Showing posts with label The Rose and the Wand. Show all posts
Showing posts with label The Rose and the Wand. Show all posts

Tuesday, February 16, 2021

Story Snippets: The King's Spell (Realm and Wand, book 1) (Lizzie)

 At the end of my first novel, The Rose and the Wand, I hinted at a story about a certain character, a handsome young lord whose heart needed refining lest he end up a full-fledged villain. That story turned out to be much harder to write than I anticipated, largely because I had (and still have) a lot of learning left to do about writing. However, I am excited to announce that Devryn's story, or at least book 1 of 3, will be releasing in April! The following two will release, likely one a year, beginning the next year. I plan on sharing the cover next month, but for now, here's the blurb and part of the prologue, set some years before the main story. The King's Spell is a "Jane Austen romance meets fantasy adventure" tale about a half-magic in search of a redemption, a mischievous enchantress searching for purpose and matchmaking opportunities, and a kingdom in danger.


THE KING’S SPELL, Realm and Wand, book 1


Only a king can banish sorcerers and strip enchanters of their power. Only a king is immune to spells and potions. Only a king knows the truth behind the legends. Until now.


Magic Collector Devryn Ashby may have deserved the curse that saps his magic-manipulating abilities, but it certainly won’t help him with the task King Reginald has assigned him. Instead of allowing him to continue hunting for those who stole the powerful Enchanter’s List, the king makes Devryn trainer-in-magic to the mischievous enchantress Lady Meredith Lofton.


Except for an occasional matchmaking exploit, Lady Meredith has little use for her power of enchantment—until the king asks her to train in magical warfare techniques. This both excites and terrifies her. And irks her, for she refuses to be bossed around by the critical Devryn Ashby, a man she’s not even sure she should trust. 


But as dangers increase and the sorcerers’ schemes unfold, Devryn and Meredith must choose whom to follow—their own desires and prejudices or their king. Only a king knows how much the kingdom depends on their choice.


Look for the cover next month!


Prologue


Most say there are but two sorts of people in this world—those possessing magical powers and those not. Of those possessing magical powers, there are enchanters, who use only the magic within themselves, and sorcerers, who call on the dark powers to increase their magic. But what most don’t know, or won’t admit, is that there is a third kind. Lost in legends of a dark time, they’re cursed to live half in the world of enchanters and sorcerers and half in the world of non-magics, trusting and being trusted by none.


A History of Magic in Sonser by Alec Hanshaw, seventh king of Sonser


Devryn Ashby, Marquis of Arden, son of the Duke of Maram

Gersemere, in the Kingdom of Sonser, 1764


If not a body, then what? That was the usual fare for a graveyard. I pressed deeper into the prickly cedar separating me from the enchanter with the spade, and knelt to peer under dark green limbs. The man was attacking the earth with the garden implement but not at one of the innumerable graves in Gersemere’s oldest and largest graveyard. Did the cluster of cedars mark some ancient burial mound filled with treasures? No, the trees weren’t that old.

Straining to see with only a sliver of moon and the man’s lantern, I watched in silence as the enchanter dug a roughly circular hole about a foot deep. From his gunny sack, he pulled a carved wooden bowl filled with wooden fruit and lowered it into the hole.

Fruit, I mouthed, disgusted. All this trouble to bury fruit? It could’ve at least been a worthless treasure map! What would my brother and friends say?

I started to rise, but the enchanter suddenly looked about him. I stilled and listened with thumping heart for him to approach. The silence brought no footsteps but something else: a second sense of magic. Closing my eyes, I focused my senses on the magic, just as my father had taught me. There was the enchanter beyond the cedar, loud as a foghorn, and a different sense, one of magic itself, the kind bestowed on an object or made into a spell. It was lower down, in the ground, I fancied, and was growing dimmer. 

I opened my eyes as the enchanter patted the dirt and grass back into place. He peered around the graveyard—always above my level—then hurried away. I dashed around the tree, came toe-to-dirt with the macerated earth sloppily put back together, but couldn’t bring myself to dig up the bowl. I had to get to the trial, after all. I quickly carved a primitive image of a pear into the base of the forked cedar that had overseen the unorthodox burial, then quietly sprinted after the enchanter. 

