The Reanimator's Remains · Writing

An Excerpt From The Reanimator’s Remains (TRM #3) Part 1

I’ve recently realized that I am sorely behind in doing promos for The Reanimator’s Remains (TRM #3). Well, technically, I have been, but only in my newsletter and on social media. The cover reveal for book 3 will hopefully be next month, but in the meantime, I hope you will enjoy this excerpt from the prologue of The Reanimator’s Remains, which comes out October 29th at all major retailers. You can preorder it now in ebook. Paperbacks will be available closer to release day.


Prologue

The Bargain

Clutching the baby to her chest, Joanna silently slid open the window and ran. Her breath rasped loudly in her ears, but it did little to block out the voices yelling out behind her in the house. Quick as a shade, she slipped between two buildings and sprinted for the cover of the churchyard. The old cemetery held its breath as the sun crept toward the horizon, though not a single soul gave her away as she picked between the crooked headstones and disappeared behind the old, abandoned church. The moment her back hit the blistered, whitewashed wood, a wave of pain ripped through her core. Clasping a clammy hand to her stomach, Joanna released a tremulous breath. She shouldn’t be running yet. If she was any of the mothers she tended to, she would have told them to get back in bed and rest as much as they can, but if she stopped moving, everything she and Stephen did would have been for naught.

Joanna bit her lip against the bitter burn of tears. Her husband was well and truly dead now, her mother beyond her reach, and the people she once thought might become her family hunted her. All she had left was the swaddled baby in her arms, and she wasn’t going to let anyone stand in the way of his safety. Peeling back the quilt just enough to see her baby boy’s face, she watched him puff out a sleepy breath. How he had managed to sleep through the chaos of their escape, she didn’t know, but she silently thanked the Lord for small miracles and sleepy newborns. If Joanna had her way, he would never know about any of this. He would grow up to live a normal, peaceful life.

He will grow up without you.

Her head snapped up at the rustle of leaves. Across the sea of graves, the forest beckoned in a hissing whisper. No breeze reached her in the old church’s shadow, yet the tallest black oaks stretched and swayed as if searching for her. The Dysterwood had thousands of eyes, thousands of roiling, susurrus servants eager to tell their master of the goings on of mortals. Joanna pulled the blanket close enough to obscure the baby’s face and tightened her grip. The wood didn’t know him yet, and it never would.

Peering around the edge of the church, Joanna confirmed no one had followed her to the graveyard before making a break for the cluster of mausoleums. All around her the ground hummed with the slumbering dead. If she paid attention, she could tell who they were and roughly how long they had been gone, but she didn’t have time to talk to them now. Her heart clenched as she passed the clustered rows of tiny headstones, some with nothing more than a surname and single date. If she had done nothing else during her time in Aldorhaven, she had tried her best to keep their number from growing. Hiding behind the second grandest mausoleum in the cemetery, Joanna bit back a whimper of pain at another yanking cramp. As if sensing her discomfort, the baby stirred. She patted his back and whispered sweet nothings into his ear until he quieted. Can he sense the dead too? she wondered.

Part of her had hoped he might have an easier life and grow up to be a plantmancer like his father, but she knew from the second she saw him that he took after her. Shutting her eyes, she inhaled the milky scent of his skin, and for a moment, she could pretend she had merely taken him for a walk to settle him and that one day she might stroll with him hand-in-hand through the graveyard and explain how their powers could be used to do good, no matter what anyone said. She pictured him grown with dark hair like hers and his father’s gentle, warm smile. He would be kind and smart and helpful. Her mother would make sure of it, even if she couldn’t.

Joanna flinched at the sudden shatter of glass followed by a cry of fire. Smoke rose over the far side of the hill as Stephen’s final trick destroyed their home and bought her precious time, yet she didn’t dare look back. The house and furniture the fire consumed were only things, things that could trace back to her life before Aldorhaven, she reminded herself, ignoring the lingering pain beneath her heart. From her high perch behind the tomb, Joanna could see the Allen’s cottage at the edge of town. She watched as the tall, stalwart figure of Jacob Allen ran out of his house and mounted his horse a moment after the fire bells sounded. Just as she hoped.

Gathering the remainder of her strength, Joanna sprinted past the empty tombs of the town’s founding family, away from the cavernous mouth of the Dysterwood, and through a loose bar in the ironwork fence. Half-sliding down the hill, she made for the shelter of the trees leading to the Allen’s home. In the normal thickets of the Pine Barrens surrounding the edge of the town, the creatures of the Dysterwood held no sway, though Joanna knew the eyes of the forest still trailed her as she reached the field behind the house. The knot in her chest loosened upon seeing Mercy’s chestnut Morgan standing in the field beyond. The horse’s ears stood erect and his eyes wide as he listened to the distant clang of bells.

The moment he spotted Joanna, the brown stallion ambled over from the pasture, eager to check her pockets for treats. For the first time all day, a genuine smile crossed Joanna’s lips as she patted Rasmus’s nose and rubbed the white streak between his eyes. The horse butted his head against her neck, and she hugged him tightly with one arm, wishing this didn’t have to be goodbye. Pulling back, Rasmus snorted and nosed the bundle in her arms curiously.

