the reanimator's soul · Writing

The Reanimator’s Soul is Available for Preorder!

As the title says, I have officially put The Reanimator’s Soul, book 2 in the Reanimator Mysteries series, up for preorder at all major retailers! Right now, you can only preorder it in ebook form, but the paperback will be available closer to release day.

Speaking of release day, The Reanimator’s Soul comes out October 24th, right in time for an atmospheric Halloween read.

The cover reveal will be sometime during the summer, so stay tuned for that. In the meantime, check out the blurb below.

An awkward necromancer, his undead love, and the crime that might break them.

Felipe Galvan has been dead for five months, and whether he likes it or not, he’s changing. But with his daughter home from college and Oliver still adjusting to their new partnership, Felipe is more than willing to continue pretending everything is fine.

All Oliver Barlow wants is to be a good partner to Felipe. When they finally get a case after months of light duty, he thinks it will be the perfect opportunity to prove himself. That is until a mutilated corpse leads them to Oliver’s former lover and the Institute for the Betterment of the Soul–a clinic claiming they can cure people of their magic.

Between Oliver’s old wounds and Felipe’s secrets, they stand upon a knife’s edge. If either man falls, they risk losing not only their home but everyone they hold dear.

So what can you expect in The Reanimator’s Soul?

  • Teresa Galvan
  • The tether becoming a problem
  • A less than savory clinic
  • Oliver’s ex
  • And of course, a strange corpse
an aesthetic. it has a momento mori skull, a victorian man reading a book, a creepy Victorian house, "i am someone who did not die when I should have died," an antique map of New York, "there are times when I am convinced I am unfit for any human relationship," antique medical tools, victorina man in his shirtsleeves, an anatomical drawing of the brain

I’m greatly enjoying writing this book and hope you all will enjoy it. If you haven’t read book 1, The Reanimator’s Heart, yet, it’s available in ebook and paperback at all major retailers. Or if you did read it and want some more time with Agatha and Louisa or Felipe and Oliver, newsletter subscribers get Flowers and Flourishing, a sapphic novella, and “An Unexpected Valentine,” which takes place three weeks after The Reanimator’s Heart.

In future blog posts, I’ll talk more about The Reanimator’s Soul, so stay tuned! If you’re interested, you can add it on Goodreads or preorder it at your favorite retailer.

Writing

On False Starts

This is part of the process, this is part of the process, I remind myself every time I start a new book.

Without fail, I have a false start. I know why I have false starts; I just don’t like that I do. Typically, this happens because I am excited about the book and want to dive into it, but I haven’t actually gotten to the point where I know where I’m going or what the larger point is of something I mention early in the story. Or I have an idea of what I want to say and where I’m going, but I mess up what point of view it’s from. Usually, I realize this halfway through writing the scene when things feel off.

I am neither a pantser nor a plotter but some secret third thing. I like to think of my writing process as gardening. I start out with a basic idea of what I want to accomplish, what the end goal is, and sort of let things happen as they may while pruning and prodding the plot to make it cohesive. Plots and plants need shaping and scaffolding sometimes. While writing, I do have a very basic act by act outline where I plan the main points of the plot (or the key beats) and I also keep a stack of note cards with a bunch of scenes on them that I know I want to use in my story. Sometimes I pull them out to move stuff around or figure out where I need to go next.

The problem is that I need the beginning to be solid before I move on. I know there are plenty of writers on the internet who will be like, “No, you must move forward! You must keep going no matter how messy it is because progress is progress.” Yes, that’s great, but that doesn’t work for me. If the foundation isn’t solid and the beginning doesn’t feel at least somewhat tidy and logical, I can’t move forward. This means I spend a lot of time futzing with the opening chapters of my books until I hit about 10,000 words. From there, everything seems to flow better. I would much rather mess with the opening chapters and get the book on a decent foundation because everything flows from those opening scenes. They set the stage for everything else, so they need to make sense. I also do another editing session at the 25-33% mark for added cohesion.

The false starts have become a part of the process as I’ve grown as a writer, but I’m still coming to terms with “wasting words.” It’s hard for me to give in and say, “Okay, this isn’t working. Let’s restart.” My brain would like to push through and keep going, but sometimes rewriting a chapter is easier than fixing it piece by piece. That’s what happened with The Reanimator’s Soul. I got a chapter and a half in and was not happy with it. At first, I wasn’t 100% sure where things had gone wrong, so I put it aside to write “An Unexpected Valentine.” Sometimes a palate cleanser is necessary for clarity. Once I finished that short story and reread what I had written of The Reanimator’s Soul, the issues were glaringly obvious. The prologue needed beefing up, and the first chapter was in the wrong point of view. I went back and rewrote the prologue chunk by chunk and totally restarted chapter two. Between finishing “An Unexpected Valentine” and doing the rewrites, I had also worked a bit more on my outline and note cards, so things were clearer.

The question I had for myself was, “Would I have figured this out if I had just waited a week or two to start The Reanimator’s Soul instead of diving in headfirst and making a mess?” and the best answer I can give is no.

