Beautiful Books Tag 2017

Hey, everyone! You may remember that for the past few months I’ve been doing the Beautiful People link up with Cait @ Paper Fury and Sky @ Further Up and Further In. However, I didn’t do one in September because… Cait didn’t post the questions. But just when I was starting to think that one of my favorite blog link ups had left the internet forever, lo and behold! Cait and Sky are back this month with a new set of questions, and a new theme for October.

What exactly is Beautiful Books?

Beautiful Books is a special October theme of the Beautiful People meme hosted by Cait and Sky. It’s designed to help authors share some fun facts about their current work-in-progress/NaNoWriMo project. From Cait’s blog:

Sky and I host Beautiful Books so we can focus on  our NaNoWriMo projects. The format is the same as Beautiful People. We post 10 questions to answer about your WiP — aka your beautiful book. Answer the questions in a blog post of your own and then come back here to link up! 

Beautful Books

DISCLAIMER: I cannot guarantee that everything here is or will be canon in the future. I have spent a fair amount of time developing these characters, but some stuff is still unclear in my own mind, so I will try to answer the questions as best I can.

Also, the project I’ll be using for today’s post is still unfinished/super secret, so some details about the characters and plot will have to remain secret for now…

The Book

Shell, the first book in a YA sci-fi duology.

Current status: First draft is complete, and the beginning was completely overhauled and a few major plot changes were made since I last talked about this project. Currently I am focusing on writing the first draft of the sequel before I continue editing Shell.

The Questions

1. What inspired the idea for your novel, and how long have you had the idea?

I’ve had the idea for the majority of this year, which is about how long I’ve been working on the book.

Shell was originally inspired by this video about hackers, which was created by one of my favorite YouTube channels, the Game Theorists. It’s a super cool (if slightly unnerving) look at the vulnerabilities in technology and how hackers can exploit them, and it really got my creative juices flowing!

2. Describe what your novel is about!

Without giving away too much, Shell and it’s sequel are about a black-hat (criminal) hacker who is recruited by the British government to fight for the good guys. Along the way, she gets betrayed and makes new friends and all that good stuff. 😛

3. What is your book’s aesthetic? Use words or photos or whatever you like!

I went ahead and made a photo aesthetic for Shell (which I’ve been wanting to do for a while now). None of the photos are mine. They’re all from either Unsplash or Pinterest.

Shell Aethstetic 1

Also, I probably haven’t talked about this before, but I love creating playlists for stories! I’ve narrowed it down to just three songs that I’ll share with you today, but I feel that these songs express the some of the themes and atmosphere of Shell very well.

Shell Aesthetic Playlist:

How We Do It by Lights

Car Radio by twenty one pilots

Real Life by Aaron Sprinkle

4. Introduce us to each of your characters!

Here are three of the major characters in the book, with a quick profile for each.

The Main Character: Mae Ki-Nari


Fabulous photo by 胡 卓亨 on Unsplash

Quick profile: Sarcastic, smart, disconnected from the real world around her. She has difficulty relating to people in real life. She spends most of her time online. She loves music; it’s her safe space.

(I did an entire Beautiful People post about her, which you can find here.)

Dr. John (last name as yet undecided)

Dr. John

Photo found on here Pinterest.

Quick profile: Distant, detached, treats everything (even emotions) in a purely scientific manner, but he is still a very kind and considerate man. He’s a scientist for the British government and lives for his work.

Marta Mayberry


Photo found here on Pinterest.

Quick profile: Strong willed, intelligent and commanding. Secretary for the director of the Secret Service (or is she?) She has a motherly, ‘tough love’ attitude with Mae that Mae strongly dislikes.


5. How do you prepare to write? (Outline, research, stocking up on chocolate, howling, etc.?)

Yeah, no, definitely by howling. 😂 I don’t really know? I guess I am not very prepared??? Why am I surprised by this fact??? I don’t really do anything to prepare, I just open a Word document and stare at it and die???

6. What are you most looking forward to about this novel?

All. The. Things.

Okay, true, but more specifically I am looking forward to exploring all of the themes and issues dealt with in the book (see the answer to question 10), and also writing a character with anxiety. Mae deals with social/general anxiety throughout both books, so writing her is challenging, but I am quite enjoying the challenge.

7. List 3 things about your novel’s setting

The beginning of the book is set in Ontario, Canada, my favorite place on Earth. The rest is set in London, England.

A fair amount of Shell currently takes place inside a single building. (I say currently because of course this could change at some point, but I’m not sure)

Shell takes place in the near future (mid 2030s), so I have a fair amount of liberty with the details of the settings, but I’ve still spent an extensive amount of time on Google Maps (especially Street View) researching the placement of certain London landmarks.

