A.R. Kahler's Blog, page 3

Going on Retreat

Hey friends,

I wanted to mention that I’ll be away for about five weeks, starting June 16th. I’m heading to Cali to do a month-long yoga teacher training intensive, which I’m incredibly excited for. Then I’ll be taking the long way back north to drive along the coast and camp in the redwoods. While at the retreat, I’ll be training in the Ashtanga tradition, which means the actual poses are a small segment of what I’ll be learning. Lots of breathwork and purification and meditation. I hear it’s very intense, which means I want to give it my full attention.

I’ll be able to check email sporadically, but I’ll be taking a step back from social media in general. No Twitter or Instagram. Time to shift focus for a little bit, so I can come back recharged and ready.

There’s a lot of exciting stuff bubbling in the background, and I hope I can share more of it with you on my return. I have a really strong hunch that late summer and autumn are going to be some big, thrilling times. So stay tuned, and stay excited.

On The Hunt…ed

Hey friends,

It’s been very exciting to hear from so many of you with your love and eagerness for The Hunted series. And, of course, you’re all dying to know when the next installment will be out.

Which leads me to this blog post.

After a lot of thought and discussion with my agent and team, we have bought back the copyright to both MARTYR and MENDER.

What this means:

Both Martyr and Mender are no longer being distributed. The ebooks have all sold out, and only a select number of paperbacks are available (consider them collector’s items! Many can be found in local retailers. As I write this, copies are also available HERE.). In the meantime, my fabulous agent is hard at work to find them a new publisher.

So, as of right now, there is no release date for Mender. The moment we have a new home for this series, you all will be the first to know. We are very excited about the future of this world—big things are coming. We just have to practice a little more patience at the moment. (which is something I’m bad at but working toward)

In the mean time, I still have lots of great releases coming out, with “Pale Queen Rising” in October and “Shades of Darkness” in March. Hopefully, soon, we’ll add the rest of The Hunted to that list

Ravenborn Cover Reveal

I can’t actually tell you just how excited I am to finally reveal this cover.

Not just because it’s gorgeous and worthy of some sort of award, but because the amazing team at SimonPulse and I have been working on this for a very long time. Like, they had ideas before we’d even signed the contract. And since then, it’s gone through dozens of variations and concepts. Dozens. And then my editor, Michael Strother, sent me this, and I think I might have cried a bit.

This book has been near and dear to my heart, from it’s conception as a wake-up-at-3AM-and-write-this-down dream in Scotland to plotting it out on a train in Norway, to finally writing the thing in Seattle. It has everything I love–great friendships, art, boarding school, mystery, and a great deal of magic with a touch of darkness.

And so, without further ado, the first book in my newest series.

Shades of Darkness

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What do you think??

The art is by the incredible Stina Persson, and the design by my not-so-secret-crush Regina Flath. Doesn’t it just make you want to grab a dozen copies? Which you can. In March 2016.

 

Full cover copy below:

 

 

Islington Arts Academy is not an average high school. Nestled in the forests of Michigan, surrounded by trees and nature and virtually no evidence of civilization, it is an oasis for those looking to get away. Perfect for a student like Kaira Winters, who wants nothing more than to put her past behind her and focus on the present…and her looming graduation, just a few months away.

But the past has a way of returning when least expected.

Kaira knows that what happened before, at her old school, wasn’t normal. She knows that what happened to her ex-boyfriend wasn’t natural. But she refuses to believe that the recent death on campus, the one that left everyone on edge, has anything to do with her. She refuses to believe that she could be at fault again.

But just as the past always returns, the truth can never stay hidden for long.

Even if Kaira didn’t cause the first death at Islington, or the second, or the third, she has the ability to find out who did. She has the obligation to stop whatever is coming to campus. To end the darkness that is falling with the same snow that once blanketed the woods in beauty.

But to embrace this power—to relinquish herself to the ancient entity that has been lurking in the corners of her mind–is to let go of her humanity…and Kaira doesn’t know how far she can go before she loses herself completely.

New Site and New Book Info

Hey loves,

As you can very obviously see, the site has gotten a much needed overhaul. Hopefully it suits your sensibilities.

But, on to the important things!

First of all, we have a killer name for the spinoff series to Immortal Circus. You know, the one featuring kickass assassins and crazy magic and maybe even a trip back to a particular Big Top. Are you ready?

The series name is Blade of Winter.