He lengthened his stride, the sense of his presence lessening with each of his long steps toward the graveyard’s exit. I ducked behind an obelisk-like marker as he once more twisted his lean frame to look about him. It wasn’t the possibility of a fifteen-year-old boy following him on a dare that kept the enchanter on the alert. Not that he’d shown signs of suspecting my presence. Stealth was practically a game in my family, one in which we all excelled. What did this enchanter fear then? There was no evidence of his mission on him any longer. What else? 

Or who else?

I fisted my hands as a shiver tried to run down my spine. Sorcerers sometimes desecrated graveyards, the fearmongers claimed. An enchanter might fear sorcerers, but an Ashby didn’t. Not that I felt any around.

The enchanter ceased his nervous glancing and sped forward. I crept to the next covering of shadows, the grass silent under my feet. 

“Grave robber! Thief! Murderer!”

The enchanter dashed away as the cry broke the silence of the night and heavy blows rained on my back. I spun around, raising my arms to block the blows and confront my attacker. But the graveyard was empty save for its monuments and the thick cedars and dogwoods dispersed among them. 

“Grave robber! Thief! Murderer!” A girl—a girl—cried. 

A strike to my exposed side sent me reeling onto the gravel path. Son of a rogue spell. Where was she? It wasn’t that dark. A sense, more like a dull headache than the clear sense of an enchanter, edged into my mind, and was then nearly knocked out along with everything else. “Oomph. That was my ear! Why you little—”

“Grave robber! Thief! Murd—”

“Enough! I’m not a murderer.” I lunged forward and grabbed at the air, somehow knowing where to find her weapon. My hand closed around wooden strips bound with fabric. It tingled in my hand. 

Magic. 

No wonder I couldn’t see it, or her. The angry sprite had to be an enchantress. Why wasn’t the sense as clear as the enchanter’s I’d followed?

Adensum. Come to me,” I whispered, commanding the magic to leave its object and reveal my attacker. I’d never taken magic like this by myself before—in the wild, so to speak. 

But no warmth of enchantment flowed to my palm. Horror blasted my pride. Had I lost my skill? Or was it dependent on my father’s presence? You know you can take magic on your own, Devryn. Relax and think. Locking the panicked thoughts away, I took a deep breath and tried again. Still no magic came from the fabric to me, but I felt a tug, as if some wanted to come but was held back. Once again my pulse quickened, but with wonder this time. Magic was woven into this thing’s very being; it was no ordinary item covered by a cast spell I could take. Yet, there was a faint sense of a spell, of magic that could be taken. I grabbed at that thread of magic and called it.

My palm warmed as the enchantment passed to me. I tightened my grip on whatever it was and tugged. Out of the shadows stumbled a girl. She gasped, sucking in air like a backwards scream. She gaped at me across the now-visible club, a narrow tube capped with a closed canopy of dusty grey fabric stretched across thin ribs.

“An umbrella?” Disdain dripped from my voice like the rain and sunlight that were supposed to drip from these odd contraptions—in the eastern countries. They were scarce in Sonser. Sensible people preferred a cloak or hat so they’d have both hands free. 

For defending themselves.

She nodded, her mouth agape. “How did—”

“Never mind,” I snapped, remembering Father’s admonition of Never reveal what you are. Our people have suffered too much to trust any save the king with our talents.

“What are you doing out here?” I continued. “Wandering around a graveyard at night by yourself and ambushing folks with umbrellas?” I jerked the thing forward, trying to wrest it from her grasp. “You’re just a girl.” Eleven at most. Surely she wasn’t the reason for the enchanter’s wary behavior, though I could understand why he wouldn’t want to meet with that umbrella of hers.

She stumbled forward a step but didn’t lose her grip. “I … I…” she straightened, drawing her shoulders up, “I am here on a personal and confidential matter that is none of your concern, young man. Now, if you’ll excuse me?” She jerked right back on the umbrella with surprising strength.

