THREE BOOK DEAL: Stormblood

We can finally announce this: My far-future science-fiction novel STORMBLOOD, about alien DNA that makes people permanently addicted to adrenaline and aggression is going to be published as a trilogy with Gollancz/Hachette.

Anyone who knows me knows I’ve been writing to get a novel published since forever. It’s taken years of blood, sweat and tears and revising and re-editing, but here we are. There’s too many of you to thank for helping me along the way, you know who you are. I packed so many of my passions and things I love into these books, and having them being professionally put out into the world is a dream come true and I cannot wait to introduce them all to you. This is going to take my life in a very different direction for the next few years.

One of my earliest memories as a child is going to the bookstore with my mother and picking out things I wanted to read, and soaking them up at home. Somewhere in my early teens, I found I wanted to write my own books. And every-time I went to the store, I’d tell myself that something of mine would be released here one day. I’ve never stopped believing it.

And now, miraculously, three of them are going to be.

I had tremendous fun writing this one. It’s my favourite thing I’ve ever written, and I feel it’s where I grew significantly as a writer and discovered exactly what I wanted to write, and how to do it.

I’ve always loved Gollancz as a publisher and their books they published. Now, I’ll be sharing space with the greats: Joe Abercrombie, Richard Morgan, Charlene Harris, Brandon Sanderson, and so many authors I grew up reading. I always hoped, as stupid as it was, that my books would end up with Gollancz. The dream, quite literally, came true.

I haven’t had an easy year, and the endless stress from emailing, checking in, communicating with my agent revising, editing, more emailing, over the last 8 months left me drained. But that’s past now, and not only will Gollancz be publishing my dream novel, I get to write two more.

The first book is going to be released in Feb 2020, so 2019 will be the year of self-promotion for me. Suffice to say, my writing life is going to get very interesting from here on out.

November 2, 2018 0

Traveling, Euro-holiday and Nineworlds

If you haven’t seen me online much, it’s because I’ve been traveling. I had a fantastic six week holiday across Europe, starting at Poland and gradually moving West, to Germany, France, England, Scotland and Isle of Skye (I know it’s not a separate country but hey, neither is Scotland according to some folks). I had a fabulous time, ate waaay too much food, consumed far too much local beer and gin (got to try the local colour!) and bought too many books and movies in the UK. They’re stupidly cheap compared to Australia, with the max price of a paperback being 8.99 pounds (about $15 AUD), whereas books are no less than $20 here, if you’re lucky. And I like supporting bookstores and fan-stores like the awesome Forbidden Planet, which I’ve always heard people gushing about but never been myself, where I got most of my haul.

I’ve also been known to have a gin or two. Or three. Or more, if the company is right. But if you want the good stuff, you’re looking at bleeding your wallet dry sooner rather than later. Thankfully, we stopped by a gin boutique store in Berlin, which had gins from across the world. Combined with duty free shopping, I got to add a few to my collection.

There was also a meeting with my awesome agent, John Jarrold. Can’t talk too much about what we discussed, but things are moving along and I hope I’ll be able to talk in more detail soon.

I also got to stop by Nineworlds, which is significantly smaller than WorldCon…and very, very different. I’ll go into more detail with another blog, but I’ll admit that while I got to catch up with some friends, I was very disappointed with the programming, the panels (including one I was on, which was a disaster), the general audience and mood of the con. It wasn’t a place for the majority of readers or writers or creators, with half the panels being very fan-driven, most of which were about dating simulators, the sexual politics of anime, or how *insert piece of media here* is problematic. None of these things are bad, of course, but when they become pretty much all a con’s got to offer…it makes for a very specific and one-sized audience. But that will be discussed later, but suffice to say I felt very isolated and out of place, and the people I was with shared my feelings.

Anyway. It’s back to normal life, work, study, gym and writing. I do wish I was back driving along the highlands of Scotland, scoping out the pubs and eateries of London and walking down the sun-showered streets of Paris, but I like getting back into my routine, and living for 6 weeks out of a suitcase is more tiring than it sounds. I’m already deep into some new projects and should have more news on that front soon.

Onwards!

September 9, 2018 0

Story release: Traumahead and other sales

Well. I’ve been busy. You know how it goes.

But: a few days ago one of my stories, Traumahead, launched over at Nature magazine. You can check it out over here.