8. What’s your character’s goal and who (or what) stands in the way?

I don’t want to give too much away, but Mae definitely isn’t happy with her new job working for the British government, and she is actively trying to leave. Obviously, however, a lot stands in her way (I won’t say exactly what, because spoilers).

9. How does your protagonist change by the end of the novel?

Again, I’m afraid it would be way too big of a spoiler to tell you exactly how she changes… but I guess you could say that she starts to come out of her shell a bit. 😛

10. What are your book’s themes? How do you want readers to feel when the story is over?

I hope to deal with a lot of themes and issues in the duology, including something I am very interested in, which is the idea that by communicating so much over the internet, people use empathy and find it easier to dismiss, attack, or hurt people online than they would if they were speaking in person. Some other themes include our perceived personas online vs. who we really are IRL, as well as a discussion of internet surveillance and other fun stuff like that. There are actually a fair amount of heavy topics that come up in the story (meaning that these books will probably need several rounds of very intense editing to make sure I address everything properly… 😓)

How do I want readers to feel? I’m not exactly sure. I’d like to deliver thrills and excitement, as well as a thoughtful commentary on serious internet stuff (and also hopefully show the reader how anxiety feels, and how it affects everyday life). So, yeah, some pretty hefty goals, but I figure aiming high never hurt anyone. 😅

Thanks so much for reading my Beautiful Books post! I hope you enjoyed it. Be sure to check out Cait’s original post, where you’ll find links to other writers who have done this meme, as well as the list of questions and a place to link up your own Beautiful Books post.

As always, this fabulous meme is hosted by Cait and Sky.


Challenging Ourselves: Why Writing Needs to Be Difficult

Here’s something that should be said more often: Writing is really, really difficult. From the outside, it looks deceivingly simple. You open up a Microsoft Word document, bang out somewhere around 40,000 words, and suddenly you have a novel. What could be easier? Why are those authors over there whining about the pitfalls of editing and the horror that is first drafts? What do they have to complain about? Writing is easy!

I used to think like that. I used to think that if it wasn’t easy for me, than I must be doing something wrong. I must not be a good enough writer. I’m procrastinating too much. My sentences are incoherent. Most the time, I fail to have an actual plot until I’m about half way through the first draft. I must not have had enough practice. I am not worthy to call myself ‘author’ unless I can write a new book every three months and have it be completely fabulous the first time around.

Here’s the thing, though: none of that is true. Writing is not easy. We don’t write because it’s easy. We don’t write so that, someday, it can be easy. We write because we have to, because it challenges us, because we are called to write. We write for the same reason that musicians make music and painters paint.

This might not sound super relevant, but stick with me for a moment: I work at a gym, a jungle gym, where kids come to learn parkour and gymnastics. Before I got a job there, I took classes. My teacher, now my boss, had a few things to say to us students about challenging ourselves. I am greatly paraphrasing, but, “If you’re doing something and it’s easy, then you’re not learning anything,” he told us, “Pick something difficult, something that you can’t do, and do that until it’s easy. Then pick the next difficult thing.”

So when we write, and it seems impossible to get it just right even on the third or fourth of fifth draft, let’s not complain (not too much, anyway). In that moment, you are learning something entirely new. You are learning the ten thousand ways that don’t work in order to find the way that does. You are mastering something difficult. You are improving your writing, even if in the moment it looks like absolute rubbish. Writing is not easy. It’s not supposed to be. If we wanted to do something easy, we would be shuffling papers in an office somewhere. Writing has to be difficult so that we can learn to write better.

Thank you so much for reading! I hope you enjoyed this post. What do you think? What are some things you find difficult, or some difficult things you’ve mastered or learned from in the past? Let me know in the comments.


Challenging Ourselves

Help! What Do I Say??? (3 Podcast Tips for the Nervous Author)

So, you’ve landed that big podcast interview you’ve always wanted. Hundreds (maybe thousands?) of people are going to hear your voice on that show. They’re going to listen to what you have to say. Maybe, they’re going to go and buy your book(s) afterwards.

And now you’re nervous, and stressed out, and you have no idea what you are going to do.

Maybe you’re a natural introvert. Maybe you’re shy, or you don’t like talking in front of people. You’re nervous that all your words are going to be recorded. Perhaps you have that little bit of knowledge in the back of your mind that other people are going to be listening to your conversation later on, so you’d better say all the right things now and not make a fool of yourself.