For me, those false starts are part of the process. They help me tidy up the ideas I have and sort of troubleshoot things that don’t work in a way I probably wouldn’t have figured out through thinking or outlining alone. Some things sound great on paper but just don’t work in the actual story. Other times, you think you could do A or B, so you just pick one and pick the wrong one. Oops. So far, false starts have happened for the past four books I’ve written, and I’ve probably done the same for more, but I just don’t remember them.

At some point, you have to figure out where optimization ends and the process begins. You can’t eliminate all the mess in the writing process, so sometimes we have to acknowledge that we need to write through a little chaos to find the gold that comes after. Knowing this also helps you better estimate how long certain parts of the process will take. For me, I always know act one will always take twice as long as any other part of the writing process, and I can live with that.

Writing

On Writing Sequels

I know a lot of writers writhe in angst over writing sequels or second books in a series, but I think I’m in the minority here as I actually much prefer writing sequels to the initial book. In this week’s blog, I hope I can help you to make writing sequels a little easier in the future.

As per my usual writing caveat, what works for one writer doesn’t work for another, so take all writing advice with a grain of salt.

Why I like sequels and struggle with book 1:

Book one is a blank slate. I have no idea who the characters are when I start writing, or what I know of them is very fuzzy until I’m a decent way into the manuscript. This means, there’s a lot of stopping and starting to figure out if what I’m doing seems out of character for them or that I need to take another look at their backstory to make sure what I want them to be makes sense. By the end of book one, I know who these characters are. I know their personalities and desires, so when I’m setting up book two, the internal growth thread is significantly easier.

With sequels, we have the basis of the world, we have the foundation for the main characters (or most of them) ironed out, and parts of the plot might even be ready to go before drafting book two because they appeared in book one. I worry more about people not liking book two as much as book one than I do the actual writing of book two. There are also some tips and tricks I’ve learned while writing my first book series, which had 3 different pairings that rotated between six books. The books were not a continuous series, but the plots were interwoven into each other along with the growth of the main cast.

While this advice may not be super helpful for books that have totally disparate casts within the same world, a continuous or linked series would probably benefit from the tips below.

Create a “story bible”

As I write my books, I grab the important information like character descriptions, major setting descriptions (or at least the locations of those descriptions), and a reverse outline of book one (with a timeline) and dump them into a document. These catch-all documents are often referred to as story bibles. If you aren’t sure what to include, there are plenty of resources for building story bibles, including various apps. Having a story bible makes it super easy to locate important information later, and I don’t have to read the previous book a hundred times. I still reread the last book before writing the next one to remind myself of how the characters speak and interact, but this cuts down on having to find things constantly.

Trust me when I say nothing is worse than belatedly realizing that a major plot point cannot happen in a later book due to a reason or conflict in an earlier book. If you’re writing a linked series or one that bounces between characters, keep track of timelines especially.

Be careful that this doesn’t become a time suck or procrastination method. I find it easier to grab the info as I write or when I finish the book, and I only add niche items when I absolutely need it. Keep in mind that too much random info will make it hard to pick through, and it will be useless to you unless it’s very well organized.

Follow the Threads

This is something you should think about while writing the first/previous book, though sometimes they pop up unintentionally. Threads are basically loose ends or questions that are left unanswered at the end of a book. Sometimes newer writers think they need to wrap-up absolutely everything in a book, but if that book is intended to be a series, it makes sense to leave smaller questions unanswered in order to get readers to want to go on to the next book in the series.

As a caveat, this doesn’t necessarily mean the book should be a cliffhanger. I’m not a huge fan of cliffhanger endings unless your books are coming out very close together or it’s a traditionally published continuous serious. They generally frustrate audiences as they lack closure.

Threads, on the other hand, are minor mysteries or side plots, little things that seem important and get carried through the book or brought up at the end only to go unsolved or unanswered. With The Reanimator’s Heart, some threads might be how might Felipe change now that he’s undead or whose heart was it in the jar? Besides those, there are also little hints of things in both main characters’ pasts that could be important later.

Why are threads important for sequels? Well, for one, they help to figure out the plot or shape of subsequent books. The character development from one book to the next should make sense and should build off each other. Readers reading your book in sequential order (aka the vast majority of readers) will be excited to see the things you mentioned in book 1 appear in book 2 or 3. It makes your choices feel purposeful, rather than accidental. Even if you’re bad at playing the long game, this helps to create cohesion.

Sequels are siblings, not twins

Much like eyebrows, sequels are meant to be siblings of the books that come before and after them, not twins. What I mean by that is we need growth between books, but the books need to stay true to the tone and general feel of the others. You shouldn’t have a large genre leap or one book be super tragic and the next silly. You can certainly have a very dark book 2 where it feels like hope is lost before they triumph in book 3; that shift in tone is a logical one. If you mess around with genre or tone too much between books, you will turn off readers who liked the preceding book but will feel cheated by that sudden change.