It’s one of the more scientifically denser stories I’ve written, about an alien who’s collecting the memories of his fellow fallen soldiers before their civilization is wiped out by xenocidial humans, and searching for his daughter amoung the wreckage. It’s probably got the highest number of made-up technical jargon I’ve had in a flash piece, and every sentence had to work double-time to cram the narrative into such a short space. But I’m pretty happy with it, and I got to play with weird and gooey alien biology and fragments of space opera wonder among the darker side of the story. I wasn’t sure if I’d be able to sell a first-person story about highly advanced aliens to Nature, but I was happy to be proven wrong. Hope you check it out and enjoy.

Otherwise, a reprint of my “The Bronze Gods” appeared in Grimdark Magazine Issue 16, alongside work from Ed McDonald, Rebecca Kuang and Michael R. Fletcher. Give it a lookesy…

Also, my story “The Galaxy’s Cube” is going to be translated into Estonian by the magazine Reaktor, making it the fourth language the story has appeared in, and almost my most reprinted work. This would be the 10th time it’s been reprinted, methinks. It’s not my favourite story, but all these years later I find it still holds water, and if people want to continue reprinting it, I won’t object.

As always, until later…

July 14, 2018 0

Freelancing Editing Services: Open for Business

Hey there!

I’m open for business as a freelance editor of genre fiction, specializing in science-fiction, fantasy and horror.

In today’s competitive market, your short story, novella, or novel will need to stand-out and be as thoroughly polished as it can possibly be to stand a good chance at getting published. Having an extra, professional eye cast over it can greatly increase those chances in your favour.

A bit about me and my qualifications: From between 2014 and 2020, I was the fiction editor-in-chief and producer of Hugo-winning audio magazine, StarShipSofa.

Authors who I’ve worked for as editor include George R. R. Martin, William Gibson, Robin Hobb, Harlan Ellison, Peter Watts, Robert Silverberg, Hannu Rajaniemi, Joe Haldeman, Nnedi Okorafor, Neal Asher, Joe Lansdale, Marc Laidlaw, and hundreds of others.

I acquire stories both through the slush pile and through solicitation, usually working with the authors directly. In some cases, I go through rewrites and line edits with the author to improve the story’s world-building, characterization, plot direction, prose and narrative arc.

Otherwise, I am also an author of science-fiction, fantasy and nonfiction. My Common trilogy is published with Gollancz/Orion, and I have published around 40+ short stories, many of which appear in my collection Broken Stars. My work has appeared in 15 languages, and I have a BA in Film Studies and Creative Writing from the University of New South Wales.

Whatever editing project I’m working on, I approach it with the same work ethic. I respect the author’s vision for their story and want to help bring that vision to its full and upmost realisation. Whether it’s characterization, world-building, plot or tone, I want to dig deep into the foundations of a story and find that indelible spark, and polish it until it shines.

Whether it’s the weird or traditional, far-flung space opera or gothic horror, light and funny or dark and morbid, my philosophy is to commit myself fully to its tone and voice and style, and help build upon that.

Whatever you write, and whatever editing services you’re looking for, I’d love to hear from you.

These are the types of editing services I offer:

Developmental Editing:

This is big picture stuff, the issues that focus on a product’s overall, large scale quality such as inconsistent and poor world-building, pacing, characterization, motivations, plot holes, narrative frameworks and story. If you want to focus on a particular aspect, such as clarifying character motivations or fixing broken world-building, that can be done, too. I’ll work by reading the manuscript and making notes in Track Changes, noting the strengths and weaknesses of your work, and where I think things can be added, clarified, or cut out. I’ll tell you things along the lines of “adding this would make your character’s actions much clearer, and provide emotional context” or “I felt this aspect of world-building was introduced too late, and as a result the earlier chapters are still clear. Maybe introduce this world-building on page 5 instead of 20?” I’m happy to discuss the manuscript and provide possible solutions via email.

If you are interested, please contact me to discuss your project and rates.

Line Editing/Copyediting:

This is the small-scale stuff, the sentence-by-sentence, paragraph-by-paragraph nitty gritty that helps put forward a professional-looking product. The focus is on issues such as continuity, dialogue, clarity, awkward sentences, repetition, consistency, word choice, style, voice and tone. I’ll see to these issues by way of comments in the margin and, when appropriate, directed changes in the document.

Proof reading:

This is the very last stage and should be undertaken when all other editing and rewriting is complete. This is a check of the final pages to weed out typing errors and spelling mistakes. Formatting may be checked, and critical inconsistencies may also be brought to the author’s attention. This is usually the last thing that is done before a document goes off to the printer.

