22 Common Problems Associated with Short Story Submissions – from editor, Amanda Pillar

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November 7, 2014

Do you write and submit short stories to anthologies and magazines? If so, you really need to read this, from the award-winning editor, Amanda Pillar. Thanks, Amanda!

I’ve worked on seven anthologies over the past six or so years. I’m onto the eighth, the Bloodlines* anthology to be published by Ticonderoga Publications. I’ve also judged a couple short story and flash fiction competitions. Over the last six years, I’ve noticed reoccurring issues with authors’ submissions. While I will not reject someone outright for forgetting to use standard manuscript format, or for misspelling my name, there are editors who will. So it’s these basic mistakes that may be hindering authors from getting published. There are other issues as well – the quality of writing, willingness of an author to be edited, attitude of an author (if you’re rude, people won’t want to work with you) and so on.

But to help, I’ve compiled a list of 22 common problems associated with short story submissions, shown below in no particular order:

  1. Proof read your work. More than one or two typos (on the first 2 pages) are not your friend. In fact, it looks like the author rushed the submission or that they cannot proof read their work. The latter can leave an editor worried about the entire editing process to come.
  2. Read the submission guidelines properly. If it asks for fantasy, don’t send science fiction and vice versa. If I say I want urban fantasy, do not send stories that are set in the future, or contain aliens, etc.
  3. Send your manuscript in standard format unless otherwise asked for. This is an example http://www.shunn.net/format/story.html. (I tend to ask for Times New Roman font, because I hate Courier New. So check the guidelines to make sure!)
  4. Do NOT send a blank email with an attachment. Your precious story could end up deleted unread. You would be surprised how much spam can come through a dedicated submissions email address, so if you’re sending blank emails with attachments…
  5. Relating to Tip 4, put your cover letter in the body of your email. Do NOT send an essay. A couple of paragraphs will do. I’ve seen cover letters that are longer than the stories (well, almost). The editor will most likely not read your entire list of publishing credentials, so just put the most relevant.
  6. Check the name of the editor you’re submitting to. If it is listed, USE it. Not ‘Dear Editor’, ‘Hello’ or worse yet, nothing. I’ve heard there’s some confusion as to the use of ‘Miss’, ‘Ms’ or ‘Mrs’. Unless you know they’re married, or they say they have a preferred option, go with ‘Ms’. If they have a problem with it, well, you tried. It’s better than nothing!
  7. When writing your story SHOW don’t TELL. I cannot stress how important this one is.
    For example:
    ‘Bob and Jane ate the dinner Jane had made. The steak was overcooked. Bob didn’t like it.’ That is telling.
    This is showing: ‘Bob and Jane smiled at each other over the dinner table. Picking up his fork, Bob tentatively cut into the blackened steak Jane had set before him. She tried so hard, but she just never seemed to get it right. Bob took a hesitant mouthful and tried to hide the grimace that swept across his face.’
  8. Avoid info dumps. They are definitely not your friend. They’re more like an enemy. If you have a paragraph or three that are explaining some fundamental feature of your story, it can usually be done quicker and without the background detail. For example, pretend this paragraph is three paragraphs long talking about how vampires were really spawned from a human and demon liaison. Instead, you could show this in simple dialogue:
    “You mean vampires are real?” Jane asked.
    Bob nodded and adjusted the silver stake strapped to his belt. “Some human banged a demon. The result: blood drinking undead progeny.”
    Saying this, don’t just use dialogue to get around your info dumps. This is simply an example of how you can do it.
  9. Make sure you know your genres. This will help avoid Tip 2 from happening. Google is your friend. There’s lots of data out there on what is fantasy, what is scifi, etc.
  10. Make sure your first page is absolutely POLISHED. Some editors will not read past it if the writing doesn’t hook them. And remember, the editor is under no obligation to read your entire story. Some have limits: they’ll read one page, two pages or six pages before they stop reading if you haven’t hooked them. You never know what it is going to be.
  11. Make sure your story has a plot. Even if it is less than 1,000 words long, it can still have a plot. There’s a character, something happens to them, there’s a resolution. That’s a plot.
  12. Make sure your story doesn’t have plot holes. Things can’t just happen because they suit your story; they have to make sense. Otherwise, you end up with a Prometheus-style cluster-fuck.
  13. Short stories – as a general rule – do not need prologue-style paragraphs.
  14. Choose your characters’ names with care. Nothing too confusing. Gender neutral names are fine. Just nothing too long, or with too many apostrophes or hyphens. I’ll forget it, and potentially, I’ll forget your character or remember them as ‘that one with the stupid name’.
  15. It’s the 1960s NOT the 1960’s! Enough said. Unless the 1960s owned something.
  16. Don’t overuse exclamation marks. Capitals or italics usually do the job without the need for an exclamation mark.
  17. Incorrect uses of apostrophes is a personal pet hate of mine. Don’t do it. Ever. If you’re not sure, check. It’s vs its, you’re vs your, kids vs kid’s. Make sure it’s right.
  18. If you’re lucky enough to get personalised feedback, don’t argue. Say ‘thank you’ and move on, even if you disagree.
  19. If you’re submitting to an anthology of mine, avoid rape scenes or the needless denigration of women. It is usually done for shock value alone, or to show a character is a misogynist. You can shock people and show your character hates women without resorting to these two points.
  20. On the same page of Tip 19, do not send me stories condoning paedophilia.
  21. Make sure your story is standalone. I see lots of stories that are the start of something much longer.
  22. Last but not least: Voice. Make sure your story has a strong, unique voice.