On the flip side of this issue is sequels becoming twins. This is what happens when books in a series are too similar. Often, the problem is caused by not enough character development or plot movement happening between books. With certain genres, like detective fiction, we expect varied plots with a fairly stable main character, but in the vast majority of genres, it’s expected that your characters will grow and change. If you make that change too slow or have them move forward and then revert to how they were at the beginning of the previous book, you will frustrate your readers because they will end up reading basically the same book arc-wise.

This is more like conjoined twins, but a sequel is also not book 1 broken into two books. There’s a difference between the plot/character arc of a series running over two books (a duology) and snapping a single arc like a breadstick into two books. It throws off the pacing horrendously. If you have a proper duology, each book has a properly paced arc that also fits neatly into the series arc. Micro and macro arcs, so to speak.

To keep these issues from happening make sure your characters grow, your tone/genre are similar or compatible, and that each book has a separate arc but also ties into the larger arc of the series (especially if it’s a continuous series).


Just remember when working on series and sequels that book one laid the foundation for all future books. When in doubt, reread the previous book(s) for inspiration and guidance on how to move forward.

The Reanimator's Heart · Writing

“An Unexpected Valentine” is Coming!

If you follow me on Twitter or Instagram, you may have seen it, but I was moved by the spirit of procrastination and chaos to write a Valentine’s Day short story for Oliver and Felipe. Typically, I don’t run with the plot bunnies and get distracted, but this short story sort of sprung fully formed in my head and came together in a few days.

An Unexpected Valentine by Kara Jorgensen, a Reanimator Mysteries Companion Story
Oliver and Felipe, The Gift of the Magi-esque, very fluffy and sweet, under 5k words, going out to newsletter subs in February

Oliver and Felipe’s first Valentine’s Day together was supposed to be perfect. That is, until Felipe’s idea falls through at the last minute and Oliver realizes he never ordered Felipe’s gift. Now, nothing is going according to plan.
But with a little ingenuity and help from their friends, Oliver and Felipe may not have such a bad Valentine’s Day after all.

“An Unexpected Valentine” is a <5,000 word short story that comes after the events of The Reanimator’s Heart. Please read book 1 before reading this story if you don’t want any spoilers.

You can add “An Unexpected Valentine” on Goodreads.

Because this story takes place 3 weeks after the events of The Reanimator’s Heart, I think you have to have read it to read this short story. Otherwise it is spoilers galore.

Once again, this will be a freebie for my newsletter subscribers and will go out with February’s newsletter in the next few days. I will not be sending out a short story a month. There is no way I could keep that pace, so please enjoy these random short stories/novellas because there probably won’t be another one for a while. You can join my newsletter by clicking the link in the top menu that says “newsletter” or by clicking here.

Writing

How I Develop Characters

As I mentioned a few blog posts back, I asked around on Twitter if there was anything anyone wanted me to write about on my blog (PS- hit me up in the comments if you have ideas), and one of my Twitter peeps asked if I ever use character sheets and if so, how detailed are they. Today’s post will be about how I develop my main characters.

To answer the question very succinctly before I run headlong into segue-ville, no, I do not use character sheets.

The reason being is that I find them overwhelming. Back when I was in college and writing The Earl of Brass, I downloaded a bunch of DnD and roleplay-based character sheets because they were super detailed, which is great until detailed becomes overwhelming. The problem I found with most character sheets is that I found the most of the details to be inconsequential. Does it matter what my character’s favorite food is or when their birthday is exactly? Usually, no. Yes, favorite color can be symbolic or be used as a signature color (like Emmeline and purple in my books), but more often than not, the vast majority of the favorite x type questions did not actually inform who my characters are. I remember a Youtuber I watch mentioning character sheets and how if you put real people into them, the details don’t make sense. Her example was that her very prim and proper grandma loved a very macho movie. Just listing that didn’t explain anything; it was just sort of a weird quirk on an otherwise normal sheet. First and foremost, I think of my characters as real people and treat them as such throughout the generation process. They are not tropes, they are not cardboard cutouts, they are people with wants, needs, idiosyncrasies, anxieties, and a past that informs their present. A character sheet doesn’t get to the heart of who they are, so the question then is, how do we figure that out?

What comes first: the plot or the characters?

For me, often the characters do, which I think informs this process more than you would think. I’m not shoehorning characters into a situation but building the situation from the characters. I have a necromancer and his undead love (Oliver and Felipe from The Reanimator’s Heart). How did they end up here? Were they partnered up before the story takes place or during? I ask a lot of questions early on to figure out how we got to the point where the story will theoretically start (or the first point of no return/doorway in plot terms). This allows an organic plot to form out of who these people are. What happens for me when I work the opposite way with plot first, characters second is that I end up fudging who the characters are to fit into the idea I had. This leads to stiff, 2D characters who are trying to be something they’re not because they are hemmed in by the plot. I think this is often why detective fiction requires sort of flat, stagnant characters. They need to fit into the litany of mysteries they need to solve rather than having their stories fit/inform them. And that’s fine for that genre, but that isn’t what I write. When dealing with stories that are very emotion heavy, psychology driven, and character oriented, the characters need to come before the plot.