And the first book is called Pale Queen Rising.

(As an aside, I am giddy that the series’ acronym is BOW. Because yes)

I can’t wait to share more info about it (hopefully very soon!) but for now, know that we are all very excited and have some incredible things planned for the release. This one’s gonna be big big BIG! And it’s coming your way October of this year!

 

But wait! There’s more!

 

I’m also very excited to share some more information about my new series from SimonPulse, Ravenborn.

The title of the first book is Shades of Darkness and it will be coming your way March of 2016. (So close, yet so far!)

And I’ll be revealing the stunning cover very, very soon.

 

Keep your eyes peeled, and remember to follow me on Twitter @ARKahler so you never miss a beat!

 

Writing Advice for the Not-So-Timid

A few days ago I was getting another round of work done on my tattoo, and the shop artists were discussing what it meant to be an artist. One of them said something that has stuck with me, and pretty much inspired the majority of this page: “Artists give themselves deadlines and deliver–we need to stress out about it because it’s our job. If you’re not pushing yourself every day, you’re just doodling for fun.”

I should warn you: this isn’t a post to pat you on the head. This about as real as I can be when it comes to the publishing world (and the arts world in general). But if you want my honest advice for getting published or finishing a book or whatever, read on.

 

If you want to call yourself a writer, you have to put in the time. Otherwise, shut up.

Let me put this as simply as possible: If you want to be a writer, you have to write. There will never be a magical moment of free time to sit at your computer and type. You will never have constant inspiration. There will always be external factors–work, social life, freak acts of nature. The fact is, life will always try to get in the way. It’s really good at it. If you want to write a book, you damn well put on your grownup panties and write a book. You make it a priority. I didn’t have time to write my first book. Or my second. Or my third or fourth or fifth. I made time. I made lots of time. I wrote in the morning and worked at night, gave up social events and fancy dinners and late night benders. When people say they’re envious of the fact I wrote so many books, I get pissed off. Because they’re assuming the clouds magically parted and I just had hours and hours to spend happily writing away. They’re ignoring the amount of work. No one tells a surgeon I’m so jealous of the fact that you’re a surgeon because we know that they put in the time and the sweat and the money they invested to get there. It’s the exact same thing for writing or any other art. If you want to be an artist, you make the sacrifice and you dedicate yourself to being an artist. There is no shortcut. Ever.

 

The first thing you write should not be your last.

I spent about six years writing my first book. I started writing it in high school and kept rewriting and revising until I’d beaten that dead horse more times than is healthy. I workshopped and queried and pitched. It never sold. Looking back, I’m grateful–because that book, time-consuming and enlightening though it was–was crap.

Your first book is your chance to experiment. This is you finding your voice and style. This is you cutting your teeth on the artform. Your first book may sell. It may not. If you’ve spent five years hammering at a story and it’s just not going anywhere, maybe you need to write a new one. Agents and editors aren’t looking for a one-hit-wonder. They’re looking for clients who want to make a career out of writing. And that career means more books in more worlds.

So, rather than hanging all your hopes on one book, why not ease the pressure? Start another book. Know that pretty much everyone in the industry had to write at least one book that never saw the light of day. Sometimes they wrote dozens.

 

Don’t give up.

Go read that last paragraph. Most authors have written a handful of books that can’t sell. That’s how they got better. They learned what worked and what didn’t, they found how to avoid cliches (or use them to their advantage). If you want to call yourself a writer, don’t throw in the towel when things don’t go your way. If you can’t wallpaper you room with rejections or aborted first drafts, you’re not putting in the time.

 

It gets easier.

I said before that constant inspiration doesn’t exist. It’s true. Some days you will wake up and you’ll stare at a page and you’ll have nothing. It doesn’t matter. Write anyway, even if it’s crap. (They made the ‘delete’ key for a reason.)

The fact is, writing is exactly like running or any other physical activity. The first few times hurt like hell. Inspiration doesn’t come. Words fail you. Then, with time and patience and dedication, your writing muscles start kicking in, the routine gets established, and suddenly writing starts happening a little more naturally. Remember: all athletes have bad days. Some days (or weeks), training just doesn’t happen. But the more you do it, the easier it gets. You dedicate yourself to pushing past it. You power through. Even ten minutes a day is better than nothing.

If you don’t use it, you lose it. Be it wordsmithing or a sexy six-pack, the truth is the same.

 

You need help.