*For those of you wondering, no, this is not aimed at the Bloodlines authors who submitted recently to my collection. I have experienced nearly all of these issues for every anthology I’ve ever done. And it’s happened to a lot of my editor friends as well. This list was compiled in the hope that for the next collection we editors undertake, these issues won’t be reaching our inboxes.

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photo 300x300 22 Common Problems Associated with Short Story Submissions   from editor, Amanda PillarAmanda Pillar is an award-winning editor and speculative fiction author who lives in Victoria, Australia, with her partner and two children, Saxon and Lilith (Burmese cats).

Amanda has had numerous short stories published and has co-edited the fiction anthologies Voices (2008), Grants Pass (2009), The Phantom Queen Awakes (2010), Scenes from the Second Storey (2010), Ishtar (2011) and Damnation and Dames (2012). Her first solo anthology was published by Ticonderoga Publications, titled Bloodstones (2012). Amanda is currently finalising the Bloodstones’ sequel, Bloodlines, due out in 2015.

In her ‘free time’, she works as an archaeologist.

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Dark Trinity book bundle only $4.99

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October 29, 2014

Here’s a good Halloween treat. I know, it’s more like Xmas than Halloween, but who cares. Halloween is far better than Xmas anyway. Out now is an ebook bundle called Dark Trinity. It contains the books Prophecy by J.F.Penn, Burnt Offerings by Michael Lister and Dark Rite by David Wood and myself. All for just $4.99. That’s a whole lot of reading for a fiver.

But it’s for a limited time, so get it while you can from here. Click on the image below for more information about the deal and the three books included. Enjoy!

ad for Dark Trinity 292x300 Dark Trinity book bundle only $4.99

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Free and signed Halloween reads

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October 23, 2014

So that most awesome of festivals, Halloween, is fast approaching. I plan to start a new tradition this year, that I picked up from author Willie Miekle. Willie posted on Facebook how he always writes a ghost story by hand in a notebook every Halloween. Brilliant! I’ll be doing that from now on too. But it’s also the time for All Hallow’s Read, which is something Neil Gaiman started a few years ago.

Suspended In Dusk NEW 187x300 Free and signed Halloween reads

Suspended In Dusk

So what is All Hallow’s Read? Well, it’s a new Halloween tradition where during the week of Halloween, or on the night itself, you give someone a scary book. So here I’ll be giving you a scary book. A new anthology has just come out, called Suspended In Dusk. It contains 19 excellent horror stories, including one by myself, with an introduction by Jack Ketchum, all superbly edited together by Simon Dewar. The print edition should be coming out any time now, but the ebook is out already. And until October 31st, you can get it for free from Smashwords. Here’s the page to get it, and then use the coupon code DA68M at the checkout to change the price to $0.00. Happy Halloween!

And talking about scary books, you know the first Alex Caine book, Bound, is pretty scary, right? You can buy that in all bookstores, free shipping from fishpond.com.au, it’s still only $20 on booktopia.com.au. Lots of city stores have signed copies in stock. It’s also only $1.99 in ebook, from all the usual outlets.