“Gentle,” she coaxed as she carefully pulled back the blanket to reveal the baby. The horse looked puzzled as he sniffed him, but when the infant briefly opened his eyes to stare up at the gentle beast, Rasmus lipped and snorted on him for good measure. Joanna laughed, but the sound was cut short by voices and smoke carrying on the wind. “Where’s Mercy, boy?”

“Over here. I’ll be right with you, Joanna.”

Joanna turned, her heart lurching at the sixteen year old’s sudden appearance at the barn’s entrance. No matter how many times she did that, Joanna never grew accustomed to it. Mercy’s dark blonde hair clung to her face in the summer heat as she set the pitchfork against the wall and wiped her hands against her well-worn trousers. Swallowing hard, Joanna tried to commit Mercy Allen to memory. She was only a few inches taller than Joanna, yet she was stalwart and strong in a way she could never be. She moved through the world with purpose, when she let people see her, but the more days she spent in Aldorhaven with her father, the more patches of her that became threadbare under his gaze. If she didn’t get out soon, whatever life Mercy yearned for when she donned her brother’s hand-me-downs and galloped full speed past the house and into the pine barrens would be gone. As Mercy quickly washed her hands and face at the pump, Joanna readjusting her grip on the baby and confirmed she hadn’t lost her purse or knife in her haste. No, Mercy and her son would have the chance to have a life they could never know here.

“Sorry for keeping you waiting. My father left to deal with some crisis in town. Did you hear the—” Mercy’s brown eyes brightened with excitement as soon as they landed on the bundle in Joanna’s arms. “You had the baby!”

“Sssh!”

“Sorry,” she said softer with a wince. Gently shouldering Rasmus out of the way, Mercy peered down at the baby as he yawned and hunkered further into the quilt. “Oh, Joanna, I’m so happy for you. What’s their name?”

“He doesn’t have one.”

“Why not?” Mercy asked, gently stroking his dark hair with two fingers.

“Because I can’t know it.” Mercy’s head shot up, but Joanna held her gaze and nodded toward the woods. When Mercy opened her mouth to speak, Joanna cut her off. “Stephen’s dead. For real this time.”

“We knew it was coming, but still, I’m so sorry, Joanna. Did he get to see—?”

“Yes, he did, but now, they know,” Joanna said, the words tumbling together as she spoke. There was so much to explain and so little time. “Within moments of Stephen dying, they showed up, just like he said they would. I don’t think they fully understand what Stephen and I did yet, but when they do, they’ll come for the baby. You’re the only person who knows he’s alive, besides me and Stephen, and I need you to take him far away from here. I have money for you.” Pulling the heavy purse from her pocket, she shoved it into Mercy’s hands. “There’s enough there that you should be able to pay for the ferry, board Rasmus, and buy anything you need to start a new life, the one you’ve always wanted. My mother will understand and help you. She will let you stay with her until you’re on your feet, but you must take him and ride to the Camden as fast as you can. If you leave now, you can make it to the last ferry to Philadelphia and be at my mother’s not long after nightfall. There’s a note for her in the purse that explains everything. Her address is on it.”

Opening the pouch, Mercy choked. “Joanna, this is a small fortune. I can’t take this. How will you—?” Her eyes widened in understanding. “No. You can’t do that. He… he’ll need his mother.”

“I have to. Once they realize what we’ve done, they will be out for blood. Mine or his. That’s why I can’t name him. If they get it out of me, they can find him.”

“Then, come with me,” Mercy pleaded. “We can all fit on Rasmus.”

“I will only slow you down, and you’ll need all the speed you can get.”

“But I don’t know how to hold a baby. What if I drop him?”

“Mercy, I’ve seen you ride with a basket of eggs. I’ll make sure he’s strapped tight to you, but you need to go soon if you have any hope of escaping.” Glancing at the smoke-streaked sky, Joanna calculated the meager time she had left and turned back to Mercy. “I’ve never had a sibling, but of all the people in this world, you are the closest I have ever had. I would never ask this of you unless I had no other choice, but you are the only one who can escape the wood’s notice. It will be hunting me after what I’ve done, but it hasn’t sunk its teeth into the baby yet. You both can be free.”

When Mercy’s features tightened with fear, Joanna pressed her hand to her cheek and whispered, “If you love me, you will leave this place and live well. That is my greatest hope: for my boys to live well.”

“Are you sure there’s no other way?” Mercy croaked. When Joanna nodded, Mercy sighed and hung her head. “I’ll get my things.”

“Please be quick.”

Grabbing her saddle bags from the barn, Mercy disappeared into the house. As the door shut behind her, a wave of exhaustion passed over Joanna. She leaned against the side of the house out of sight, letting the baby’s full weight rest against her chest. The fear that had propelled her from the mob had finally been spent. Her arms shook with fatigue and blood dripped down her leg and clung to her petticoats while cupboards opened and shut inside the house. With every second she waited for Mercy, the baby seemed heavier and the rippling pain in her core grew stronger. Joanna screwed her eyes tight and released a steadying breath. She only needed to hang on a little longer. Soon, it would be over, and it would all be worth it.