I’ve been there. And I’ve come out the other side. So today I thought I’d give you a couple of helpful tips that I’ve learned along the way. Not all of these tips will work for everyone, but hopefully some of them will be useful to you.

Here we go:

1. Don’t try to wing it.

I honestly don’t remember who told me, but one of the first pieces of advice I received when I told people I was going to be on a podcast was, “You’d better not write anything down. Just wing it. It has to sound natural.”

No disrespect to whoever gave me that advice (seriously, I do not remember at all), but it really messed me up. It sounds really smart, right? You certainly don’t want to sound like you’re reading from prompt cards. But by not writing anything down at all, and trying to just wing it, I ended up in a complete emotional breakdown while I was in the recording session with the interviewer. I felt physically incapable of responding to the questions at all. I couldn’t think of a single thing to say. Not pleasant. Not at all. Thankfully, she was gracious enough to let me try again at a later date, but I still felt like a fool.

Now, don’t get me wrong. There are certainly people out there who can wing just about anything and come away with a brilliant interview. There are people who are stifled or hampered by outlines or written out answers. This is definitely not a hard-and-fast rule of any kind. If you are comfortable with winging your interview, go ahead. But at least study the questions ahead of time, and maybe mentally work out the basics of what you are going to say. My interviewer, Pam Barnhill, sent me a list of questions way before the recording date so that I could study them and figure out just what I was going to say. As I said, the first time around I forgot everything I had so carefully worked out in my head and was unable to do the interview at all. So I went back and took my time and wrote down an answer to every question, even if it was just a few lines. We didn’t end up using all of the questions in the podcast, but at least I felt secure knowing that I had a response if one was needed. I even went ‘off script’ a couple of times.

Even if you don’t write out your full answer to every question, it’s probably best to jot down a couple of bullet points of what you’d like to touch on. A sparse outline is better than no outline at all. A quick glance at your notes should remind you of what you wanted to say if you forget in the middle of the interview.

2. Do ask for do-overs.

The nice thing about podcasts is that they are recorded and edited before anyone else gets to hear them. It isn’t like being on live radio or TV, where if you mess up you don’t get a second chance. If you get off track or flub your words, you have every right to ask the interviewer for a do-over. You can say the line again (hopefully correctly this time) and the interviewer or whoever does their editing can easily go back and edit out the mistake. You aren’t live. Everybody messes up sometimes. Even the interviewer may have to do over their lines at some point. Don’t hesitate to ask for a quick second try if you need one.

3. Do stay on topic.

Podcasts are great for getting your name and maybe your work in front of others, but they shouldn’t act as a platform for you to talk endlessly about your book or make some kind of big sales pitch. If the interviewer wants to talk about your book(s), go ahead and talk about them. But if the topic of the podcast is, I don’t know… dogs or something (stupid example, but bear with me), then trying to make a big sales pitch in the middle of your interview isn’t really going to work. If people listen to this hypothetical podcast to hear about other people’s opinions on dogs, then they aren’t going to want to hear your big speech about how amazing your book is instead.

Now, hopefully the topic of your podcast relates a bit more to your writing or your area of expertise than dogs probably does (unless you do happen to write about/be an expert on dogs), but that doesn’t mean that you can still go ahead and make a big sales pitch the focus of your interview. As I said a few minutes ago, people don’t listen to podcasts to hear authors brag about/try to sell their books. You are a guest chosen to speak about topic X, so you’d better talk about topic X, and if the interviewer also wants to talk about your book(s), that’s great. But selling something should not be your main focus. Your main focus should be to say something interesting about the topic, and to entertain people.

I hope you enjoyed this little article! I’m glad I have some advice to share in this area, and I hope you find them helpful. SHAMELESS ADVERTISEMENT: If you’re interested in my podcast interview with Pam Barnhill, you can find that right here.

Thank you so much for reading. I’ll see you again soon!

Podcast Tips

Five Colored Pens: A Self-Editing Strategy for Authors

Every author knows the feeling: You’ve finally finished that first draft. You feel so good. You feel like you’ve written the next Great American Novel. And then you go back and read that first chapter, or first page, or first sentence, and the dream crumbles like a sand castle. It’s okay. That’s what first drafts are for! That’s your experimental time, your space to let your imagination run wild. Now, it’s time to pick up the pieces and make your novel great again.

Fair warning: This post is fairly long. I know the internet rules: Shorter is better. But I wanted to explain my strategy in full, so I’ve opted for something a bit unconventional in terms of length.