But it was a useless effort. “You’re not running away from home, are you?”

“Certainly not.” Her nose went higher in the air, but she ceased her tugging.

Tree frogs erupted in song, and she glanced around the lonely place, her shoulders sinking until she gazed at the ground. “If you must know, I was…” she threw a sideways glance at an elegantly carved monument a few feet away with young grass growing in front of it, “…visiting my mother.”

She sniffled.

“Oh.” Devryn Ashby, you fool. Did you want to make the girl cry? “Well, look. Don’t cry. I wasn’t going to steal anything from your mother’s grave, or from anyone else’s. I’m not a grave robber. No shovel or weapon. See?” I raised one hand, palm open.

Whatever that enchanter had buried, he’d buried under a tree, not in a grave, so even if I did come back for it—it’d be an amazing start to my very own magic collection—I wouldn’t technically be robbing a grave.

“What about the man you were following—the one who passed by a moment ago?” she asked.

“I wouldn’t hurt anyone.” She’d realized I was following him? The thought put an unmanly break in my voice. I cleared my throat and held up my palm again. “No weapon. No tools. Remember? I just like walking at night.” That was true, but certainly not the whole truth.

She sniffled again and slowly looked up, her face a dim outline in the bleak light from the one lamppost keeping watch over this section of the graveyard. She had a curious little face, not particularly pretty, more the kind “that grew on one,” as my mother would say.

“I like walking at night too.” She sniffled again, and I used my free hand to give her my handkerchief, which she gladly accepted. “I’m sorry I hit you. You scared me, that’s all.”

I scared her? Yet she pounced on me to protect the enchanter instead of staying hidden. Why? There was a tremble to her voice suggesting a bravado that could be hiding real fear. Why had she hurled those particular accusations against me? Had she reason to fear for the enchanter and herself? Or was I imagining things? Letting the darkness and the peculiar location unnerve me?

“Grave robbers, thieves, murderers, indeed.” I accented each word with a poke of the umbrella still connecting us. She huffed and tensed against the pokes.

“You’re lucky I wasn’t one,” I continued, pleased she’d conquered her sniffles. “Now, which path will lead me to the palace, umbrella-toter? I have an appointment there.” I was late already, having detoured to follow the enchanter.

She opened and closed her mouth a couple of times before pursing her lips and pointing in the direction from which I’d come. I shook my head. She looked around again, changed hands on the umbrella, and pointed to my left.

“I’m going to the palace too,” she said, “to … to the trial.”

“No, you’re not. Farris was a professor at the boys’ school. We all agreed no girls allowed.”

“Johnny said sisters could tag along if we promised not to start crying.”

“He did, did he? Who is this Johnny?” Uncle Angus, an advisor to the king, was the one to set up the secret room for the boys to watch the trial of one of the most popular professors at our school. We’d had to swear not to tell a soul what we heard. 

“My brother, Jonathan Lofton.”

“Oh.” I knew him from school. Enchanter, proud and quiet.

“I’m Meredith Lofton.”

“Devryn Ashby.” We shook hands over the umbrella. 

“Johnny said he and my cousins Charlie and Tristan would pass this way, and I could follow them. I haven’t seen them. I should have told him I was coming early and would meet him here.”

“Maybe he meant to lose you.”

She stiffened. “He’d do no such thing.”

I shrugged. “Anyway, my group’s gone ahead too. You should go home.” Or follow me. I’d never live it down if I invited the kid. Especially if she hit someone.

Mouth set in a firm line, she eyed me over the umbrella in a calculating way. I stared back, but my attention wandered to the umbrella. Its sturdy fabric, reminiscent of an old travel cloak, felt sadly cool against my palm, as if mourning its magic. I must have taken some sort of magical switch that allowed the enchantress to decide whether the object was invisible or not. She might have need of its power of invisibility, especially if she didn’t follow me to the palace and went home on her own.

With a sigh, I banished dreams of proudly depositing the magic in my family’s magic collection and focused on the odd version of the legendary invisibility cloak. “Recursus. Return from whence you came.” The umbrella slowly disappeared, its texture and a sense of magic all that remained.