It is important than the proofreader is not the same as your editor.

will check the final pages for lingering typing errors and spelling mistakes before they are submitted to press/upload. Where appropriate, formatting may be checked, and glaring errors in consistency will also be highlighted. It’s usually the last check to determine whether a document is ready for publication/ presentation/ delivery

Please fill out the form here. Alternatively, you can it below as well.

Looking forward to hearing from you!

← Back

Thank you for your response. ✨

What people have been saying about my work:

“Working with Jeremy and StarShipSofa was an absolute pleasure. He’s a class act (in spite of being willing to use one of my stories) and a true champion of the science fiction community.” – Michael R. Fletcher, author of Beyond Redemption, The Mirror’s Truth and Swarm and Steel

June 19, 2018 0

Story Release: What the Darkness Asks in Return

Another story, pulled from my brain and splashed in a gory mess onto the page, has been released into the wild that is the internet. It’s one of the shorter ones I’ve written, and was based on a prompt on a writer’s forum, where we had to write a flash piece revolving around a teleporting door. A little over a year later with some edits, this is the result, published at Every Day Fiction.

It’s about portal to a rip in space-time, disguised as a door, that a 13 year-old boy uses to hide from his step-brother. Only, as you may guess from the title, it wants something back. I wanted to try writing it in the voice of a timid teenager, with minimalist, juvenile descriptions of the speculative element. It’s a meager 800 words, so do check it out.

It can be read over here.

April 19, 2018 0

Review: Iron Gold, by Pierce Brown

The fact that I finished this book a week ago and have still been unpacking my thoughts on it should be sufficient indication how much I enjoyed it.

I’m a die-hard fan of the first Red Rising trilogy, so I knew what to expect when diving into Pierce Brown’s latest, 600-page offering. I just wasn’t expecting Iron Gold to so wildly depart from the structure of the previous books, while still maintaining so much of the series’ identity, jacked up on Sevro’s steroids.

Never before has the world felt so alive and rich and full of wonders and danger. The world-building is a lot smarter this time; there’s no lengthy info-dumps; there’s droplets of exposition and hints of how this world and it’s microsocieties function, from the scarcity-minded people on the Rim who’s decorative tastes and methods of torture match their lifestyle aesthetics, to the political arenas on Luna taken directly from democratic councils in ancient Greece, to the cyberpunk-esque superstructures and the people that inhabit them. The world(s) slowly build in your mind until there’s a very vivid and very personal universe coming alive on page. It commands attention, and it deserves it.

And just of commanding of attention are the characters. Going for four PoVs was the correct choice, although some were much more interesting than others. Ephraim’s guff, raw attitude could have been pulled straight from Blade Runner, Lysander’s complex and nuanced storyline and characterization made me hate how much I loved him, Darrow is as delightfully rash and stubborn as ever, and Lyria’s cocky attitude brings a new set of eyes to the world. Lyria’s PoV was decidedly the weakest, and her character arc felt a little too sudden. And if there’s any fault I can find in this book, it’s that Darrow is more absent from the on-screen narrative than he should be. Darrow’s the heart and soul of this world, after all, so it was disappointing not to see him and the Howlers (and Sevro, the little devil) taking a more on-screen role. I’d have gladly swapped a good chunk of Lyria’s PoV for his.

But in saying that, each of the characters are phenomenally sketched, their emotions and feelings so sharply detailed that it’s impossible not to care about them ever so much. The events of any given narrative cannot emotionally support itself unless it has the central characters and their feelings, reactions and social views providing the backbone. And in Iron Gold’s case, each of these characters’ reactions to the unfolding events is a quiet revelation. Their feelings are messy and rash and motivated by spur of the moment decisions (which they may or may not soon regret), filled with heart-break and rage, and it’s wonderful to embroil yourself in the middle of this chaos. I felt like I was with them every step of the way, right until the bitter end that felt me hating how much I love Pierce Brown, but also want to scream at him.

This book is nothing less than a phantasmagorical mash-up of science-fictional exuberance jacked-up to the hilt. There’s so much richness and goodness bursting out of the seams of the characters, technologies, planets and cities of the world it threatens to spill over. Science-fiction is said to be the genre of ideas, and never has it been more true here. The action is rich as ever, the politics as cuthroat as ever, the world several shades darker, the almost endless cast of characters play their roles as productions of their culture and upbringing to levels so theatrical it’s almost Shakespearean. Brown’s velvety prose is so rich and jam-packed with detail and tiny literary gems it’s like he didn’t think he’d get the chance to ever write another book. Even on its own, every page is a delightful morsel. As a whole, this book is a dessert masterpiece.