It’s not just for the indies

 Self-editing is one of the most important parts of writing a book. Even if you plan to send your work to a traditional publisher, you have to have it polished to a professional sheen before you even start considering packaging up your brainchild and shipping it off to who-knows-where. Trust me: First drafts are always pretty bad. No matter the potential in your story, a publisher isn’t going to want to dig through all the trash to find the diamonds. That’s your job. You’ve got to make it shine, so that you can land that book deal you’ve always dreamed about.

I must confess that before late 2016, I did not know this. When I wrote my first book, a YA mystery/fantasy novella called Behind Her Mask was Death, I didn’t really know exactly what I was doing. I had a first draft, which thought was pretty good, and I wanted to get it published. This was before I had even begun to consider self-publishing. I was all ready to ship it off to a publisher without even touching that first draft, much less editing it to shreds. I am extraordinarily glad that I found an editor who was willing to wade through all that first-draft trash and help me make a book out of my manuscript, but I ended up making her do a lot of work which I could, and should, have done myself.

And, of course, if you’re going the indie way, it’s just as important, if not more so. Although getting a professional editor is highly recommended in the indie business, it has always been way out of my range, and I’m sure I’m not the only one. My ‘editor’ is family. Extraordinarily well read family who aced her writing course, but she still works for free. So if you can’t afford to pay someone to do it, the value of self-editing skills go way, way up, as does the value of beta-readers/family/freinds who will read your book and give you honest feedback. In my experience, your family are you toughest critics. If you can get them on board, you’re doing great. But don’t even  try running your dream book past them until you’ve tackled that first draft. Nobody wants to muddle through a bunch of half-completed ideas, stunted subplots, characters who might be diamonds someday, but that are still definitely diamonds in the rough. Well, unless you are some kind of magical magician author, who plans out every detail and gets stuff just exactly right the first time. If you are, congratulations. You don’t need to read any of this, at all.

But, seriously, if you’re like 99.999 percent of the authors out there, your first draft is probably at least a partial mess. When I write, my stories have almost no concrete structure. I have a beginning scene, and a nice vague idea for an ending, and the middle is nothing but open water. At the end, I get a basic story, often with a lot of loose ends or inconsistencies that need to be worked out before anyone even can even see the first page.

I’m betting something like this happens to you too, right? So, is there an effective strategy to work out those wrinkles and make everything just as good as it can possibly be before you send your story off, either to that carefully selected publisher, or to those beta-readers/family/friends/people who care? Yes. Yes there is. Today, I’m going to share my Five Colored Pens self-editing strategy with you! I hope it helps! Here goes…

First of all: Everyone sees clearer on paper

The first step to any good self-editing strategy, in my opinion, is to print out your manuscript on paper. With Behind Her Mask was Death, I never actually did this. My editor did, but I didn’t. It was a mistake on my part, and made her job a whole lot harder and more time consuming. (Sorry!!!)

When something is printed out in physical ink and paper, you notice things that you might otherwise skip over when reading your manuscript on the computer. There were errors I never even saw until the proof copy of Behind Her Mask was Death was actually in my hands! I’m just glad I had time to fix everything.

Everyone sees clearer on paper, and the ability to make physical notes on your manuscript is very important for the next steps.

What about those colored pens?

This blog post isn’t called ‘Five Colored Pens’ for nothing. For the editing of my upcoming novel The Tangle, I used five Paper Mate felt tip pens which originally belonged to my mom, and I will definitely be using them again for any other book projects. You can use any colors and any kind of pens, as long as you can easily distinguish between colors. Note down what colors correspond to what errors. We’re going to assign a different kind of mistake to each pen, and use that pen for that mistake consistently throughout the entire manuscript.

Mistake 1: Stylistic Errors

I used a peach colored pen for these.


You can see in the photo above a stylistic error which I’ve underlined in my own manuscript, The Tangle. I’ll be using examples from it for the rest of this post.

Stylistic errors can range from cumbersome sentences to word choice problems. If you’ve got the gist of what you want to say down on paper, but you’re not saying it in quite the right way, that’s a stylistic error. Mistakes like these are much different from problems with the plot or characters. It’s an issue with the words, not the actual content. If your description is confusing, or your word order is weird, or something in your sentence structure is just a bit off, underline it with your Stylistic Errors pen and note down the problem, and, if you have a clear idea of it at that moment, the fix. You can also strike out words that you don’t want in a particular sentence.

Nota Bene: Always be clear with your notes, not witty. Save the wittiness for your writing. You don’t want to come back later and have forgotten just exactly how or why you were going to change that thing in the first place.

Mistake 2: Typos

I used a light blue pen for these.