Kara’s #1 important character element for creating realistic characters

Okay, that is a bit of hyperbole, but there is one thing I tend to think about more than anything else when building my main characters and that is their background. The character’s history/background informs who they are when the story takes place. Years of life have left their marks on this character, for good or for bad, and these things show through in what they do daily, their internal monologue, their wounds, their goals, etc. Their world view is tainted by their past, and the clearer I can see that past, the easier it is to figure out how they would react to the current circumstances (especially in a way that makes sense to them). If all your characters seem to react the same way to everything, that’s probably because you aren’t paying attention to their psychology and you might be relying more on your experiences.

Some of you out there are like, “Kara, these aren’t real people. I shouldn’t apply psychology to them.” Well, we want our characters to be realistic, we want them to feel like real people, and real people are informed by their past history. People aren’t a blank slate on any given day, and your characters don’t spring forth on page one as a blank slate either.

I will say that I don’t sit down and outline everything in their lives so far. I like to leave room in case I need to add something as a book or series goes on. KJ Charles talked about this on her blog once, that for your own sanity as a writer, leave blanks and don’t tell readers everything to keep from repeatedly boxing yourself into a corner. You can know all these things, but your readers don’t have to until it’s absolutely necessary. When I build my characters, I usually play around with them a bit to get their general personality, then I start to think about how we got here. Here’s an example using Oliver from The Reanimator’s Heart:

Things that inform Oliver’s identity most from his life/past: orphaned fairly young and was raised by his grandma, the many misunderstandings in his life due to him being neurodivergent, break-ups due to ND traits, being gay in the 1800s, having to leave his job as a doctor due to *REDACTED SPOILER* reasons

Notice that I don’t have a whole laundry list of key events, just the few things that would impart some complexes/wounds on a person. Once we have those wounds, we can figure out the natural trajectory for complications and reactions. Social interactions go wrong a lot, so he avoids them. When he does have them, he tends to over-explain during or over-think after. Note the logical progression from past to wound to behavior. These wounds are things that can heal during the story, but they will still inform the character’s behavior. There will still be days when doubt or low self-esteem come creeping back to cause problems, just like in real people.

Now that we have the biggest chunk of who the character is, what else do we need?

The hierarchy of character building

This is less about what you should do first and more about what informs the things below it.

  1. Psychology/backstory- see previous chunk for that
  2. What do they want/need?- these are the things that drive this character in your story toward their internal and external goals. The internal goal is also usually informed by their psychology. Whether he knows it or not, Oliver really needs acceptance, which is caused by his past bad experiences.
  3. Their personality- how this character behaves is informed by everything above. A character’s personality and likes/dislikes are obviously important because it differentiates them from everyone else, but it has to make sense with their psychology/backstory and what they want/need. This is also something that is easier to change based on those other two things.
  4. Their appearance- typically, this is the least important aspect of a character’s being UNLESS it plays into the plot/conflict. Generally though, whether a character has brown v. black hair or curly v. wavy hair really doesn’t make a difference in the big scheme of things. The good thing is if you have all of the above aspects fleshed out, you can tailor your main character to fit even better into the story you’re creating. For example, Oliver is awkward and a necromancer, so to make him even more of a weird character, I gave him very stark coloring (very pale, very dark hair, very grey eyes) which highlights those dead and otherworldly ties.

Now that you’ve learned how I develop my characters, I hope you can take at least some of what you learned here and use it within your own work. As always, writing is a very individual process, and what works for me may not work for you. If you have any questions or would like to know more about a certain aspect, hit me up in the comments or on social media.

Writing

Writerly Tools of the Trade

What I thought I would do this week is share some of the tools/random things I use while writing or planning that have helped me in hopes that it might also help some of you. I have not been paid to endorse any of these things. I just like them and would like to share.

Spreadsheets

I hate making spreadsheets. Some of you are very talented and patient. I am not, so I like to outsource my spreadsheet needs.

  • WorkingWriterBiz spreadsheets– I bought these last year when I started to get my author shit together. This Etsy seller has so many fantastic spreadsheets. I use them to track my sales, social media numbers, and word count trackers. You can even make your own 3 book bundle, which is awesome. They work on Excel and Google Sheets, and you can save them as blanks and use them year after year.
  • Svenja’s word count spreadsheets– I love Svenja’s spreadsheets so much. If you only write like one project a year or don’t want to separate word count data by project, these spreadsheets are fantastic. They are pay what you want and have beautiful background art from Lord of the Rings, Once Upon a Time, and much more.