Writing is solitary. Take it from someone who knows: some days, waking up and thinking “today I’m going to sit in front of my computer all day and then I’m going to go to bed” can be painful. Find comrades-in-arms. Write outside of your room or office. Find other writers (we’re everywhere) you can talk and drink with. Even if you aren’t chatting business, being with people who understand the conversations you have with fictional characters is good for the soul. Although not necessarily good for the liver.

 

Criticism sucks. But it will make your book less sucky

Your manuscript needs other eyes to make it it’s best. This is your baby–of course you think it’s perfect. The rest of the world, however, probably sees a poopy, slobbering mess. Find a workshop to critique your work; make sure it’s people whose advice you trust. Go to conferences. Take classes.

I did a graduate program in creative writing. The most helpful aspect was the workshop. In critiquing other people’s work, I learned how to edit as I wrote. In having my own pieces torn apart, I learned my shortfalls and strengths as a writer. This allowed me to strengthen and flaunt appropriately.

 

Do something else. For the love of sanity, do something else.

No, no, I’m not saying you should give up writing. I’m saying you should have an anchor. A hobby. It’s so easy to get lost in words or consumed in the pitching/rejection/pitching-again process. Go take a walk. Adopt a plant. Watch really weird foreign films and make fun of them the entire time.

Julia Cameron mentions in “The Artist’s Way” (which I recommend anyone reads) that ideas are like fish in a well. Every time we pick a new one out, we need to refill the well before it goes barren. We fill the well by living. Actually living. Sure, reading is important (see below) but you need to actually live a story if you want to know how to tell one.

In my opinion, at least. I mean, you’re alive. You might as well feel alive.

 

Don’t pigeonhole. You’re bigger than that.

Don’t focus entirely on one genre. Write sci-fi? Read Rumi. Write non-fic? Pick up Harry Potter. And then try emulating the style.

I know it sounds counter-intuitive. But the only way to really find your voice is to try out other voices. I owe most of my style to the literary fiction and poetry I was forced to read in my grad and undergrad programs. Each genre has a different strength that helps define it–some are language based, character based, plot based. Some focus on a linear narrative, others jump around.

Read it all. Try it all. Your voice will be a happy median somewhere in between them.

 

Take up this mantle and you’ll never be satisfied. There’s nothing wrong with that.

Being an artist is hard. It’s a long road filled with potholes and toll collectors and shitty detours. You’ll never get to the end. There is always room for improvement. There will always be critics saying you should stop doing this and pick up knitting instead.

Don’t stop pushing yourself. Don’t settle for contentment in your craft.

The best advice I ever got was this: “If what you’re writing doesn’t scare you, you shouldn’t be writing it.”

You’re not going to grow otherwise.

 

Research. Refine. Don’t jump the gun.

Research your genre. Research how to pitch. If you’ve written a book, don’t blow it with an agent because you misspelled their name on your query. Know their guidelines. And if you want a bit more info about how to approach an agent/editor, either in person or online, read my Etiquette Tips.

 

Success isn’t signing a deal. Success is a state of being.

I want to end this on something positive. But I think this is probably the biggest mindfuck of them all.

Success isn’t getting a big book deal. Because, as you’ve probably gleaned, the process of writing and improving never ends. There will be highs and lows. You’ll make and lose money. You’ll sell books and shelve others.

Success is the process. Success is waking up and writing even when it hurts. Success is the final period on the final page of your first and second and twentieth book.

Success is committing even in the face of failure.

Success is a process. It’s there every step of the way.

FAQ

Where can I grab a copy of [Insert Book Here]?

There are a lot of book stores out there, so I can’t quite keep track of them all. It’s definitely available on any Amazon site that stocks American/British run books. Your local bookstore should definitely be able to order it in. If you have any troubles finding a copy, let me know!

 

Will you sign my copy? /Can you send me a signed copy?

I would love to. However, authors only receive a small number of copies of their own book; the rest, we pay for. And rather than have you pay for shipping, I have a better idea. Bookplates! That’s right, if you’d like a signed bookplate to stick in your book or e-reader or wherever, shoot me an email (alexrkahler @ gmail. com) with your address and your favorite character. Want more than one bookplate? Send me a screencap of your donation to a charity (of your choice, for any amount) and I’ll throw in some extra lovin’.

 

I want to get published! Do you have any advice? Can you help?