However, if you want a signed copy directly from me, that’s no problem. They’re only $20 plus postage. Email me at alan [at] warriorscribe.com and tell me where you are and I’ll let you know the postage. I can send those signed copies anywhere in the world, even though the books are currently only officially available in Australia and New Zealand. A signed copy of Bound? What a great gift for Halloween, or Christmas, or just because you’re a great person and you buy books as gifts. You rock.

Meanwhile, grab that free anthology while you can. It really is a good collection of scary stories.

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I’m going to be doing a signing and Q&A at Kiama Library

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October 14, 2014

The ongoing Bound train continues to roll and next month I’ve got a hometown appearance. I’ll be at Kiama Library talking about the Alex Caine Series and answering questions and all that stuff. Here are the relevant details:

6pm Tuesday 18th November

Bookings essential – call (02) 4233 1133

7 Railway Parade,
Kiama NSW 2533

Email: library@kiama.nsw.gov.au

Copies of Bound will be available for purchase and signing, or if you already have a copy, bring it along if you’d like it signed.

So if you’re a local like me, or near enough to get to the lovely harbour town of Kiama, do come along. Might I suggest you arrive early and have some fantastic fish and chips for dinner down at the harbour, before walking around the library for 6pm. You know, I might even do it that way myself. Look forward to seeing you there.

Click the image below for a bigger version:

Caine flyer small 212x300 Im going to be doing a signing and Q&A at Kiama Library

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I’m on the telly!

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October 7, 2014

I’m on a show aired by Channel 31 in Melbourne, local community television. But even though it’s local, the wonderful World Wide Web means everyone can see it. At the Continuum convention earlier this year in Melbourne, the fine people from the show Behind The Words interviewed a bunch of writers and publishers and I was lucky enough to be one of them.

You can watch the 24 minute episode here. My bit comes up at the 7.00 minute mark, but watch the whole thing to hear from Leonie Rogers first, then myself, then Dirk Flinthart, then Edwina Harvey, then Gerry Huntman, who gives some great advice from a publisher’s perspective.

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Not the Worst of Sins podcast at Tales to Terrify

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September 27, 2014

My Ditmar Award-nominated story, Not the Worst of Sins, from Beneath Ceaseless Skies Magazine, is up at one of my favourite podcasts, Tales To Terrify. I’m so pleased to have a story there.

Lawrence Santoro, the original host of Tales To Terrify, read the story in Beneath Ceaseless Skies and wrote to me asking if he could have it narrated for his podcast. Of course, I said yes!

It’s so very sad that Larry died so unexpectedly. It makes this appearance of my story a bittersweet thing. But Stephen Kilpatrick has done a great narration for it, which makes me happy. It starts at 57.30, after the Lights Out documentary piece. Go listen! And subscribe to Tales to Terrify while you’re there. It really is one of the best fiction podcasts on the web.

Here it is: http://talestoterrify.com/tales-to-terrify-141-lights-out-baxter/

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I’m signing BOUND in Melbourne this Friday.

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September 24, 2014

I’m just quickly reposting this for the times and places. Love to see you there.

It’s a bit of a shame that we couldn’t organise an actual launch event in Melbourne for Bound, but I will be in town soon and it would be great to see anyone who can make it. I’ll be signing books in Dymocks, Melbourne from 11.30am on Friday September 26th and then I’ll be heading around to Robinson’s at Melbourne Emporium to sign from 12.30pm onwards. After that, it would be nice to grab a late lunch somewhere and I’ll be in town all afternoon if anyone is keen to catch up.

So come along if you can make it. If you already have Bound, bring it to be signed. If you don’t have it, come and get one. And whether you have your own copy or not, come along and get a few signed copies as Christmas presents. Can you imagine being that far ahead on your Xmas shopping with such a cool gift? It’s okay, I’m an ideas guy – you can thank me later.

Look forward to seeing people there. And please spread the word for anyone around the Melbourne CBD on Fridays.

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Conflux in less than 2 weeks, 3rd to 6th October, includes Canberra BOUND launch

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September 22, 2014

Conflux, the annual Canberra SFF convention, is happening again in less than two weeks. It’s over the weekend of Friday 3rd to Monday 6th October. It’s always a great con and I haven’t missed one in years. I’ll only be able to make the Saturday and Sunday this year, sadly, but it’s going to be great, and it includes the official Canberra/ACT launch of Bound, once again MCd by the wonderful Margo Lanagan. You can come to the launch even if you’re not a member of Conflux or attending anything else over the weekend, so if you’re in Canberra on Saturday, October 4th at 5.30pm, please come along!