“Good night.” I released the umbrella as I turned away. Such a pity to lose it. Collecting was the only way for us to gain magic. Once we had it though, we could manipulate it better even than the enchanters could.

Something clicked. I spun around, bracing for another blow, but none came. She was invisible again.

If I remembered rightly, umbrella roughly meant “little shadow.” How very apt. She had vanished like a shadow when a lantern bursts to life.

For the first time on that muggy, cloudy night, I smiled. I could sense enchantments and collect and return them at will—I’d have a place among my people. A place of honor. And the boys at school couldn’t say I’d gotten it because of my birth order. I’d earn respect as a half-magic, a future duke, and in any position I chose.

With light steps on the grass beside the path, I started toward the secret—well, little known—entrance of the palace. Footsteps followed, crunching on the gravel walkway.

The Little Shadow. That umbrella might hide her from sight, but it did nothing in the sound area. She was making enough noise to raise the … dead. A sudden breeze chilled my skin, and I glanced around at the towering monuments and the burial plots over which they cast their shadows. I picked up my pace, as did the enchantress behind me in her noisy fashion. My chest swelled. I was a knight escorting a damsel—on the sly.



Tuesday, April 7, 2020

Audiobook Basics—Getting one produced is not as hard as you’d think

There’s been a good bit of buzz the last few years about audiobooks and how the market is growing and how indie authors should get audiobooks made. But before you throw your hands up and say there’s no way you can afford it or do it on your own, read on. It can actually be quite affordable—as in no upfront capital to get a professional narrator to do your audiobook. And depending on your distribution and production payment  choices, your royalty rate can be up to 40% of the retail price (20% if doing royalty share). And since many audiobooks are $15.00 or up, that’s a nice way to increase your income and provide great stories to people who prefer or rely on that format.

I’ve been thinking about getting an audiobook done for my first novel, The Rose and the Wand, for some time, so a few weeks ago I started the process, and I hope to have a completed audiobook soon. The process has been a blast so far, and I’m already planning to get my second novel made into an audiobook as well.

A lot of audiobook narrators are also theater and film actors, and since theaters are closed because of Covid-19 right now, now is a good time to get an audiobook done. The narrators have more time and could probably use the extra cash.

Here’s a brief run down of audiobook production basics and my own experience. (I know I said brief and this post is anything but brief, but I wanted to give enough information for a good background—you can visit the websites and other blogs for more in-depth information.)
 
Audiobook cover The Rose and the Wand
I created this temporary audiobook cover to use
until my designer reformats the book's cover for me.

Audiobook 101: An outline of the process


1) Upload book information to ACX or Findaway Voices
2) Decide on method of payment and whether you want to go exclusive or non-exclusive with the distribution
3) Upload audition script
4) Listen to narrator auditions and choose a narrator. Then work with the narrator to set a timeline for completion and decide on rates, if paying upfront
5) Sign the contract, send the manuscript, and wait
6) Review the first 15 minutes of audio. Once you accept it (or reject, if needed), then additional chapters can be uploaded
7) Be patient as narrator produces and uploads each chapter, one chapter at a time.
8) Upload an audiobook cover
9) Accept the finished product, pay and/or sign final papers
10) Market

Audiobook 101: In a little more detail


1) Decided who to partner with for your audiobook production and distribution

Right now, I know of ACX (acx.com) and Findaway Voices (https://findawayvoices.com/). These two companies act as a go-between for authors and narrators and as distribution companies.

Working with ACX


ACX (connected to Audible and Amazon) offers several options to help connect authors and narrators and get audiobooks produced. Narrators can create profiles on ACX, and authors can search this database for a narrator of their choice and then approach the narrator via ACX message system. Or the author can upload an audition script with information about the book and production payment choices, and narrators can audition for the book.

If you use ACX, you have two distribution options: Exclusive (Audible, Amazon, and iTunes; 40% royalty) and Non-exclusive (can sell anywhere; 25% royalty). If you plan to go wide with your audiobook and can afford at least half of the upfront cost, you should consider Findaway Voices as well.