Again, I would love to help you accomplish your dream. But authors have a surprisingly small amount of power in these instances. I can’t get you a contract, and I can’t read your unpublished manuscript. The road to publication is a long, often grueling endeavor, and the mark of a true writer is perseverance. It’s best to build up endurance now. Trust me: it pays off in spades.

 

Can you read my [insert Book/Query/Essay Here]

I wish I could, but I am really quite busy (especially when I say I’m lazing around, because I’m probably doing that out of fear of the mound of work I’m avoiding) and I have to focus on my own words. That, plus a few legal issues, means I really can’t read any unpublished work. If you’re looking for a blurb for a soon-to-be-published work, your people can contact my people to potentially set something up. (I like saying I have ‘people’)

Got a question? Feel free to ask in the comments below or by emailing AlexRKahler @ gmail. com

Conference Etiquette

I’ve been to a couple different conferences, both as a published and unpublished writer. I’ve sat on both sides of the pitch table and, perhaps most importantly, I’ve spent a lot of time observing and listening to the people around me. I’ve listened to agents and writers praise and bitch about what did and did not work. You want the inside scoop on how to land your dream deal? This might help.

They. Want. You.

Agents and editors don’t make money by simply existing. Their entire job is to find talented writers and sell that work and hopefully make a lot of moolah by doing so. I’m not saying you should be full of yourself when approaching them (see the next point), but remember that they are there because they’re looking for amazing work. They need you as much as you need them. So don’t be all I’m-not-worthy. You’re a writer: making shit up is your business. If you don’t feel confident enough to sit among the gods of Olympus, write yourself a new character with a little more courage.

Be yourself. Unless you’re an ass.

You can be quirky. You can wear a silly hat. You can be shy.Conferences are like speed dating. You’re not just searching for someone to rep your work: you’re looking for someone you’ll build a life-long relationship with. Personality is almost as important as talent in this industry (and all others)–if you’re an ass, no one will want to work with you, no matter how awesome your writing or credentials are.

You can query all these people online. What you want to do at a conference is test out your personalities, see if this is long-term potential. Make an impression (hopefully a good one) and treat this like you’re trying to find your new BFF. You want an agent you can talk to honestly, someone you trust as much as you admire.

Humility is good, self-deprecation not so much. Make a good first-impression. Find a friend.

Agents/Editors are people, too.

Everyone’s heard the funny story about an agent getting a manuscript slipped under the bathroom stall door. Except it’s not really that funny because it happens all the damn time. And you know what happens to that manuscript? It’s immediately thrown out (or used as TP) and all other agents are probably warned off from the author–this is a tight-knit community, after all. DO NOT BE THAT PERSON. 

Yes, industry people are there to find new clients, but they’re also catching up with old clients/friends and trying to have a good time. Read social cues. If an agent is very clearly trying to break away from a crowd of querents, don’t stand on the sidelines and pounce once they break away. Pitch when they seem open to pitches, not when their guard is down. Don’t force pages or business cards into their hands unless they request. Don’t stalk them. Don’t admit you’ve stalked them online (it can be kind of creepy and no one wants that).

Again: think dating, not bounty hunting.

Don’t drink too much.

It should be a given, but a little social lubrication goes a long way. Have fun, but remember–you’re always on display.

Do your research.

Research agents. Research genres. Do all the footwork you can before you sit down in front of an agent. You want to show that you’ve done your homework–even if you don’t know every nuance of the industry, showing that you’ve tried shows dedication. It gives you an air of confidence. Remember that these people want your work, but they want you to prove that you know (or are on the path to knowing) what you’re doing. You can find all you need to know about industry-standard word count and genre placement online, as well as what constitutes ‘good sales numbers’ for self-pubbed work. Don’t waste valuable face-time getting a schooling in a subject you should already be versed in.

Never, EVER, say you have the Next Big Thing.

Whether it’s online or in person, nothing will make an agent go from interested to annoyed faster than this statement. You don’t have the next bestseller. You have a manuscript. Period. You can be proud of it, but no one can guarantee a bestseller. No agent, no editor. Saying this shows that you have no idea how the world works.

Take rejection graciously.