Here’s my schedule:

PLOTTING THE GAME PANEL
2pm Saturday: Our panel discusses good plotting for good gaming! Forest Room 3.  Panellists: Alan Baxter, Matthew Farrer, Aidan Doyle, and Rik Lagarto.

BOOK LAUNCH: BOUND (ALEX CAINE #1) BY ALAN BAXTER
5.30pm Saturday: Conflux Registration area. MCd by Margo Lanagan. If you already have Bound, feel free to bring it along to be signed. You can come to the launch even if you’re not a member of Conflux or attending anything else, so if you’re in Canberra on Saturday, October 4th, please come along!

PUBLICITY AND MARKETING PANEL
3.30pm Sunday: Promotion has become increasingly important in today’s publishing industry. Authors in a variety of genres face unique challenges in promoting product especially with the digital landscape of today. Our panel reviews different approaches: working with publicists vs. doing it yourself and methods of promotion (conferences, book launches, book clubs, social media, awards, blogs, events, and other avenues). Forest Room 2. Panellists: Alan Baxter, Phill Berrie (Moderator), Kat Clay and Ingrid Jonach.

CURRENT TRENDS IN BOOK BUSINESS PANEL.
5.30pm Sunday:
This century has seen new ways of “doing” book business, from the major publishing house to small and indie press, from print to ebooks. Small press and independent titles are attracting both award and review attention. Panellists have experience with a range of publishing strategies and share their insights. Forest Room 2.  Panellists:  Alan Baxter, Jack Dann, Alisa Krasnostein and Aimee Lindorff.

I’ll be shooting out in between panels to visit a few bookshops and do some ninja signings, but otherwise, of course, you’ll find me in the bar.

Hope to see you there! All the details about attending are here.

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So you’re going to pitch your book – a guide.

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September 19, 2014

It seems that lately there have been more opportunities than ever before for writers to pitch their as-yet-unpublished manuscript to industry professionals. At writers conventions, festivals and so on, more agents, editors and publishers are making themselves available to hear about your magnum opus. It really is a superb opportunity and these things usually get booked out. But man, I’ve heard some horror stories! It’s a hell of a thing, trying to sell yourself and your work with nerves making your guts into an ice storm. So I thought I’d ask a few key people in the industry for some tips to help you formulate your pitch should you get the chance.

Firstly, I’ll throw a tip or two of my own at you, then we’re going to hear from a small press publisher, a literary agent and a big press editor.

My tips are simple: Know what your book is about so you can formulate a killer elevator pitch. This is so named because it’s based on the premise that you meet a publisher in an elevator and have a few seconds before they reach their floor to sell them on the idea of your book. Here’s the elevator pitch for BOUND, as an example:

Underground cage fighter, Alex Caine, is drawn into a world he didn’t know existed – a world he wishes he’d never found. The harder he tries to get out, the deeper he’s dragged in. It’s magic, monsters, mayhem and martial arts in a fast-paced dark urban fantasy thriller.

After that, my suggestions are to have good ideas for explaining further what your book is about, what it’s like and who might enjoy it. Know your target market. Then have confidence in your work and yourself without acting like a dick. Remember, these folks taking pitches are just regular human people like yourself and they want to find good books. They’re not looking for an excuse to shut you down.

So, let’s hear from some of them directly.

Tehani Wesley is owner/editor at small press outfit Fablecroft Publishing. But don’t let small press fool you, I’m sure this publisher is going places. She’s going to be taking pitches for the first time at Conflux in Canberra in October. Here’s what she had to say:

What do you look for in a pitch?
A confident presentation with a tight synopsis that doesn’t tease me with the story – if I’m going to publish the book, I need to know where it goes, spoilers aren’t an issue! And don’t underestimate the value of a polished manuscript. I also need to see that the author has an understanding that the manuscript is not the end product – and neither is publication. There is a lot more to a successful book than great writing (much as we might wish it otherwise), and I need to work with someone who is willing and able to help drive the book beyond publication.

What advice do you have for pitchers?
I want to see authors passionate about their work – both the manuscript they are discussing, and their passion for writing in general. It’s really hard to work with writers who are negative about their own skill, their work, the life of being a writer, or publishing in general.