Pierce Brown has absolutely out-done himself in almost every way and should be given a round of applause for producing something so stellar it reaches meteorological greatness. It might be too early to call it book of the year, but I’m going to do it anyway.

The wait for Dark Age will be unbearable.

February 4, 2018 0

2017: A Year in Review and taking risks (and eligibility stuff)

So. Another year’s whisked by. A strange year, to be sure. But also a busy and productive one, both in and out of writing.

I’ll waffle on about the year as a whole, before I list all my publications at the bottom for award eligibility and reading sources (this is what all the cool kids are doing, apparently).

Novels:

It was last year, way back in 2016, that I really kicked novel writing into gear, having penned The Rogue Galaxy. I swore, that if nothing else, I’d get an agent. And on May 31 of 2017, the day I turned 22, that happened. The wonderful and endlessly patient John Jarrold offered me literary representation (and by extension, my film/TV rights got rep’d by The Gotham Group). After tirelessly chasing after agents for years and failing at every turn, getting The Call and just knowing that I’m one major step closer to having a novel published was my highlight of the year, no contest. The process of writing is plagued with self-doubt, self-loathing and way too many coffees, and having the guy who edited Robert Jordan, Iain M. Banks and Guy Gavriel Kay tell me that I wrote a “great book” and take a gamble on representing me (an offer he only makes to four people a year) works magic for validating your position as a writer.

I went through edits for Rogue – my first time doing agent edits – and it’s been on editors desks for a good few months now. This post would be very different if I’d gotten good news, so it’s no secret that it hasn’t sold. No book deal. Yet. But come 2018, that could change. And I truly hope it does. My gut feeling is that next year is going to be the year I achieve what I’ve really always wanted ever since I started putting words on a blank page.

I finished my next novel, Stormblood, my 1st person-narrated The Wire/Mass Effect mash-up, at 113k (since become 120k). I technically started it in December 2016, but I was so occupied with Rogue that it got put on the back-burner. It’s my favourite thing I’ve written so far, and the first time I think I’ve really “broken out” as a writer, but more on that below. As of writing, I’ve finished agent edits on it and will sending it to John for one final look in January. I’ve also reached 50k in a new novel, this one a heist narrative set in a dystopian world. My agent likes it so far, and I’m excited to keep working on it in the new year.

So that’s three novels worked on in 2017, and written two of them for a total of almost 200k. Which I’m very, very happy with.

Short Fiction/Other Writing:

I had an excellent year for short fiction, considering that novels have remained my priority, doubly so since I got an agent. While I haven’t sold everything and haven’t hit all the magazines I wanted, but I’m happy with what I’ve got, and I’m very happy with the audiences I’ve reached. Here’s my work, and my thoughts on them.

“When there’s Only Dust Left”
Nature, 950 words

A dark story about AIs being put into dust motes and worming into the heads of enemy soldiers to torment them and warp reality.

“House of Dolls”
Tales to Terrify, 2600 words (audio)

My debut publication with this podcast about two people who find a series of mannequins locked in a basement. It’s also one of my favourites, but you be the judge of that.

“The Human I Never Was”
EveryDayFiction, 830 words

Another flash piece about the merging of man and machine, overlaid with a cynical, in-your-face voice. I’ve been trying to sell this one for a while now. It’s a divisive story, with over three dozen comments arguing about it’s merit and what I was really trying to do with it. And that’s exactly what I want. A strong reaction is better than no reaction at all, (there’s something truly special about being a fly on the wall, listening to folks analyse your work) and since the majority of people did like it, I’m very content.

“Ark of Bones”
StarShipSofa, 6700 words

I’ve been trying to sell this District 9-esque story about human and alien segregation for ages, and I’m very happy where with it ended up. My favourite story of the year is about friendship, brotherhood, the cost of oppression, and is rendered in audio beautifully by Mikael Naramore. I often don’t like listening to my own work narrated, but this is the best exception. I’ve gotten wonderful feedback from folks who’ve tuned into it. And again, knowing that so many people are hearing your characters and your worlds narrated in their iPhones and cars is awesome. I love this story, so it’s great seeing how it’s turned out. Also: it’s been translated into Chinese by Science-Fiction World and will be releasing to an even bigger audience in a few days.