YouTube

  • Sarra Cannon’s Heart Breathings Youtube channel/newsletter/resource library– You have to sign up, but it is worth it. Her Youtube Channel, which will be mentioned below has been so helpful to me (she will pop up a few times here). She has sprint trackers, a plot outline sheet, and so much more. Besides being a great teacher, she also takes into consideration chronic health problems, mental illnesses, etc. when discussing being an author. There’s positivity, but none of it is toxic or of the hustle variety. You can find the link to her newsletter on her website/YT channel. Personally, her resource library is *chef kiss*
  • The Courtney Project on Youtube– Courtney is one half of the romance writing duo Kennedy Fox, and she has some really good info on being a full-time author, how to up your game, etc. She’s a bit more down to business than Sarra Cannon, but sometimes that is necessary.
  • Music to Write By playlist– This is something I whipped up for myself and for my students. There’s a lot of fantastic ambient music and long tracks to help you focus while you work. Tinnitus scrubbers or colored noise has been a godsend for my ability to focus.
  • As a side note, while I have not watched it, I know Brandon Sanderson (aka the fantasy author I have also not read) has his entire course on writing scifi/fantasy for free on Youtube if you are interested.
  • A word of caution- There are tons of resources on Youtube, but there’s a difference between enjoying someone’s authortube content and coming to them for advice on writing/publishing. Obviously vet who is posting because learning from someone who is below you in skill or are not ahead/in line with you career-wise isn’t particularly useful. People who haven’t finished and/or edited a book might not be the best people to get writing advice from if you are trying to publish your work.

Books

  • Writing and Selling Your Mystery Novel by Hallie Ephron- pretty self-explanatory. If you’re at the intermediate/advanced stage of mystery writing, this is below your level but useful for someone like me who strays into suspense instead of mystery
  • Structuring Your Novel by K. M. Weiland- truthfully, all of K. M. Weiland’s books are phenomenal
  • Save the Cat Writes a Novel by Jessica Brody- another book on structure that is incredibly helpful
  • Romancing the Beat by Gwen Hayes- for the romance writers who also need structural help
  • I Give You My Body by Diana Gabaldon– the author of Outlander also has a short book on writing sex scenes, which I found helpful from a sensory/choreography level
  • Newsletter Ninja by Tammi L. Labrecque- this book and its sequel helped me increase my newsletter subscriber list significantly. I haven’t used all the advice, but the vast majority of it (in both books) were very useful.

Sundries

I’m not including buy links to these because they’re sort of open-ended, but these are things I use all the time when I’m working on my books.

  • Blue light blocking glasses- to save your eyes from computer screen glare. Plus, I think the yellow helps me focus, even if I panic that my dogs have jaundice (FYI it’s the glasses, not them)
  • A notebook to write ideas in or to write on the go- I use a 5 Star grid paper notebook most of the time. It’s the perfect size for my normal handwriting, fits a lot on the page, has a spiral, etc.
  • A bullet journal- if you like staying organized, I highly recommend having one or a planner to keep track of your publishing/writing to-do list
  • Kanban Board- same thing as above, though this is paired with the HB90 method (see Sarra Cannon’s channel or my past blog posts for more on this)
  • Washi tape, markers, stickers, highlighters, etc.
  • Your choice of pen that is conducive to writing- for me, this is Pilot G2 pens (of various colors, sometimes I use the one color only for one book) or Sharpie S-Gel pens. If the pen doesn’t write well for you, use something else. Yes, I do get hung up on pens and the color sometimes.
  • Reverse outlining– I write very vague outlines on an act-by-act basis, but you can find more about reverse outlining in a past blog.
  • Forest app– this is an app on my phone that I use to time sprints all while growing cute little plants. I also use it for grading papers and doing any other thing I don’t feel like doing. Will do work for cute trees.
  • Miro– this is a very flexible app where you can make mind maps or just organize notes in a nonlinear way. I use it for chapter or timeline planning.
  • As an aside, a lot of people like Scrivener to write on. I find it difficult to use and fiddly. If you’re thinking about it but aren’t sure, I highly recommend getting the free trial and then seeing if it clicks with you or not. For me, it did not, but I prefer Word.

Courses

  • Skillshare- I do not have a Skillshare subscription currently, but in the past, I had a 2 week freebie period and I was able to watch a lot of videos on writing, marketing, etc. You can find these free trial codes pretty easily online, so I highly recommend grabbing one (and setting a reminder to cancel it). They also have courses like learning ASL, various art media, etc.
  • HB90- this is Sarra Cannon’s course on planning, getting your shit together, realistic goal-setting, etc. It’s not being offered currently but will be in March, I believe. I highly recommend it if you’re trying to organize your life a bit better and actually make progress toward your goals. Once again, it isn’t about hustle culture. Her mindset is inclusive of those who are chronically ill or neurodivergent, which I appreciated.
  • Publish and Thrive– this course was pivotal to me getting my shit together and doing so well with my launch of The Reanimator’s Heart. It is a 6 week course on indie publishing that is stuffed with fantastic information that you can watch at your own pace and have lifetime access to. When I took it, I ended up with over forty pages of notes and a plan for how to market my books better and set myself up for success. It’s great for those who are new to indie publishing, those getting back into it, and those who feel like they’re career is stalling. Sarra is only offering this course once this year, and it is currently open for enrollment. It starts February 4th, 2023, and while it is pricey, it was worth it and she offers payment plans. As a past student, I have an affiliate link if you would like to sign-up. Feel free to reach out to me if you are thinking about it but have questions!
Writing

Why I Write What I Write

On Twitter a few weeks ago, I asked if anyone had anything they wanted me to blog about, and my friend Char was kind enough to toss out a whole list of potential topics that were really intriguing regarding my writing process, why I write certain things, how I write, etc., but the one that caught my eye first was “What draws you to M/M romance and what do you specifically find delightful in writing the male gaze from the male gaze?”