Remember in kindergarten when you learned not to punch someone who made you mad? Apply this. If you’re rejected by an agent, be polite and know that they face rejections all the time, too. No agent likes saying no (seriously–I’ve seen agents get emotional when they had to reject a manuscript). They want to love what you’ve done. They want you to succeed (remember point one? They need you to succeed to pay their bills). Saying no is their least favorite part of the job. Don’t burn a bridge by throwing a fit or flinging “You’re an idiot for not recognizing my brilliance” in their face. Sometimes an agent will love your style but not your book–be in this for the long haul. I know many agents who passed on one author’s manuscript but offered on their next.

Also, remember that agents don’t control trends, they can only try to fit into them. If you’re told your manuscript would be hard or impossible to sell because the industry is inundated in that genre, don’t take it personally. This happens to established and debut authors all the time. Agents hate it as much as you (again–I’ve seen agents torn apart because they just loved a manuscript but knew they couldn’t sell it at this time). Hold on to that manuscript–trends change. But don’t wait for that to happen. Write another book with a different premise. Play with your strengths and stretch your comfort zone.

YOU WILL NOT GET AN OFFER AT A CONFERENCE.

Not what you want to hear, I know. But I’ve sat in on pitch sessions, and you would be amazed at the number of people who are told “sounds great–send me your full” from an agent, only to walk away with their tails between their legs because the agent didn’t sign them on the spot. You are not at a conference to get an offer of representation: you are there to get an agent to read your work later. The golden ticket is a request to read your manuscript. That’s it. No agent in their right mind will say “I LOVE THAT IDEA, PERSON I’VE NEVER MET BEFORE! LET ME SIGN BINDING LEGAL DOCUMENTS AT THE POOLSIDE BAR!”

Apply the dating metaphor: would you propose to someone you just met simply because their dream house is a cabin in the woods? No. You want a second date, and a third. They need to read your words, to fall in love with your manuscript–and they probably need to get others in their office to fall in love with it, too. So don’t be disappointed if an agent ‘just’ asks for a partial or full–that’s them saying they want a second date, not giving you a fake number.

This conference may make your career, but it will not break it.

You’re coming to the conference because you want to be published. You’ve spent ages writing the book and perfecting a pitch. You spent a lot of money to come here. More than anything, you want an agent or editor to fall in love with your work. You want the hard work to be over. (Don’t we all….)

That may happen at this conference. It may not. But please remember: this is only a tiny handful of agents/editors in the industry. Again, the dating metaphor: you may not meet the Mate Of Your Dreams in a room of ten strangers, but you also wouldn’t beat yourself up if that were the case. There are many more out there. So, although this could (and hopefully will) launch your career, please don’t give up if it doesn’t happen. There are many conferences and many ways to get word of your book out there.

That said, if you come to the conference and are generally a nuisance to all the Important People, you may ruin your chances with them. Being polite will win you a lot of points in this industry, trust me.

It’s not just about the Gatekeepers.

Conferences are generally regional. Conferences generally only last a weekend. And, unless you live in New York or LA, all the Big Guys will probably be thousands of miles away after the conference is over. These events can be loads of fun and inspiring as hell, but Monday will come and you’re going to go back to work (even if you do get an offer soon). So use these conferences to meet local writers, people you can depend on and drink with, people who will help you improve your craft. No matter what, conferences won’t change your daily life. Neither will being published. You’ll still do your work in your home or office, you’ll still need to sit in front of a computer for hours a day. So connect with the people in your region. Make lots of friends. Exchange cards and numbers and embarrassing stories. Create a network.

Because although conferences are great, it’s the people you meet who will help carry you through the days in between. Writers–solitary creatures though we are–need support and love and friendship. Conferences are the perfect time to find an even bigger family.

Act Two

TESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWOTESTING ONE TWO THREE ACT TWO

Final Act

Take FINAL ACT

The Immortal Circus

Cirque des Immortels, Book 1

Murdered contortionists aren’t exactly what Vivienne signed up for when she ran away to join the circus. But like most things under the big top, nothing is what it seems. With a past she can’t quite remember, Vivienne finds that running away forever might not be as appealing as it once sounded—especially not when she realizes the devilishly attractive ringleader Mab is the Faerie Queen of legend…and that she and the rest of the troupe are locked in an age-old rivalry between the otherworldly Courts.

Aided by her friends Kingston—a feisty stage magician whose magic is quickly stealing her heart—and his smart-ass assistant Melody, Vivienne finds herself racing against the clock to discover the culprit behind a series of deaths that should be impossible. However, the answer she seeks might reveal more about her own bloody past—and future—than she bargains for.

The show’s just beginning.

Step right up…

Order Book One