“The dataSultan of Streets and Stars”
Where the Stars Rise: Asian SF, 7100 words

My other favourite story of the year is also the only one not available online for free, but can be picked up from any online retailer (and here’s why you should). It’s got espionage, Arab gangsters, AIs turned djinn, and a snarky protagonist in future Istanbul, and was an absolute blast to write. It’s one of those stories I took a risk on, and I’m very happy with the end result. It’s been pretty well received, every second review on Goodreads mentions it in a positive way, with one reviewer rating the anthology as a whole with “4 out of 5 djinn” (bingo square). The anthology seems to be doing well, and I hope the reviews and sales continue to pour in. If you want to read an excerpt, you can do that here.

Not a huge amount of stories, but I’m happy with them, and happy with the ones that have been reprinted. Look out for future, upcoming work in Abyss & Apex, Tales to Terrify, Shades Within Us, and a translation in China’s SFW.

And as always, if you have any thoughts about these stories, good or bad, do get in touch. Hearing from readers is the best part about being a writer, and we really do care about what you have to say, as long as it’s respectful.

Life:

I’ve really stabilized my place in life. I’ve fixed up my house, cemented my weekly schedule, and started broadening out to a wider, but tighter circle of friends that have made me realise what I was missing out on before. I managed two overseas trips, one to Finland where I had an awesome experience at WorldCon (which you can read about here). I’ve started to lose weight, starting cooking again, really settled into my day job, and started exploring a bunch of new things I’ve always wanted to do, even if it’s going out on nights when I’d usually stay at home or using my local beach more. I’m an adventurous person, but like everyone I settle into a rut far too easily, and I don’t like budging out of it. Now that I’m making an effort to do just that…yeah, it’s worth the effort.
Last year was the start of me finding my own feet in life, but 2017 is really where it went into gear and I started living for myself, and started realising the full extent of my options. It’s scary, but it’s also liberating. I’ll likely be packing my bags and heading to Thailand for a week or two in the new year, something I never considered doing by myself a couple of years back.

There’s always room for improvement, and I have a few things I want to remedy (improving my patience, for one), but I’m determined to get there.

Taking Risks:

I lied when I said that Stormblood was the first novel where I broke out of my rut and wrote whatever the hell I wanted to. I did that before, but it was Stormblood where I knew I was going to take every plunge.

All writers knows that when we put something on the page, we’re giving a piece of ourselves away. We’re revealing to other people what we’re interested in, what makes us tick, the things we want to express, and piece of who we are. It’s cliched, but it’s true. And when you put yourself on the page, you’re opening a peephole into your brain and letting other people know how it works. How you work. How you feel.

So it’s understandable that you might want to hold some of that back.

Which is why, sometimes, I’ve held myself back. From writing first-person, from writing snarky, voice-driven stuff. From putting my characters through certain things, giving them certain histories and traumas. From channeling certain emotional experiences and sentimental values. From writing certain kinds of worlds, even kinds of emotional arcs. There’s always been there, but I’ve always held back. I’ve always stopped myself from “going there”. Not only because I wasn’t sure whether or not I could do it, but whether I should do it. If I was prepared to give those parts of me away. If I was ready for other people, including my family and close friends, read it.

But writing isn’t worth doing unless you’re writing exactly what you want to write. Not what sells, not what social media dogpile of the week says you should be. What you want to write.

So with Stormblood, that’s what I did. I created a post-war world that was both gritty and exuberant, savage and wondrous. Filled with machines and cultures and technologies that have been burning in my head for years. But at the center of it, I wrote a bi-racial, two-metre tall guy in first-person, a guy who’s been through all kinds of personal hells and traumas, and lived to tell them. I didn’t shy away from them, and I didn’t shy away from giving him a strong voice with a warped sense of humour not unlike my own. But I also didn’t shy away from making him an emotional and conflicted human being. He’s sculpted by his past and his relationship with his brother, reflects on how he feels about authority, his siblings and his friends, and how they’ve emotionally shaped him into the man he is. I explored some stuff I wouldn’t dare meddle with two years ago, and put him through certain torments I didn’t think I could ever pull off successfully. Basically: I put my heart on the page.

Even now, is this isn’t easy for me to admit.

It’s not like I didn’t already weave in ideas and themes and narrative elements that are special to me into my work, they’re in everything I write. But this was the first time that the tap’s on full blast. That I sat down to write a first-person narrator that embodied so much of what’s important to me, his story infused with peoples and concepts and ideas tapped directly into things I love and stories I want to tell.