At first, I sort of stared at the prompt because I’m currently editing an f/f or sapphic romance, which will go out to my newsletter subscribers at the end of the month (which you can join by clicking here). My immediate answer is that I don’t write M/M romance so much as that I write queer romance. I think a lot of newer readers might assume I write M/M only because Kinship and Kindness and The Reanimator’s Heart, my last two releases are both M/M, but if you look at my previous series, The Ingenious Mechanical Devices, you’ll see that there’s an ace-allo M/F(but would be enby in 2023) couple, a gay couple, and a pan-bi M/F couple with various other queer side characters. And subsequent books in the Paranormal Romance series will have a lesbian F/enby couple as well.

It’s mildly annoying that M/M romance tends to get the most attention and sales, which on one hand I am grateful for, but I like to write about all sort of queer characters. Within the queer community, there are those (like myself) who will read about anyone and just enjoys queer couples in general. Other readers tend to be more insular and only read MM or FF, which is fine, but that really isn’t the audience I write for.

My choice of genre/romantic couples stems from my own gender and sexuality. I tend to just say I’m nonbinary and queer for simplicity’s sake, but if we’re getting more granular about it, I’m agender nonbinary (slightly masc leaning, slightly) asexual omniromantic. Aka, gender is *giant shrug* but basically Anne Hathaway in Twelfth Night and my sexuality is that I like people of all sorts but don’t feel sexual attraction.

Because of my gender and sexuality, I am attracted to different genders and my identity in relation to those genders is complicated at times since we don’t really have commonly used words for nonbinary attraction to men or women or other enbies. Because I am slightly masculine leaning, M/M romance made sense in my head. Before I knew what being nonbinary was, I used to say I felt like a gay man trapped in a woman’s body. I felt queer, I felt like that feminine masculinity that I often saw with queer men (highly related to Nathan Lane in The Birdcage as a tween/teen because being a woman was a parody of who was I, but I couldn’t put that into words. Besides that, Anne Rice’s books, which were highly influential in my tween/teen years for realizing queer people even existed, were mostly M/M or focused on queer men. Gay men of the late 80s/early 90s were a major touchstone in figuring out my gender identity and that what I was feeling was queer attraction, so M/M tends to be the attraction I relate to most.

Complicating this was that I dealt with dysphoria, which made it difficult to write cis F/F romance. I often joked there are too many layers of Victorian Era clothing and that’s why I avoided F/F romance, but no, it was that trying made my dysphoria kick up horrifically. For a long time, I had a very hard time reading or writing cis F/F romance, but once I realized I was nonbinary, that lessened greatly. It was strange, but somehow realizing I wasn’t a woman despite the body I came prepackaged in gave me distance enough that I could enjoy those books without my brain rebelling. This is why I’ve actually been able to think more about Ruth’s book (Tempests and Temptation) and write Flowers and Flourishing (though one MC is a trans woman).

Sexuality and gender are complicated, writing is complicated, and dysphoria bleeds into the creative side of your work whether you like it or not. For a while, I was ashamed that I couldn’t write F/F romance. I wanted to, and I am attracted to women. I couldn’t understand the mental block, but once it fell away, it was like, “Oh, yeah, that revelation seemed to clear a lot up.”

The crux of this long digression is that I don’t write for the M/M gaze. I write for the queer gaze because I write queer characters of all genders and sexualities. If you’re looking for exclusively M/M content, that certainly isn’t me, but if you want series with trans characters, nonbinary characters, gay/lesbian characters, asexual characters, and bi/pan characters who get happy endings, then I’m the writer for you.


As a side note, Sarra Cannon’s Publish and Thrive course is going to be running soon. This 6 week class is what helped me restart my career last year, and it was certainly worth the money. If you’re new to indie publishing or want to get back into the swing of it by refreshing your knowledge on best practices or marketing, I would take a look. I wrote out 40+ pages of notes when I took it, and now that she has expanded it, I will be taking it again since I have lifetime access to the course. She also has payment plans set up if you want to join but can’t pay in full upfront. If you use this link to sign-up, I get a commission as a former student.

If you would like to know more or have questions about the course, I would be happy to answer them!

Writing

My 2023 Writing Projects

Okay, so let me start by saying, this is going to be more of a “what I would like to do” type list while knowing full well I will not be able to write all these things. What I will do is divide it into “Definitely Doing” and “Would Like to Do” this year. Also keep in mind that the dates associated with the “Definitely Doing” projects are subject to change and are ballpark estimates at this point. My hope is that I can get through three projects this year (even if the last is published in early 2024), but a lot of this depends on the amount of classes I am assigned in the summer and fall.