The wind blew down the bank and through the trees, bringing with it the acrid tang of smoke and the sound of Stephen’s sister yelling her name. Tightening her grip on her son, Joanna peered around the corner of the barn, but thankfully, no one was there. Daphne’s only allegiance was to her family, and no bond of motherhood or feigned friendship would stop her from dragging her back. The door to the cottage whined as Mercy stepped outside. Before she could call for her, Joanna emerged from the shadows. In her brother’s clothes with the too long trouser legs rolled beneath her boots and a derby squashed over her hair, Mercy could easily pass for a boy in the evening light. Giving Joanna a stalwart nod, she strapped her bags to the saddle and prepared Rasmus for their ride. The horse looked nervously toward the Dysterwood, but Mercy whispered to him and stroked his neck until he quieted. Stepping back from him, Mercy held Joanna’s gaze but neither moved nor spoke.

Joanna twisted her fingers into the quilt and swallowed against the knot in her throat. She knew the time would come to let him go, but it still felt too soon. Everything she and Stephen had done had been for this moment when they could send him somewhere far away, where he would never know of Aldorhaven or the fate that would have awaited him if he had stayed. He had the chance for a life his father never did, and she needed to let him go. Pulling back the quilt, Joanna tried to memorize his face as she had Mercy’s. He was so new. He had no name or features she could pin down as coming from her or Stephen, but he had his life. And it would always be his own. Joanna kissed his forehead and readjusted the blanket around him until he was swaddled tight. Beckoning Mercy closer, she pulled the shawl from her shoulders and threaded it around Mercy’s middle under her coat. She carefully tied the bundled blanket into it and stepped away before she could change her mind.

Embers blew on the wind as Mercy gingerly swung into the saddle and turned Rasmus toward the road. “You can still come, Joanna.”

“You know I can’t.” At the hesitance in her eyes, Joanna called, “Mercy, after you get settled, promise me you won’t look for me. Forget I or this place ever existed.”

“I promise I won’t look, but I’ll never forget.”

Joanna stood rooted at the gate as Mercy gave her one final, long look before spurring her horse to a trot. She tried to keep her gaze trained on Mercy’s back as Rasmus picked up speed down the road, but her eyes kept sliding off as if they weren’t there. When she could no longer find them beyond the distant clack of hooves, the pain in her heart lessened a fraction. If she couldn’t see them, then hopefully, the wood couldn’t either. Godspeed, Mercy. Tears burned the backs of Joanna’s eyes, but she quickly blinked them away and headed back to the road. At the top of Cemetery Hill, a lone figure appeared between the tombs. Joanna’s heart lurched in her throat as Stephen’s father stepped from the shadows. Before he could see her and call out to the others, Joanna took a deep breath and plunged into the Dysterwood.


If you enjoyed this excerpt, I hope you will preorder The Reanimator’s Remains at your favorite retailer or add it to your TBR on Goodreads. If you haven’t read books 1 or 2, you can grab them in ebook, paperback, or audiobook. Stay tuned for the second half of the prologue next week.

Writing

Kara’s Current & Future Writing Plans

As we head toward the end of the second quarter of 2024, I find myself starting to plan. Truthfully, I should be planning for the third quarter, but instead, I find myself thinking about all the writing projects I would like to work on and when I’m hopefully getting to them. To preface, none of what I’m going to talk about is set in stone. All dates and ideas are subject to change, especially due to work, extra projects, etc.

2024 Books

The Reanimator’s Remains (TRM #3)– Book 3 of the Reanimator Mysteries will be out October 29th, 2024. I’m hoping to have it drafted and done by the end of the summer for the late fall release. You can preorder it here.

TRM #3.5 short story– I still have no idea what this will be about, though I’m thinking it will be set during the Paranormal Society’s All Hallows Eve party. Depending on how long it ends up being, it will be released at the end of 2024 or beginning of 2025.

2025 Books

The Reanimator’s ________ (TRM #4)– As of right now, I think book 4 will be the last book in the Reanimator Mysteries series. I have ideas for it and hope you all will love how the series wraps up, and don’t worry, we will definitely revisit our favorites in future books. This will be my big project for 2025, and I expect it to come out in October as usual.

TRM #4.5– I’m not 100% sure if there will be a final short story, but I’m going to assume I will write some sort of epilogue for Oliver and Felipe. This story will come out after book 4.

Timeline Unknown

When I say “timeline unknown,” what I really mean is, “I haven’t committed to a due date, and I can’t be behind if I don’t know when they’re due.” Basically, these projects are marinating and will for sure be worked on, but they are not as high of a priority as the Reanimatory Mysteries books are at the moment. Also, due to job stuff, energy levels, etc., it’s hard for me to write more than one book a year, though I would love to work up to finishing two a year without sacrificing quality or my sanity.

Joe and Ansley’s Book– I’m 99% sure this will be novel length, so it will probably take months to write. I don’t want to shoehorn it in between Reanimator books like an afterthought, but it is coming! I have ideas for them, and I really want to write more within this universe as well.

A book starring Teresa Galvan– This one is a huge maybe. I have a sparkly idea, but I’m not sure it makes sense yet. Teresa is growing up in a time of immense change and possibility, so writing a story set during the Belle Époque from an artist’s perspective would be a lot of fun. Once again, still working out the bugs.

More Reanimator Side Stories– I have some ideas bouncing around for an Oliver and Gwen prequel short story, potentially a short story about the head inspector and Gale, and several others. Eventually, I would like to put together a collected volume of Reanimator Mysteries related short stories.

Trousers and Trouble– I am so sorry to my readers who have been waiting years for this book. Between burnout, covid, life stuff, etc., it was really hard to write a book about trans joy. Once again, after the Reanimator books are done, I will revisit this book, and this series to write books for other characters mentioned in this one and Kinship and Kindness.