*****

Alex Adsett of Alex Adsett Publishing Services is an agent of exemplary power and skill (and I don’t only say that because she’s my agent!) Alex really knows this business, so listen hard.

What do you look for in a pitch?
I’m looking for full length genre fiction only for YA and adults, so SF/F, horror, crime & mystery and romance. Within that though, I’m pretty open to all comers. I’m also looking for a polished manuscript – so it is good to hear that an author has gone through multiple drafts and not only just typed “the end”. I also want to hear that the author has more manuscripts on the go and that they see this as an ongoing career for them and do not just have the one manuscript.

What advice do you have for pitchers?
Don’t panic! The person you are pitching to is there to hear your story and, maybe, see if you have a spark of connection. We do not mind if you read your pitch or just chat to us, it really all comes down to your story, and we don’t read that until later anyway.

Saying that, be prepared. Have an idea of what your book is about and how to articulate that within 3 minutes. To be safe, you should try to have three versions of a synopsis – one sentence, one paragraph and one page, so no matter how much or little time you have with your pitch person, you have something ready to go.

Do your research on the person you are pitching to. For example, there’s no point pitching me your memoir when I’m only after genre fiction. One of the best pitches was when the author rocked up with a coffee for me. I was a big fan of that author. At the same time, the most important thing is that I love the manuscript.

What’s the most common mistake pitchers make?
Panicking! So many authors are incredibly nervous about pitching their manuscripts. This isn’t a mistake, but is unnecessary.

Be careful pitching a manuscript that isn’t ready yet. On the one hand, we probably won’t mind and you might like the practice and building your contacts, but some publishers might feel you’re wasting their time to pitch if it isn’t finished and polished.

Was there ever one particular pitch that just blew your mind? (Not personal details, just generalities.)
Pitches that have a really tight premise that ticks my boxes and make me sit up and take notice. One of the best pitches I ever had was from author J.T Clay. She pitched her zom-rom-com – zombie comedy romance, and it was smart, funny and I just loved the premise. The manuscript absolutely matched the quality of her pitch, and I was desperate to sign her up as one of my authors. That novel is now published with Momentum as The Single Girl’s Guide To the Zombie Apocalypse, and it’s like an Australian Shaun of the Dead with lots of zombie in jokes.

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Rochelle Fernandez is the Associate Publisher of Voyager, the science fiction and fantasy imprint of HarperCollins, and Impulse, the digital imprint. She has been an editor for ten years, across fiction and non-fiction and tweets at @roch_town. You can often find her in a bookstore or at a Rabbitohs game. Here’s what she says about pitching:

What do you look for?
In a submission, I look for good writing first and foremost. An original concept is great, and so is an unoriginal concept told in an original way or written in a compelling way. I look for strong, interesting characters – characters people can empathise with, characters that are not caricatures — a too-good hero is just as boring as an all-bad hero.

In a pitcher, I look for someone who knows the benefits of their story. I look for someone who is confident that they have written the best story possible and can articulate what is so great about it. I look for someone who knows who their book is for, who has thought about the type of person who would like to read their story (often writers write for themselves, and that’s fine, but if you want to be published, then someone else must want to read it too!)

I look for whether it fits with what Voyager publishes. I look for whether this sort of story is popular.

What advice do you have for pitchers?
Don’t be nervous! Or if you are nervous, try to hide it. You believe in your story, now make me believe in it too!

Don’t get bogged down by trying to tell the whole plot to me – a few lines about the general gist will suffice.

Think carefully about comparisons – tell me who your work resembles but tell me why it resembles that. Pick accurate comparisons, not just ones you knew sold well or were made into a movie.

Hone your elevator pitch! A snappy line that will stick in my head is a great way to get me hooked into your story.

Don’t expect an immediate answer – it usually takes me about 2 months (sometimes longer!) to get to read a submission.

Tell me if you’ve self-published or submitted to another publisher or been published before.

Tell me what spurred you on to write the book.

Tell me a little bit about yourself too – where you work, what your writing influences are etc.

Describe to me the person who you imagine will buy your story – your target market. Tell me where they shop, what they eat for breakfast, what else they read. The more detail the better!

What’s the most common mistake pitchers make?
Use up all their time telling me the intricacies of the plot instead of condensing it into a few sentences to get me hooked.

Being too nervous and shy and self deprecating. If you don’t believe in your book, why should anyone else?