I mentioned earlier that Stormblood is my favourite thing I’ve ever written. This is why. The pay-off was truly and utterly worth it. My agent and beta readers all agree it’s my best project yet. That it’s got a confidence, a genuine-ness about it. I’m already getting comments from my family and friends that the main character is an insight into me as a person. Which is its own certain kind of reward. But better than that: it feels authentic.

Doing this has forever shaped the way I write and the stories I want to tell and the way I want to tell them. I’ll be taking those risks, writing those emotional highs and lows. Putting bits of myself into my characters, even if it’s sometimes more than I’m comfortable with. Forcing them through certain experiences and traumas that I’m afraid to write, because I know the pay-off will be grand, and because it’ll be exactly what I want to write. Because, really, otherwise it’s pointless.

So if you are afraid to reveal bit about yourself, or you desperately want to write something but are unsure of the end result, or just can’t muster up the courage to tell the story that only you can tell, do it anyway. Because that’s what I’ll be doing in 2018, and I will not settle for less. And I hope you won’t, either.

December 31, 2017 0

Writing Update: Stormblood Edits

At the tail end of the year, my good good agent John Jarrold has sent me edits for my next book, Stormblood. It’s The Wire meets Mass Effect set on an asteroid that’s comprised of a hundred cities stacked on top of each other. Contains first-person snark, alien drugs, drug culture, religious cults, armor, gangs, neon-dunked streets,, food porn, and booze. Lots and lots of booze.

I’ve been tackling the edits for a few weeks now, they’re going pretty smoothly. It’s been slowly climbing in word count to where it sits at a solid 120k, 15k longer than The Rogue Galaxy, but John told me not to worry, since 140k is not unusual for a debut novelist, especially in the UK.

So I’m letting my legs stretch a little, letting the slow moments between characters linger, letting them shoot the breeze and grow on-screen rather than rushing because I’ve got to keep the pace up (nailing this balance down is no easy feat). It’s cathartic to keep refining and discovering things about your world and characters and know that you’ve really nailed a scene. It’s always my favourite part of the writing process, where you’re giving each chapter the last few polishes and finally see the gems and realise how pretty they are, to con a cliche. In earlier drafts, I knew I was onto something, but it was too broad, the waters too muddy for me to sharpen it to a fine point. Now that I’ve got the shape of the narrative burned into my head, it’s easier to take that paragraph, or that chunk of text and realise what it’s doing in context, and improve upon it until I’ve got exactly what I want on the page. I go over each chapter like this, honing the emotions, the narrative development, the scenery, until it’s as good as I think I can make it. It’s so, so easy to overstep and turn a quiet, sedated moment into a melodrama of sentimental monologues that are shamelessly trying to exploit sympathy from the reader. The line’s harder to walk than you’d think. I’ll forever believe that characters are the true heart of any narrative, and I want their emotions and desires and conflicts to be on-point as possible. So I’m going through the book and trying to make that happen.

It’s not perfect, but I love this book and almost everything about it, and I hope it sees the light of day at point. But if it doesn’t, then I’m still happy to have written it. There’s a lot of personal things in this book, baked into the characters, story and world, and putting them on the page has taught me a boldness that I’m not sure I had prior to writing this. I wrote what I wanted, but there were some things I deliberately avoided because I wasn’t sure how they’d be received, and if I’d want folks close to me reading it. But I went with my gut and spun out a first-person narrator who wasn’t afraid to be forthcoming out his deep, personal traumas, who said what he was thinking and got some pretty messed up things inflicted on him as a result. It even prompted my agent to comment on it.

He does it to himself, I swear!

Anyway, my current round of edits will continue to consist of refining each scene, tightening up the dialogue and making sure the world-building is in shape and the character arcs are on a smooth trajectory that’s isn’t too blatantly going through the motions of a narrative path. The next round will be more focused on the prose-level. I edit my prose as I go, but this time I’ll be putting the final touches on the work on a sentence level. Some don’t bother with this, but to me, language and choice of words is important, and if I can look fancier by replacing lobby with atrium or blue with cerulean, I will, dammit!

I’ll probably polish off edits this week, and turn it in early next year. Me and John are going to discuss what to do with it. I’ll be posting a yearly round-up soon, so look out for that, and have a great holiday.

December 26, 2017 0