Dinosaur Duology– So I think it’s a duology. In my head, that’s the structure of it, before and after a giant event, but that is subject to change. There are also some other things I would like to explore within the same time period, so I don’t know what the structure of this series will be or if there will be an off-shoot book. I have no idea, but it’s marinating.

Scandinavian flavored epic fantasy– the series that will be cooking the longest because I don’t know if I am smart and/or talented enough to pull it off yet. I have lots of sparkly ideas and aesthetics, but those do not make a book, unfortunately.

For now, these are the works I have on the docket and the backburner. I hope you will stay tuned as I talk more about my current and future projects!

the reanimator's soul · Writing

The Reanimator’s Soul Audiobook is Available Now!

the audiobook cover for The Reanimator's Soul written by Kara Jorgensen, read by Jack R. R. Evans

I am so excited to announce that The Reanimator’s Soul is now out in audiobook! It’s still trickling out to a few other retailers, but it’s now out at most major retailers and library systems.

Jack R. R. Evans, who narrated The Reanimator’s Heart and Kinship and Kindness, has returned to narrate The Reanimator’s Soul, and they have done an amazing job. I always rave about Jack’s work, but the way they did Ansley and Joe had me grinning from ear to ear.

You can grab the audiobook of The Reanimator’s Soul at

Amazon

Audible

Barnes & Noble/Nook

Kobo (on Kobo Plus as well)

Apple

Chirp

Spotify

Google Play

And many more including Libby, which many libraries in the US use. It will also be available in other library systems and Libro.fm, but it takes a few weeks to appear.

The Reanimator's Heart · Writing

The Narratess Indie Sale!

a grid of book covers. in the center is a dragon and a planet, and around them it says, Indie Sale fantasy, scifi, and horror. April 13-15th

We will be back to our regularly scheduled blogging next week, but I wanted to let you all know that there is one day left in the Narratess Indie Sale, so if you are looking to beef up your to-be-read pile for Indie April, swing over to the Narratess Sale to check out over 200 indie books that are free to $1.99.

The Reanimator's Heart by Kara Jorgensen is on sale for $0.99 for a limited time at all major retailers. mm romance, food tour of 1890s NYC, unbury your gays, forced proximity, a lavender marriage, an autistic necromancer, everybody's queer, murder, magic and mysteries

The Reanimator’s Heart is also part of the sale and is $0.99 at all major retailers and in most regions, so if you’ve been looking to get your hands on it, now is the perfect time to start the series, especially ahead of book 3‘s release in October.

Writing

The New Book Blues

I have a confession: I hate starting a new book.

This probably sounds weird from someone who loves writing, their characters, stories, etc., but the actual starting part is the absolute worst for me. I’m not one of those writers who gets an idea and immediately dives headfirst to bang out 10,000 words in a few days before hitting the wall when they get to the middle. No matter how hard the spirit of inspiration strikes, I never get that sort of burst at the beginning of a story. The beginning is always the slowest part of the writing process for me. I’m constantly having false starts, stalling, reworking or clarifying things. The beginning of a book is about feeling things out and trying to get the shape of it in my mind before I get too far. My process is probably closest to a sculptor using a piece of a marble. They have to inspect the veins and natural curves and weaknesses of the rock before they get too far, lest they ruin it.

I’ve said it previously in other posts about my writing process, but I hate mess. I’m not the kind of person who can speed-run through a draft and deal with the problems later. If I have a super messy draft, there’s a 90% chance I will just chuck it in the bin and move on instead of dealing with it. Because I am mess averse, I tend to be a slower writer but a quick editor. My writing has been gone over so many times by the time I reach the editing stage that the draft is fairly clean. At the same time, I don’t have hyper-productive days with astronomical word counts because that would mean cleaning up a lot of mess later. Occasionally, I do have these days, but they’re often toward the very end of the story when I know exactly where I’m going and what needs to happen.

The beginning of a book is like standing at an eight-way intersection. I have too many choices and I haven’t puzzled out where they all lead yet, so I get decision paralysis. Some people will say just pick something and deal with the consequences. Yeah, no, I’d rather take a few hours or days to figure out what won’t work before charging down a certain path and making a mess for myself. I’m a careful writer, and the fact that the slow start is part of my process is something I need to remind myself each time I start a new project.

I often scare myself when I start a project because I am so slow at first. There’s a little, panicked voice inside of me that’s like, “At the rate you’re going, it’ll take two years to finish this book!” and then, I freak out more and freeze up. This time, I’m trying to remind myself that the speed at which I write exponentially goes up the further along I am in the book. The first five to ten thousand words are the slowest because my brain is still grappling with all the setup and moving pieces that need to be nailed down early on. This is part of the process, even if I don’t like how it feels, and at some point, I need to make peace with that.

The beginning of a book is like a road with nearly limitless paths, and the further I get into that draft, the more side streets are closed to me. The path becomes clearer, and the chance of getting lose diminishes. For now, I will keep going, albeit slowly, and try not to get lost.

The Reanimator's Remains · Writing

Introducing The Reanimator’s Remains

This week’s blog post is a sort of title reveal/blurb reveal/preorder reveal for book three of the Reanimator Mysteries series.

The title of book three is The Reanimator’s Remains! Book three will be out October 29th, 2024, and you can preorder it in ebook form now at most major retailers. Paperbacks will come closer to release day.