ACX offers three options for paying for the audiobook: 

Pay for Production 
Author pays the narrator (who is also the producer) upfront. Narrators charge a set price for each finished hour of the audiobook. This is call the Per Finished Hour (PFH) rate. A narrator’s PFH rate depends on their experience. Consequently, the rate can vary greatly. Some newer narrators may only charge $50-100 PFR while the more experienced narrators charge several hundred per hour. If you choose Pay for Production, you can choose Exclusive (Audible, amazon, iTunes; 40% royalties)  or Non-exclusive distribution (you can set up wide; 25% royalties).

How do you know how long your audiobook will be to help you calculate the cost? ACX will give you an estimate of how long your audiobook will be once you tell them your book’s word count. My ~90,000 word novel has an estimated length of 9.3 hrs. So if I did Pay Per Production for this book with a less experienced narrator (say one new to audiobooks but with theater and film experience and so still a great narrator) at the $100 PFH rate, that would be about $930. Findaway Voices has a very nice tool that gives you an estimate of the final cost based on your word count; however, their tool’s lowest PFH rate is $150. (https://findawayvoices.com/pricing/)

Royalty Share and Royalty Share Plus
In this option, the author doesn’t pay anything upfront. They must choose the exclusive distribution option. This is the 40% royalty. This royalty is split between the author and narrator, 20% to each. Check out ACX’s webpage and other blogs for more information on how you might buy out of this eventually, if desired.

In Royalty Share Plus, the author pays some of the production cost upfront and splits royalties.

As you’ve probably guessed, the more experienced narrators generally prefer Pay for Production, as it’s less of a gamble for them getting paid, but you can still get good narrators in the Royalty Share option. Of course, if you choose the latter, it’s especially important to work hard marketing to make sure your narrator gets paid back for their hard work.

Also, when exclusive with ACX, retailers set the price of your audiobook (and I think your royalty is from that retail price). ACX has a general estimate for retail prices here (https://audible-acx.custhelp.com/app/answers/detail/a_id/6656)


Working with Findaway Voices 


Findaway Voices offers Pay for Production and also Voices Share, where you pay half up-front and then split royalties. If using Findaway, you can distribute through 40 audiobook retailers and library platforms (so you can go wide), set your own price, and keep an 80% royalty. But note that this 80% is after the retailer’s ~50% cut, so it works out to about 40% of the list price (the same as ACX’s exclusive rate). So say you set a $10 list cost for retailers, e.g. for iTunes or Audible. The retailer (in this case iTunes) keeps 50% ($5) and sends the remaining 50% ($5) to Findaway; Findaway keeps 20% of that $5 ($1) for handling distribution and sends you the remaining 40% ($4). In Voices Share, it’s 60% to the author and 20% to the narrator; this requires some exclusivity (so Findaway can handle splitting the royalties, but it is still wide) and comes with a buy-out option. https://blog.findawayvoices.com/voices-share/


2) Choose a narrator

Audiobooks are basically theatrical productions for the ear alone, which means your narrator needs to be able to do a lot of voices and emotions. To gauge whether a narrator is right for your project, you upload an audition script for narrators to perform. You only have 2-3 pages for your audition script (so about 5 minutes of audio), so choose your script carefully. Don’t just take the first few pages of your book. Choose two to three scenes that include your main characters and any other characters who are particularly important. Choose scenes with a range of emotions portrayed. You need to get a feel for how well the narrator “acts.”

When you set up your project, ACX will ask you about your narrator preferences.
a) Do you want a male or female narrator? Or both?

b) What kind of accent? General American? Scottish? Cockney? Southern US? There are a whole host of accents to choose from, and this can be intimidating. If you need help, you can open another browser tab, go to ACX’s narrators page and do a narrator search using the different options (different accent or voice style, for example). Narrator voice samples will come up, and you can listen to those to get an idea of what that accent type sounds like. You might also find a narrator you really like.  https://www.acx.com/ss

c) Voice style and age? What kind of voice do you want? A refined voice? A rough voice? Flirty? Cynical? Very young? Old?