Projects I am Definitely Doing

Flowers and Flourishing

(A Reanimator and Paranormal Society Romance Companion Story)

Release date: end of January to newsletter subscribers only for free

Size: Novella (about 33,000 words)

Add it on Goodreads

So this novella is the backstory for how Agatha and Louisa met and fell for each other. I have more information about it in this blog post, including the blurb and such. You can join my newsletter here if you would like to receive the novella in your inbox later this month. This story will also be exclusive to newsletter subscribers for a while. The plan is to eventually write a bunch of other shorter works all set in the Reanimator/Paranormal Society world and package them in one book/anthology.


The Reanimator’s Soul

(The Reanimator Mysteries #2)

Release date: late 2023 (hoping for a fall release like last time)

Size: Novel (90k-100k words)

Add it on Goodreads

This is the sequel to The Reanimator’s Heart, which takes place a few months after that book leaves off. I won’t get into too much detail here, but it will feature a new society targeting paranormals in New York City, though in a more nefarious way than the Paranormal Society. Oliver’s ex happens to be in town again, and Felipe is struggling with his new life [again] while his daughter’s in town.

The Reanimator’s Soul is going to be my main focus/large scale project this year, so I expect it to take the largest chunk of time.


Trousers and Trouble

(A Paranormal Society Romance #2)

Release date: realistically, early 2024

Size: Novel (50k-75k)

Trousers and Trouble is the prequel story of when Bennett arrived in Brooklyn, met Ruth and Rory, realized he was trans, and eventually came to the Paranormal Society. This more like a romance of self-love than a traditional romance. The series title is set in stone, so *shrug* we’re rolling with this being more about loving yourself, found family, and friendship, including a bit of a quasiplatonic type arrangement between Ruth and Rory.

I already have some of this story drafted and generally know where I’m going with it. I just put it on the backburner because it required more joy than I was able to muster due to grief stuff at the time. Now, I’m feeling better and hoping to jump back in between book 2 and 3 of the Reanimator Mysteries.


Projects I Would Like to Do

As already stated, I have a finite amount of time in a year, and I basically know how much I can accomplish in a year. These things are overflow ideas that I will probably get to eventually, but if the idea struck and I had time, I might bang them out.

  • An untitled short story about Gale and Head Inspector Williams from The Reanimator’s Heart
  • Start plotting Book 3 of the Paranormal Society Romances as I think it will connect with the story line of The Reanimator’s Soul
  • An untitled short story involving Oliver, Felipe, and the beach because it makes me laugh to think of poor Oliver dealing with sand and seagulls. It also goes well with a piece of art I commissioned of them.

All of the shorter works mentioned would go out as freebies to my newsletter subscribers first until they were eventually packaged into the aforementioned anthology with Flowers and Flourishing.


I am so excited to dive into these projects this year, and I hope you will enjoy them as well! Stay tuned for more behind-the-scenes info and updates about The Reanimator’s Soul, Trousers and Trouble, and so much more.

Personal Life · Writing

On Rest

I fucked up. That’s due to the belated realization that I didn’t listen to my body when I really needed to rest.

If you read last week’s blog post, you may have noticed the section on writing where I mentioned I struggled and was a bit fried. Historically, November is a bad month for me. It’s a yearly clusterfuck where lots of grading and keeping track of all the things my classes have due intersects with the time change and the days getting shorter, which also intersects with seeing giant NaNoWriMo word counts (this is a morale sapper since I write small-ish daily word counts). I logically know that November is a bad mental month for me as I tend to use up more brainpower between work and Christmas prep and have less spoons in general. And yet, my dumb ass continues to do what it has been doing at a pace it is not capable of without consequences.

I feel like I dragged my tired corpse through November while chanting the refrain of “You did it in October and September, and you can do it again.” Am I more organized and driven than I’ve been in previous years? Yes. Does November still kick my ass despite all that? Apparently so.

Since the end of last year, I’ve been using the HB90 method for goal setting, project planning, etc., and it has been very helpful. The problem is that I blissfully forgot or willfully ignored that November kicks my butt. Somehow, I thought, I have my shit together this year and am doing well. Surely this won’t happen this year.

Sadly, I felt it coming before I was aware of what was happening and still ignored it. I struggled at the end of October to get through my word count goals. I chocked that up to my book launching and not really having my head fully in the game due to launch anxiety, which was a reasonable assessment. The problem was that the feeling persisted into November and only got worse. By the middle of November, I was drained. I had edited a bunch of research papers (longest and most thorough paper my students write, which means it takes the most brain power to give feedback on), I was struggling to read books with any consistency (a major red flag for me), and my writing was only happening in fits and starts. I would fall behind, then pound out a thousand words, then not write again for several days in an endless cycle of misery and disappointment. The biggest, most obvious indication should have been the all-consuming yearning to play Stardew Valley. Yes, my friends, my desire to play that video game usually means my brain is shot and needs serotonin. I can mindless do tasks, play for hours, and feel accomplished as my crops grow and I romance Shane, my favorite hot mess. It’s something I know is basically my check engine light coming on, but I ignored it anyway because I was already behind on my writing and I couldn’t fall more behind playing video games.