The cover reveal will be later this summer, but for now, you can read the blurb below.


An autistic necromancer, his undead love, and a town built on secrets

When the dead start rising and wreaking havoc in the small town of Aldorhaven, no one at the Paranormal Society wants to take the case; no one but Oliver Barlow. While he knows little of his parents’ lives, he knows he was born in Aldorhaven. Perhaps there, he might finally find out what happened to them or if he has any family left.

The last thing Felipe Galvan wants to do is go to a strange town in the middle of the woods, but for Oliver, he’ll go. From the moment they arrive, Felipe is haunted by memories better left buried and reminded that one misstep is all it would take for him to lose control and become the monster he was always meant to be.

But it isn’t merely the dead plaguing Aldorhaven, something far worse lurks in the woods and in Oliver’s blood. Together, Oliver and Felipe must untangle the magic hidden in the town’s past and destroy it before it can claim Oliver’s life.


What can you expect from The Reanimator’s Remains?

The Reanimator's Remains by Kara Jorgensen, cover reveal coming this summer. Preorder now, out October 29th.
autistic necromancer x undead adhd-er, mm romance, family secrets, the dead are out for revenge, "I would die for you" "Then, live for me.", a spooky forest, a creepy murder town, dealing with trauma, book 3.

I will definitely talk more about The Reanimator’s Remains (TRM #3) as I work on it, but at its core, it’s a story about fighting fate and expectations and breaking cycles. I hope you all will enjoy reading it as much as I’m enjoying writing it. You can preorder The Reanimator’s Remains at most major retailers, and if you haven’t read The Reanimator’s Heart or The Reanimator’s Soul, you still have time to do so before book three comes out in late October. You can also add it on Goodreads.

Writing

Research & the Discovery Writer

Something I greatly enjoy is learning about other writers’ processes for coming up with ideas and actually writing their books. What fascinates me most are writers who can seemingly research everything they need before starting a book. Every time I think about it, I laugh. That is certainly not my process.

The problem is that I am a discovery writer who plans their books out only a little at a time. For people who are more consistent outliners and planners, researching in advance might come far easier since they, generally, know what’s going to come up in their stories. I have no idea beyond broad strokes of what’s going to come up. For example, when I was working on “An Unexpected Question,” I knew I needed to research Coney Island, the amusement parks there, and 1890s men’s bathing suits since I knew the characters were going to Coney Island for vacation. What I didn’t realize was I would also need to research restaurants that were there in 1897, the ocean life around Coney Island, whether horseshoe crabs would be on the beach in August, street food in the 1890s, bathing machines, and a bunch of other minor stuff I hadn’t anticipated.

This is typical of what happens when I start writing a story. I have some very general idea of things that I need to research either because I know I will need the info or because I need to nail down what I think I want to do and have to eliminate things. While working on each of the Reanimator Mysteries books, I’ve read up on various occult things or aspects of medical cannibalism in order to decide the direction I wanted the books to go. Research is not strictly clarifying what I need to know but closing paths the story will eventually take.

The true issue is that I enjoy doing research. Someone once asked me, “How do you know when you’re done researching for a book?” My answer: you aren’t until the book is done because something will always come up that needs to be double checked, especially in historical fiction. As someone who is an eternal student and hoards special interests like a dragon hoards treasure, I’m okay with that because research is one of my favorite parts of writing, so I will do it the second I have an excuse to do so. I have gone down ridiculous rabbit holes over minor details that ultimately added up to one or two sentences.

The thing is, it’s probably only going to be a sentence or two, but some of the best ideas I’ve ever gotten came from doing random research. Knowing these minor details, especially in a historical context, helps to enrich a story and create greater depth than if I did all the research upfront. Even if the majority of readers have no idea, I know and some astute readers will pick up on it. It’s like throwing in Easter eggs, and it brings me joy.

This past week I decided to write a scene that involved a horse. I did not anticipate writing a horse scene and have actively avoided having horses in my stories by moving up the timeline for steam powered cars. The problem with horses is that it is very easy to screw them up. Horse enthusiasts will happily tell you that you royally screwed up a scene involving a horse, and I did not want to get an F in horse rep from the horse people. So what did I do? I did a deep-dive on horses in the 1860s for a 3 page scene because I was not getting it wrong. Then, I ran the idea past several people who confirmed I did not royally f up the horse in my book. If you’re a writer, horse people and historical gun people will happily tell that you messed up, and from my experience, the horse people are more than happy to help you get it right.

Some of you might be intimidated by having to do research for a book, but the time and effort it takes is worth it when you can put out a book that feels well constructed and thorough. It’s basically world-building, just world-building based in deep research or the past rather than constructed in your imagination. If you thinking about doing research for a book, I highly recommend not just looking at what you definitely need to know but things you may not use, and of course, read widely by getting works from scholars who are of marginalized backgrounds and/or research about people of those backgrounds. In regards to historical research, there are chunks of history that aren’t taught in schools, and it’s important to remember that when constructing your own books/worlds, so do you homework.

Writing

Social Media and the Devaluation of the Arts: Part 2

Last week in part 1, I discussed how video-based social media has screwed over artists and the artistic process. While you don’t necessarily have to read part 1 to understand part 2, I will be building upon those arguments today.