Once you’ve made those decisions and posted your audition script (for ACX, Findaway will suggest narrators), wait while narrator create and upload auditions. Listen to those and contact the narrator you want to work with. Finalize details, including the Per Finished Hour rate, then sign the contract. I started out on ACX Royalty Share, but decided to ask the narrator I wanted to work with what her PFH rate was. While she was very talented, she was new to audiobooks and so had a lower rate. I offered to pay her upfront, and she agreed, and the book was switched to Per for Production. So you can switch methods from what you originally said, if your narrator agrees.

3) Set a timeline and be patient and wait for uploads

You will need to set a date for the narrator to upload the first 15 minutes for your approval. Talk with them about how long it takes. Don’t rush them, since you want a quality product. Once you’re approved the first 15 minutes, the narrator will start working on the rest and upload it chapter by chapter.

4) Be flexible and considerate of  your narrator’s time and effort

Have you ever written out a speech word for word and practiced and practiced it, and when you delivered it, you ended up speaking freely and changing up the words a bit? Well, some audiobook narrators will do that too. As I’ve listened to my chapters while reading along in my book, I’ve noticed some of those little words editors tend to cut but that we use in speech tend to get put back in. The meaning hasn’t changed, but it isn’t exactly word-for-word. Sometimes, narrators may accidently switch a word or two to something else, especially if they are working quickly for a fast turn-around time. Before you get upset, ask if it’s worth mentioning. Does it change the meaning substantially? If not, then it might be best to ignore.

Some narrators may be able to go in and change a word or two without re-recording, others might not without it sounding unnatural. Forcing them to re-record a twenty-five chapter over one word or two may not be worth it in the long run. Be gracious, but also be firm on what is really important. Look up the policies for what you can expect in the way of redos if you have significant issues. But do make sure you listen to all the chapters and make that the chapters uploaded in order.

5) Upload an audiobook cover 

This is not the same as your ebook or print cover. These are square covers about 2400 by 2400 pixels. Check the cover requirements and talk to your cover designer about getting your ebook/print book cover formatted for audiobook. If you can’t get that done, you might consider using a place like fiverr to get a cheap cover done. It won’t match, but not all do. ACX doesn’t like you to just put your vertically designed ebook cover on top of a square background either.

6) Finalize 

When you have all the chapters and the cover, accept the finished product, and pay and/or sign final papers.

7) Market

ACX and Findaway have advice on how to market. Check those out and get to work (especially if you used a Royalty Share option).


Do you like listening to audiobooks? I’ve only listened to a few, mostly non-fiction, but I am loving my narrator’s production of The Rose and the Wand. So I might have to start listening to more fiction audiobooks. Do you think you’ll get one done? If you have an audiobook? How was your experience? Any tips?

Friday, February 22, 2019

To Catch a Magic Thief Release and Ebook Giveaway! (Lizzie)

It finally happened! I published my second full-length novel. The second was so much harder than the first. But now it's out! And isn't the cover beautiful? To celebrate I'm giving away an ebook copy of both my books--To Catch a Magic Thief and The Rose and the Wand. But first let me tell you a little bit about the books.
A spunky heroine, an unlikely hero, a cunning thief, and a race against a terrifying curse--everything a reader could want in a fantasy adventure! Marcel and Gabriella are both easy to root for as they overcome obstacles and their own misconceptions, and their growing friendship against the odds is executed to perfection. E.J. Kitchens has once again created a world of elegant manners and complex magic that will both intrigue and enchant her readers through the very last page.~Laurie Lucking, award-winning author of Common

I wrote The Rose and the Wand because I wanted to know the story of the enchantress in Beauty and the Beast. I intended it to be a standalone story. But then I fell in love with one of the villains. I couldn't leave him a bad guy, so I started a story for him (which I'm still working on...). In his story, I met so many wonderful characters and discovered such a fascinating world of magic that I ended up with a dozen or so story ideas. During a break in writing the aforementioned story, I decided to go back to Alexandria's family and tell the story of how her sister Gabriella--one of the Perfect Floraisons--fell in love with the plain, bumbling baron Alexandria disliked so. I was shocked and excited to discover quite a bit of mystery, danger, secret identities, and even a terrifying curse, all playing out under Alexandria's very nose. Here's a blurb about the story:

Falsely accused of being the notorious Magic Thief, the non-magic Marcel Ellsworth, Baron of Carrington, wants nothing more than to stay away from enchanters and sorcerers. Unfortunately, he soon discovers his mentor, the Duke of Henly, is head of a family of proud enchanters—and that they’re the next target of the Magic Thief, a servant of the sorcerers. With the threat of another accusation hanging over him, Marcel sets out to prove his innocence, especially to the duke’s beautiful daughter Gabriella, and to stop the Thief once and for all.

But Gabriella is hiding a deadly secret that complicates Marcel’s mission, and raises its stakes. For one thing is certain: the Magic Thief has come for more than magical treasures—he’s come for Gabriella.


Fun facts

1) I intended To Catch a Magic Thief to be a simple romance telling how Gabriella and the “bumbling baron” Marcel Ellsworth fell in love. However, I soon discovered I could not directly write a romance. So I threw in a legendary thief, magical items to steal, a curse, and other dangers, and found the story (and the romance thread) much easier to write and so much more fun. This inability to write "simple" probably explains why my planned 20,000 word romance novella ended up 121,000 word fantasy adventure novel.

2) Marcel Ellsworth wears a lift in one shoe to make his legs even so he can walk without limping. I loved Janette Oke's books growing up, and this struggle of Marcel's was inspired by one of her books. The heroine in her mail order bride book A Bride for Donnigan had a bad limp because of uneven leg lengths. One detestable character tried to take advantage of her because of that, saying no one would love her due to her limp. She wisely didn't give in to him, and she ended up married to a wonderful man who made a special shoe for her to correct her leg lengths. That part of the story more than any other stuck with me for some reason. Almost prophetically actually. I have lower back problems, and sometimes it causes my spine to curve wrongly, causing my hips to tilt and one leg to be shorter that the other. At one point, my back just wasn't getting better and my chiropractor suggested that I might need a lift for one shoe to ease the strain on back. Fortunately, things straightened out (literally), so I never needed the lift. But I have a better understanding of Marcel and other's struggles now.

3) There are a lot lines in the book that I find myself repeating or smiling about as I remember them. Here's one that doesn't require a knowledge of the story to understand. It also just happens to be one of my favorites.





Giveaway

But on the giveaway. Gabriella is hiding a curse. Now this curse is different from Alexandria's and much more sinister. I can't say too much without giving away too much. Suffice it to say this isn't the kind of curse a kiss can cure, or even an admission of love. It's a kind of half-curse actually, drawing Gabriella to itself to complete the curse, like Sleeping Beauty is drawn to the spinning wheel and her doom. But what is this doom and can Gabriella escape it? Well, you'll have to read the story to find out. :) It's available to purchase on amazon here.

So for the giveaway, I'd like to know, if you were cursed, what kind of a curse would you choose? Answer in the comments. Next Friday, I'll pick one commenter at random to receive a set of my ebooks.


Saturday, November 4, 2017

Top 3 Wand Designs and Book Release Giveaway (Lizzie)

To celebrate the release of my novel The Rose and the Wand (really the re-release of The Beast's Enchantress), I'm doing a giveaway in addition to our normal Top 3 post. In honor of the book, I'm doing a post on wands. At the end, I have the giveaway for The Rose and the Wand, so don't miss that!

Top 3 Wand Designs


1. The Ergonomic Wand

While sometimes rustic in appearance, this wand boasts a comfortable, ergonomic handle, preventing the feeling that one is going into battle (or Defense Against the Dark Arts class) with an overlong pencil. As an additional feature, these wands contain a unique item, such as a phoenix tail father (as in Harry Potter's wand) to add interest. Furthermore, for us indecisive people, wands of this type choose their owner, making them a truly personalized possession and, simultaneously, removing the stress of having to choose from the purchaser.