Was there ever one particular pitch that just blew your mind? (Not personal details, just generalities.)
One was a completely original concept that was such a great storyline I was just blown away. However … I am still waiting for the manuscript! Perhaps that should be a tip – make sure you are ready to supply the manuscript if I like your pitch.

One was really solid – a good concept, well thought out and nicely delivered. There was nothing really stand out about it, but I knew the book was going to be good by the amount of thought the pitcher had put into it.

*****

So there you have it. That’s some seriously good advice from some stellar industry professionals. I hope you find it useful and it helps you to hone your pitch should you get that sweet opportunity. Good luck!

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Why do there have to be dragons? – Guest post from Donna Maree Hanson

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September 18, 2014

Canberra writer, Donna Maree Hanson, has a new book out. It’s called Shatterwing (which is a sweet title, if you ask me) and is the first in her Dragon Wine series. As you can probably tell, it’s fantasy and has dragons in it. It’s actually a dark fantasy, and here I have Donna talking about just why there are dragons in it. Take it away, Donna.

IMG 0916 199x300 Why do there have to be dragons?   Guest post from Donna Maree HansonI’ve recently had the first book in my series, Dragon Wine, published. The first book is Shatterwing (Sept 14) and the second book Skywatcher (Oct 14) out with Momentum books. As you can tell from the series name, there are dragons in the story and it’s a dark, epic fantasy set on a secondary world called Margra.

I’ve not been particularly fond of dragons in the past. I’ve not read a lot of fiction with dragons. So I ask myself why does there have to be dragons in the Dragon Wine series.

I go back to the beginning. I was working on my small vineyard, checking the grapes, spraying them with sulphur (as you do) and slowly the opening scenes came about. The scene where there are grapes and dung and the odour of sulphur and dragons riding the thermals overhead. Salinda was tending the vines as I was, but in her case it was a prison and the wine had magical properties and the vines were growing in dragon dung, an excellent fertiliser.

Dragons were naturally a part of the world of Margra that I didn’t think twice about it. However, just last night I was talking about the dragons and I really couldn’t answer the question: ‘why dragons?’ ? I didn’t put the dragons in there on purpose, they were just there. I throw up my hands. You get it don’t you?

I know some readers love them and others hate them. I can’t win there. To me they are just part of the landscape, the world and the situation that I didn’t give them a second thought.

This probably gives you a hint about the world building. I didn’t sit down and plan it all out. It evolved with the writing process and with time. That’s what I love about this series, the rich history, the post-apocalyptic trauma to the landscape, the people and even the heavens. The dragons came there when the world split and answering the mystery of why, where and how will be something to be explored during the course of the series.

That is the fun part of writing for me. Getting in there and exploring the world, imagining new histories and backstories and puzzling out the future.

Also, the dragons are physically large and threatening and have a power of their own. I imagine that they think of us humans as transient things, a sort of food, a mild annoyance and not very interesting. I believe they have a very strong connection to the planet, but who knows.

Lastly, who doesn’t like big monsters??? Come on.

dragon wine 1 225x300 Why do there have to be dragons?   Guest post from Donna Maree HansonDragon Wine Book 1 : Shatterwing is available from all major ebook retailers or direct from the publisher.

Dragon wine could save them. Or bring about their destruction.

Since the moon shattered, the once peaceful and plentiful world has become a desolate wasteland. Factions fight for ownership of the remaining resources as pieces of the broken moon rain down, bringing chaos, destruction and death.

The most precious of these resources is dragon wine a life-giving drink made from the essence of dragons. But the making of the wine is perilous and so is undertaken by prisoners. Perhaps even more dangerous than the wine production is the Inspector, the sadistic ruler of the prison vineyard who plans to use the precious drink to rule the world.

There are only two people that stand in his way. Brill, a young royal rebel who seeks to bring about revolution, and Salinda, the prison’s best vintner and possessor of a powerful and ancient gift that she is only beginning to understand. To stop the Inspector, Salinda must learn to harness her power so that she and Brill can escape, and stop the dragon wine from falling into the wrong hands.

More info here: http://momentumbooks.com.au/books/shatterwing-dragon-wine-1/

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Welcome

The website of author Alan Baxter

Alan Baxter, Author

Author of horror, dark fantasy & sci-fi. Kung Fu instructor. Personal Trainer. Motorcyclist. Dog lover. Gamer. Heavy metal fan. Britstralian. Zetetic.

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