Scrolling through Tiktok, a woman making miniatures flashes across my screen. With a pair of long tweezers, she places a dozen tiny books onto a bookcase, one after the other. The cuts are evident, but I know that even someone with a deft hand and lots of practice picking up tiny things would struggle to put these itty bitty books on a shelf and have them look artfully arranged. I wonder how much time has gone into creating this video. Was this a time lapse or a rehearsed arrangement of books? Have the other books been glued down to avoid accidentally dumping or upsetting what’s already been placed down in this diorama of a library? But I’ll never know. The moment the last book hits the shelf, the camera pulls back to reveal a quaint, cozy library done in 1:12 scale. It zooms in on a few details before looping back to the beginning.

There’s something about miniatures that I love, though I don’t make them myself. It’s a replication of real life but on an inhuman scale. It’s a very human thing to build houses for ghosts. To decorate them to honor some unseen presence. We relish the work and time we put in making something the hypothetical inhabitant would like. Dollhouses pick up where our temples or homemade altars left off, and it’s comforting to know humans never truly change.

I follow a bunch of people who make miniatures on Instagram and Youtube. Miniaturists often make their own pieces for their dioramas or buy them from independent creators who specialize in a very specific niche like making tiny, lifelike vegetables or weaving itty bitty carpets on a bracelet loom. Under a video of someone rolling out and painting a clay cabbage, a commenter asks how much they cost. I wince at the responses to the creator’s honest answer. “FOR A CLAY CABBAGE?? I COULD MAKE THAT FOR $3!” says the questioner, and others quickly chime in to tell the craftsperson what a rip-off their price is.

The Price of the Aesthetic

If you’re an artist of any type, I’m sure you’ve heard someone complaining about the price of your work, whether it’s a $5 ebook or a $300 full color art commission. People don’t understand the amount of work that goes into making something. It isn’t just the cost of the materials or even the time it takes to make it. You’re paying for skill. It’s the same reason you can make yourself a cheeseburger and fries at home, but you pay $15 for the same thing at a restaurant. The chef knows what they’re doing, and you’re paying for their expertise. Yes, you could make that clay cabbage at home for $3, but do you have the experience to know what clay works best or how thin to roll it without tearing it or how to paint things in a way that makes them seem lifelike? In the amount of time, effort, and material you used to figure it out, you’ve probably spent more than you would have if you bought it from a professional.

When I commission artwork of my characters from my favorite artists, I do so because I know they can do a better job than I ever could. I’m paying for their skill, and usually, I’m underpaying for that skill. Most artists I know do not charge what their work is worth, and even then, they still get told they’re overcharging or trying to rip people off. No matter how little a creative charges, it will always be too much for someone. With the way social media algorithms demand artists to perform in videos, I wonder how much worse this will get.

As someone who crafts and writes, I know the time a project takes, the toll repeated motions can have on the body, the costs of materials, and the amount of energy it takes to learn a skill and hone it over years, but what about those who don’t? I think back to that Tiktok video of the woman placing tiny books on a shelf. I wonder how many people watching the video understand how much work goes into making each of those miniature books. Yes, they look uniform and nearly perfect, despite there being several dozen of them, but that is due to hours of labor and years of skill. They don’t look perfect because it’s easy. They look perfect because the artist knows what they’re doing. And now that work is been distilled into thirty seconds of “content” on Tiktok, being watched by people who may have no interest in miniatures or how they’re made or anything this artist is doing beyond consuming shifting pixels on a screen. The ratio of people who know what they’re looking at to the people who don’t is getting worse the further the video goes outside its target audience, and the more that happens, the more the demeaning comments flow in.

The shift to splashy thirty seconds or less videos is doing a disservice to the arts. A very common format on Tiktok is someone making something with half second sharp cuts between steps in the process. Thread the needle, needle into fabric, row, row, row, row, progress shot, tada. It forces the artist to condense their work and process into what I like to call the aesthetic of productivity. It flattens the creative process to the bare bones of each step, making it almost prescriptive when the art of creating the piece is not meant to be a tutorial. This format doesn’t leave room for contemplation or mistakes or reevaluation, just forward progress, a march to the finish before it’s onto the next Instagram worthy piece. It’s slight of hand that hides the work in favor of the sparkly product, but when we hide the work, we hide the skill, the meaning, the way we’re truly supposed to experience art.

Bob Ross wasn’t a cool artist because he made a shit ton of paintings; it was because he made the act of painting accessible and enjoyable. He took his skill and time and taught others how to make art and be fulfilled by the process of adding happy trees and embracing mistakes. What we’re seeing now is antithesis to this. It’s all product and capitalist consumption, no process or joy or fulfillment. When we take out the most fulfilling parts of creating and what allows us to express ourselves, we not only devalue what makes us human but the skill that artists have cultivated through years of practice and work.

Who Let the Tech Bros in?

I won’t get into my long winded rant about how the devaluation of the humanities lies squarely with white supremacy and its besties, capitalism and fascism, but for now, trust me when I say that the greater accessibility of higher education, online tutorials for nearly anything, and the ease of sharing marginalized voices via social media coinciding with a massive devaluation of the arts and humanities isn’t a coincidence. And as if smelling the blood in the water, tech bros have caught wind of the devaluation of the artistic process and sought to capitalize on it.