Note the comfortable grips on these wands belonging
to familiar wizards associated with Hogwarts.


2. The Disney Standard

These simple and elegant wands are a traditional favorite and are sure to please even the most particular fairy godmother.

The fairy godmother and her wand from
Disney's animated Cinderella.

Note: The stardust and sparkles often associated with the use of this style are extra features available for a modest increase in price.

3. The Mutable Wand

These may resemble either of the first two varieties on the outset, but upon destruction (as in the case of the wand Claerwen in Jenny Nimo's Charlie Bone books) or at the command of an enchantress (as in my The Rose and the Wand) these wands can change shape. For its own escape or disguise, this ability can be very useful for both the wand and its master.

The wand Claerwen from the Charlie Bone
series. It only obeys commands spoken in Welsh
and only then if the user is related to a particular
Welsh wizard. 

Alexandria's wand from
The Rose and the Wand.
Alexandria's wand in The Rose and the Wand resembles the Disney Standard, only thicker with an engraving of roses trailing up it, except when it is disguised as ... well, I don't want to give anything away so I can't tell.

However, my cover artist got a bit carried away and gave me this wand (see image at right), whose top resembles a staff topper in my opinion. Still, though not what I imagined, it's pretty.










THE ROSE AND THE WAND RELEASE GIVEAWAY

For those who haven't heard, I am re-releasing The Beast's Enchantress with a beautiful new cover and name for its fourth anniversary this month. People (myself included) tended to trip over the original name or shorten it to "Enchantress," so I decided to choose a new name to go with its lovely new cover.

Enter below for a chance to win a copy of the book and other goodies (open to U.S. residents only). The contest runs from November 4, 2017 to midnight November 10. Winners will be announced on my next blog post on November 16. Good luck!


And here are the prizes:


First prize is a $10 amazon gift card (not pictured here), a sketchbook/journal styled like a beautiful old book, a coloring book of lovely decorative letters and postcards and Bible verses, a calligraphy set (sorry I couldn't find one that resembled Alexandria's feather quill!), and a copy of The Rose and the Wand.



Second prize is a candy melts mold that gives you candy shaped like a rose!
And a journal and a copy of my book.
Third prize is a copy of the book plus a $5 Krispy Creme
 gift card. You can't get Rosalie's French-style pastries
at Krispy Kreme, but you can get pretty good donuts!



a Rafflecopter giveaway



What's your favorite wand type? What do you think of Alexandria's wand?













Tuesday, September 19, 2017

Squirrels and other Distractions (Lizzie)

Squirrel! 

Any fans of Disney's Up out there? Somethings I feel like Doug, so easily distracted. So easily overwhelmed when things get busy or don't go as smoothly as I anticipated. Having too many things on my mind and eating up my time too often ends up in me not doing some of those essential things (like writing and focused Bible study and prayer) that help me deal with life's craziness.


This is Phoebe, my Great Pyrenees. She's
lovely and sweet but doesn't understand "stay."
The lovely new cover for my book.

Lately

In the last couple of months, I've been in the middle of trying to buy a house (possibly, hopefully, there are a lot of bumps in this road), struggling to get everything done for the new school year at work and keep up the literature class I'm taking, leading a Bible study group and planning/carrying out events for Women's Ministry at my church, promoting the re-release of my novel The Beast's Enchantress as The Rose and the Wand (and sorting out technical difficulties holding up the print version), trying to figure out how to keep my escape-artist pooch from breaking out of houses and Houdini-ing over fences and off runs, and working on other writing projects. I'm grateful I don't have any major health or relationship issues or flood/fires/hurricanes to deal with, but, if I'm not careful, I'll still fall into the trap that life is just "struggle-through-able" right now.

How do you deal with distractions and overwhelm? 

I've noticed if I ignore those squirrels and make myself take time to write and have a quiet time, then I am much better equipped to deal with the distractions and difficulties that come up. What things must you do in order to stay on top of things?