Typos are the bane of a published work. Don’t you just hate it when you come across a typo in your favorite book? They can mar a perfectly good paragraph, or even change the whole meaning of a sentence. If a word just looks and sounds wrong, or if its obviously missing a letter or anything like that, underline or cross it out with your Typo pen and note down the correct word.

Mistake 3: Show, Don’t Tell

I used a dark purple pen for this.


As writers, we are constantly being told to ‘show, don’t tell’. Don’t tell the readers that your character is afraid. Actions always speak louder than words. Show how much she’s sweating, or how hard he’s breathing, or how those icy fingers of dread are climbing up her spine. See? Much more effective than ‘She felt very scared’, and it sounds so trite when you just flat out tell like that. If there’s a place where you’re telling your reader how to feel, underline it with your Show Don’t Tell pen and make a little note reminding yourself to show! I like to wait until editing the second draft on the computer before figuring out exactly what I’m going put as a fix. Simply noting down the problems makes it  fixing them much more manageable.

Mistake 4: Character Discrepancies

I used a dark blue pen for these.


Character discrepancies are yet another writer’s bane. You don’t want your characters to act out of character. Yes, they can be spontaneous. But they can’t just go against their nature on a whim, or for the dictates of the plot. Things like physical discrepancies also fit into this category. Don’t say your character had green eyes in one part of the story, and brown eyes in another. It’s just annoying, and it confuses people. If you have trouble remembering all those pesky details, consider starting a ‘character bible’. It can be a file on your computer, or a section of your notebook, where you keep all the correct physical descriptions of your characters. Can’t remember if Mary is tall enough to look John in the eye? Hop over to your character bible and find it all in one place!

Is your character doing or saying something that they just wouldn’t do or say?  Just underline it with your Character Discrepancies pen and note down what needs to change.

Mistake 5: Plot Discrepancies

I used a purple pen for these.


This is a fairly important, and large, category. For me, it includes everything from, say, a character having a knife in one scene, and never even thinking about it again when it might have been useful, to a room which is said at one point to have windows, and at another to have none. You could create a sixth category for ‘setting discrepancies’, I guess, but I decided to just lump all those things under one heading. As with the example above, you don’t want to have characters in the possession of useful things that they just inexplicably forget about. This also goes for magical powers. If a character has super strength, and is trapped, say, in a cage made of normal strength steel, they can’t just suddenly be unable to get out. Either put them in a better cage, or let them bust out and get caught again or something. Having a door be locked at one point and then open at another, unless there is a valid explanation, would also fit under this heading.

So, has your plot gotten… tangled? Underline the problem spot with your Plot Discrepancies pen and make a note of what needs to happen to fix it.

Nota Bene: None of these categories are set in stone. You can add new ones or redefine existing once as you see fit. I’m just explaining the process that I used to edit my novel. Every writer is different. Do what works for you.

So… Now what?

 So, now you have a stack of papers covered in multi-colored scrawls. What now? Well, it’s time to fire up your computer and go back and fix all of those mistakes you just uncovered. Copy the manuscript file and name it something like ‘[My Book Name Here] Second Draft’ or whatever, just to be organized, and grab your papers and start fixing stuff. If you find new problems, great, go ahead and fix them right now. And when you’re all finished with that, if you’re a super nitpicky person, or if you think there might still be epic flaws in your book, you can print out the second draft and grab your handy pens and repeat the process all over again. If you do this, I recommend waiting a week or so after you finish editing the first draft, so that you see it with fresh eyes and don’t gloss over any more mistakes.

Another Nota Bene: Always save your early drafts. Just do it. If you end up taking out huge chunks of the book, and you edit the original file, you might lose something good. Save everything. (This was something else I didn’t know about when I was first working on Behind Her Mask was Death. I ended up losing (FOREVER!) several sections of description that I really liked, and I thoroughly regret it.)

To recap:

  1. Print out your manuscript onto physical paper. It’s a lot easier to miss certain flaws when reading on the computer.
  2. Use five colored pens, one for each type of error: Plot discrepancies or issues, stylistic errors, typos, character discrepancies or issues, and ‘show, don’t tell’ errors. (You can also add new categories if needed)
  3. Write fairly detailed notes. Nothing is more frustrating than forgetting why you wanted to change something in the first place.
  4. Take it slow. Do your very best work!
  5. Fix it on the computer. Then leave it for a while and come back and read it again. If you want, print out the second draft and repeat the Five Colored Pens process for ultimate nit-pickiness.
  6. Save your original drafts! All of them.



Thanks for sticking with me to the very end of this rather long post. If you have any suggestions or questions, please leave them in the comments below. I hope you found this post helpful. 🙂