First, it was NFTs plaguing the art community, and now, it’s AI generated “art.” “Art” because art requires a certain level of humanity that a computer can never emulate. “Art” because it’s a plagiarist, and plagiarists don’t deserve credit for their work. And most importantly, “art” because it isn’t art; it’s an approximation of what the unskilled, uncaring, and uninterested think art should be. The worst part is, we’ve helped them get there with each high production value, no substance video.

For years, we have been devaluing the humanities. It started again in earnest more recently with the championing of STEM fields above all else and was compounded by the mass denigration of people who majored in the humanities (despite the fact that their skills make them more employable, even outside their respective fields). This has all been further heightened by the well-established misogynistic feelings in regards to needle crafts, clothing design, and artisanal products. Many of the crafts or types of art we see on Tiktok or Instagram were considered “women’s work” and were taken for granted or not seen as serious art for centuries, and now, that the queerness of many masc traditional artists is more obvious, there wasn’t enough “traditional masculinity” left to uphold the arts against the patriarchy. Techno grifters quickly realized they could cash in on those who wouldn’t dare debase themselves by dabbling in the arts and being vulnerable enough to be bad at something.

AI tech bros, whether they know it or not, are selling hyper-capitalist, patriarchal art. It requires no skill, no talent no practice, just stealing the hard work of legions of unseen (and probably marginalized) people. You can’t get more capitalist than that. At the core of it is instant gratification and accolades with none of the process or emotion that goes into actual art. And where do they show off these new masterpieces? Social media. Because as long as we’re quickly scrolling and haphazardly liking, we won’t notice the woman in the painting has seven fingers or that the pattern on her dress makes zero sense or that the piece has no emotional impact or intention. All that truly matters is that the tech bros have colonized a space that was inhabited largely by marginalized groups and filled it with easily consumable trash.


If the process no longer matters and the product barely matters beyond how many follows, likes, and retweets we garner, it’s no wonder that AI “art” has proliferated like a fungus. AI “art” is the culmination of the devaluation of art on social media because all that matters is pulling as much “content” and money from a piece as possible. Unfortunately, I don’t know what the solution is besides legislation cracking down on AI due to copyright issues, but there needs to be major push back from artists and art appreciators alike against the shiny-fication of the arts and the way it flattens the process and the meaning of the pieces themselves. Only by pushing back against the hyper-capitalist algorithms and trends can we truly move toward something more equitable and sustainable for artists.

If you want to help your artist friends, show off their art, like their quieter posts, and support things like UBI and other social safety nets that allow artists to more comfortably flourish. It isn’t too late to turn the tide.

Writing

Social Media and the Devaluation of the Arts: Part 1

I have a love-hate relationship with those “romanticize your life” videos you often see on Youtube or Instagram, especially when they’re paired with the arts.

On one hand, who doesn’t love seeing video clips of beautiful leather notebooks perched on an iron cafe table in some picturesquely autumnal town? On the other hand, 99.9% of the process does not look like that, and it makes me fear that social media is giving people very unrealistic expectations of what “the process” looks like in regards to art.

Eating with your Eyes

There have been plenty of articles recently that have discussed the burden social media marketing has put onto artists, writers, and craftspeople (I’m going to refer to everyone as artists from here on out because that’s what we all are, whether we want to admit it or not, and this may be part of the problem). Social media marketing for artists sucks. The main problem stems from the commodification of every single thing an artist creates. A fickle algorithm decides whether or not your video or photo is worthy of attention based on your keywords (or lack of) and whatever trend du jour is on order. This means art is being created with algorithms in mind instead of being created for art’s sake or for the artist or even for the artist’s intended audience. This is especially true on sites like Instagram and Tiktok where the idea is to get a post widely disseminated rather than it reaching the artist’s intended audience as one would encounter on Twitter, Bluesky, or author/genre specific forums. Tiktok especially expects the artist to find the audience rather than the audience go looking for things they actually care about. In order to get their work in front of more eyes, artists have to become actors and performers, and as the algorithm shifts further and further in favor of those who are better at this, then the rest of us are forced to become trained seals in their wake.

If you’re thinking, “Oh, well, you just have to get better at talking in front of a camera and selling your product,” you’re wrong. If it was that simple, my teaching skills would come in handy for once outside the classroom. The problem with these hyper visual platforms is that the artist becomes irrelevant except as a vehicle to take B roll or set up an aesthetic time lapse. Half the time, the product barely batters. What truly matters are the aesthetics. Does the artwork look good on camera? Can I put it somewhere aesthetic and film outdoors? Can I show the process at a cafe or in a dark academia-esque study lit with candles while I type nonsense on my very clean Mac Book in my Sunday best? It’s all smoke and mirrors to catch the algorithm’s attention and to get others to buy into that aesthetic delusion as well.

Viewers/followers are eating with their eyes. They are consuming a brand rather than a piece of art. They spend however long the video is taking it in before scrolling onto the next video and the next and the next with no end in sight. Artists are creating visual input that leaves little room for discussion, exploration, or even just the lingering one might do at a museum. You have to be changing camera angles and creating ambience; there is no time for contemplation. That isn’t the viewer or platform’s aim. But if no one is truly seeing a piece, what’s the point? Once the product is barely relevant, a blip on a phone screen, what does that mean for the process?