Well, guess what, I never caught up. At some point, I hit 8,000 of the 10,000 words and said, we’re good. I admitted defeat after blowing a tire on my car in a near accident. I’m now starting to wonder if the brain drain contributed to that as well, but it was the wake up call I needed to stop for a bit and try to refill my creative well. Since the very end of November, I’ve been reading more, just sort of vegging while watching shows I like, and playing a bit of Stardew Valley before bed. It has helped a lot. I’m starting to feel like I can think straight again, though I know some of that is because the semester is also about to end.

If there’s one thing I need to get better at, it’s listening to my body when it comes to productivity and writing. It gave me so many warning signs that I need to pause for a day or two, but I ignored them to avoid “falling behind” on arbitrary deadlines I set for myself. Now, instead of taking a day or two off to reset, I’ve had to take a full week off. It certainly isn’t the worst outcome, but I’m annoyed at myself for making things needlessly worse. In my bullet journal for 2023, I’m going to make a signs of burnout page to remind myself that sometimes I need to just rest and decompress, that the work will be there tomorrow, and the only one putting pressure on me is me.

If you’re like me and starting to feel the chafe of burnout, please, take a step back, do something that brings you joy, and just exist for a bit. Don’t do or try to force, just rest. Whatever resting looks like to you, take this as the universe’s way of telling you to go rest. You deserve it, you don’t need to earn it, just give the well a chance to refill.

Writing

Why I Never NaNo

I have held off writing this post until the end of the month because I didn’t want to “yuck anyone’s yum” as the kids say. I have no beef with other people participating in NaNoWriMo (National Novel Writing Month), but for me, NaNo is a no-go. And I wanted to write about it for the writers who feel discouraged that they struggle to do NaNo or don’t like to do it, especially when it seems like everyone is participating, except you.

I jokingly refer to NaNoWriMo as “No Words November” for me. Where other people see synergy and community, I find myself crushed beneath other people’s massive (for me) daily word counts. Comparison-itis hits, and it hits HARD. My soul dies incrementally at the beginning of November with each friend who participates and posts that they wrote 2,000+ words in a day. On a personal level, I am very happy for them that they’re making progress and don’t want to mute the word or my friends for a month, but my inner writer is screaming in panic as I am lucky if I get 500 words a day during November. The more I see the large numbers, the worse it gets to the point that I often get so far in my head that I stop writing in November. This has happened repeatedly.

This is a me problem. I know it is, and I know I need to work on my comparison-itis, but I think for people who tend to be slower writers or who don’t zero draft, NaNo feels like an insurmountable task. During the height of the semester, I’m lucky if I can get 10,000 words a month. Part of my personal grudge against NaNo is that it’s in November, which is when I am a) perpetually exhausted from the time change/weather b) under a mountain of grading because that’s when the long papers roll in. It’s just not a convenient time for me as a professor to be doing anything extra, let alone stretching way past my normal word count.

If we could shift NaNo to like June, that would be great. I vividly remember being in college and one of my friends having a meltdown because she was behind her NaNo goal and her schoolwork, which she sacrificed to write more. I wanted to shake her. NaNo is one month, grades are forever. The same rule applies as an adult with a job. I’m not sacrificing my mental health and totally stressing myself out for something that in the long run doesn’t matter. NaNo is just another month, just another arbitrary activity, and my life and worth doesn’t hinge on a word count.

My process also doesn’t work with NaNo. The typical wisdom is that you shouldn’t edit as you go, which I have to do. Editing is my warm-up before I start my next writing session, and it keeps me from having to do a massive amount of editing at the end of my draft. On top of that, I am a plantser/gardener. This means that I don’t usually have an outline before I start writing or, if I do, it’s on an act-by-act basis or only a few scenes ahead at a time. Not being a plotter means that either I have to zero draft (messy, scant rough draft), which I really don’t like to do, or I need to rapidly figure out where the hell I’m going. My lack of forethought does not lend itself to this process. I do not like cleaning up a mess. I am the kind of person who cleans the bowls and pans as they cook instead of dealing with a giant mess at the end. The same holds true for writing. Without being able to edit as I go or having the time to do so while writing so much, it really isn’t worth it for me as I will struggle to finish a book that requires that much editing.

Know yourself and your process should be the main takeaway from this blog post. If traditional NaNoWriMo works well with your writing process, then you should definitely go for it, but if it doesn’t work for you or the way you write, it might not make sense to go for 50k words in a month and wreck your mental health or manuscript. Every year the FOMO gets me during week 1 when everyone’s energy is high and they are so enthused, but once the stressed posts set in, I realize why I don’t torture myself. I know I would hitch my self-worth as a writer to those giant (for me) daily word counts, and things would not end well.

If you haven’t enjoyed NaNo this year but feel like it’s necessary or a hallmark of a “real” writer/author, it isn’t. I have never won NaNo. I have only tried twice and failed both times. Camp NaNo where I’ve stuck to a more reasonable word count goal is the only way I can do NaNo. I have eight books out with several more cooking, so don’t feel bad if NaNo just doesn’t jive for you. You certainly don’t need to do it in order to finish your manuscript or to find a supportive writing community. You can do that all on your own any month of the year.