop calling him witch and freak, yet his unique supernatural skill sets him apart, and the last gift from The Ole Saint cinches the deal.
Graeme Ing, known for his young adult fantasy, Ocean of Dust, presents The Malachite Mine, a gripping, scream-inducing ride. Whatever was Mary thinking when she accepted her husband’s gift of a most terrifying twenty-first birthday celebration in an abandoned Russian mine?
River Fairchild, author of the Jewels of Chandra series, presents A Grand Purpose. Rosaya and her cousin, Drianna are soon to be married off, but Rosaya is unhappy with her assigned match. She’s much more intoxicated by the older Firrandor, a wizard she hardly knows. When Rosaya is accused of killing an oracle boy, all bets are off, not only for her love, but her freedom.
Gwen Gardner, who pens the cozy paranormal mystery series, Indigo Eady, adds to her collection with Ghostly Guardian. Indigo and her rib-tickling ghost-busters must travel to a dangerous pirate-laden past in order to unearth a curmudgeonly eighteenth century spirit that is plaguing the Blind Badger Pub.
Misha Gerrick, whose War of Six Crowns series is forthcoming, gives us a story called Red Earth and White Light. Emily, a young ghost bride has long haunted a house. She longs to cross over into the afterlife, but she’s trapped in memories of lilies and betrayal.
If that’s not awesome enough, check out this offer:
Wow. This was a LOT of news!
How are you doing? Anyone want to beta read The Heir’s Choice?