All Polish, No Process

Back when I was growing up, before Tiktok or IG or even Youtube, there was DeviantArt. It still exists as a place for artists to post their work, but it was a far different space than it is now. One of the things I appreciated about it was how there was a section specifically for artists to post their sketches or scraps. The main part of the site was all the polished works, but artists let you peek behind the curtain at their pages of rough sketches. There would be chunks crossed off, random scribbles, repeated anatomy practice (cough mistakes cough). Artists would post the vulnerable parts of art: the mess. Even then, it was often a curated mess, but it still looked like my best friend’s sketchbook pages. When I would grab his sketchbook and flip through it, it would be pages upon pages of sketchy mess. Places where he worked on anatomy, half-finished pieces that were abandoned, pieces that looked perfectly fine to me but were scribbled out in bright blue marker. But now, when I see a sketchbook tour on Instagram or Tiktok, it’s a notebook filled with picture perfect drawings that might be simplistic but blemish free. The emphasis is on the filling of space aesthetically rather than learning.

On one hand, I don’t think outsiders need to be privy to the process of creating. The creative process leaves us vulnerable. When people see the process, the underpainting, the handwritten outlines, they often don’t understand what they’re looking at. There’s no way to do it wrong, yet so many of us are hesitant to show the unfinished, unpolished product for fear of judgment. What if they think it’s the finished piece and think I suck as an artist? It’s a reasonable fear. At the same time, it isn’t a good idea to curate the artistic process so heavily that all people see is the shiny, Instagram-worthy final product because people will assume if it looks easy, it is easy.

The more concerning question is, what are young artists seeing when they look at the Instagram or Tiktok feeds of the people they look up to? If all they see is the final product or those highly edited four-weeks-of-work-in-thirty-seconds videos, they might assume that that is what the artistic process is actually like. It may sound silly, but how are they supposed to know about all the false starts, practice, and frustration that can go into a piece of art if they never see it? Young artists who don’t have other artists in their lives will get a false perception of how the process is supposed to look. If they assume there are no false starts or messiness, will they assume that, because their early work is messy, they’re a talentless hack and give up on art before they can get to the point of even having a true process? Artists are already lacking in community. This sort of alienation from the process will only make that worse.

But it isn’t just new artists who are being affected by the Tiktok-ification of the artistic process. Because artists can’t just toss their work up on social media in text or pictures, they need to document the process in video if they have any hope of gaining traction on Instagram or Tiktok. Instead of settling into the flow of a piece, artists need to think about whipping out their phones at every step, setting up the perfect lighting, making sure the process looks aesthetic enough to catch the attention of those who don’t already follow them. And what happens if they miss a step in the process because they get engrossed? What if the memory card runs out of story or the app crashes? Was the entire piece a waste of time if it didn’t yield the max amount of social media fodder?

The way social media has forced artists to turn the creative process into a made for TV process should be alarming to all creatives. While filming his show, Bob Ross produced three copies of each painting: one that was sort of a rough draft, one he made on TV to show the process, and a more perfect final version that was used for display. Will that become the expectation for creatives online? That we’ll have to hide the mess in favor of production value and work three times as hard for nearly no tangible reward. Julia Child, one of the most famous TV chefs, often dropped things or burned food on air, yet I can’t tell you the last time I saw that in a cooking Tiktok. We are no longer allowed to roll with the punches and recover when performing before an algorithm.


Social media promotes capitalistic exponential growth, and to achieve that, the algorithm requires flashy, picture perfect productions made digestible for the masses. But if we reduce hours of work to trending music and an aesthetic montage of productivity, what are we saying about the value of our labor?

Tune in next week for part two where I talk about the devaluation of the arts, the branding of artists, and how all of this has led to the rise of AI in the arts.

The Reanimator's Heart · the reanimator's soul · Writing

“An Unexpected Question” is Coming!

If you follow me on social media or have read past blogs, you may have seen me talking about “An Unexpected Question.” Well, this short story/novella is coming to my newsletter subscribers this month!

It is set about three months after the events of The Reanimator’s Soul, so you should read that book (and book one) before reading “An Unexpected Question” to avoid spoilers. It is the story of Oliver and Felipe’s first vacation together, and of course, things don’t quite go as planned.

An Unexpected Question by Kara Jorgensen, TRM #2.5 coming to newsletter subscribers in January.
Oliver & Felipe, Coney Island, Gothic Book club, first vacation, fireworks, fun, food, about 20k words.

Felipe has spent weeks planning a vacation to whisk Oliver away from the Paranormal Society for a few days. The problem is he still needs to convince Oliver to go.
Notoriously vacation- and change-averse, Oliver is dubious about spending a few days in Coney Island, but when Felipe’s plans start to fall apart, Oliver refuses to let Felipe’s hard work go to waste, even if it means a less than romantic trip.
There is one surprise Oliver doesn’t know about, the true reason Felipe wants to have him all to himself. Can Felipe pull it off or will all his scheming be for nought?

“An Unexpected Question” is a 20k novella that comes three months after the events of The Reanimator’s Soul (TRM #2). Please read book 2 before reading this story to avoid spoilers and confusion.


CWs: Brief allusion to past sexual trauma, on page sexual intimacy, depictions of anxiety, mentions of the ocean


Once again, this will be a freebie for my newsletter subscribers and will go out with January’s newsletter next week (probably on Friday). I’m really excited for you all to read it as I think it’s a lot of fun.

If you want to read “An Unexpected Question” for free, you can join my newsletter by clicking the link in the top menu that says “newsletter” or by clicking here.