R.J. Hore's Blog: Fall is Here, page 7
February 9, 2018
Really Read the Back Cover!
Really Read the Back Cover!
(and maybe take a peek inside?)
Working a book table at the Horror Con this weekend reminded me of an incident last year at the Comic Con.
The aisles were crowded with a slow-moving glacier of humanity. I was on my tired feet behind the table and a pile of our books.
A woman, arms full of books I assume she purchased, came swept along by the river of con-going humanity, pause by our table and picked up one of my books, The Queen’s Pawn. She glanced at the back cover, glared at me, snarled “Another male chauvinist has to rescue the poor woman,” set it back down, and hurried off before I had a chance to say anything.
For example, if she’d turned the book over, the cover reads “The Queen’s Pawn.” In my personal definition of a pawn, I do not come across the image of someone in control of the board. Who would I think was in charge after reading that title?
The complete blurb on the back cover reads as follows:
“On his way to study for the priesthood; Harrow is mistaken for a bold and infamous duke. Instead of study, he finds himself thrust into action to rescue a beautiful queen and her spoiled daughter as they flee the city. Now a rebel army is hot on their heels and Harrow must keep his wits about him as he leads the small group of survivors to safety.”
Okay, maybe she could have gotten the wrong impression from reading that. If the reader had taken a moment to stop and engage me in conversation, I could have pointed out that, yes, the queen really was the one in charge, and my poor bumbling hero was just carried off by the events. I heaped abuse on him for 260 pages while the women in his life ran roughshod over him. Even his borrowed horse abuses him.
Some hero. He has never held a sword and wouldn’t have a clue on how to use one if he did. I had great fun writing a reverse-role setup, where several women tried to drag him into bed while he struggled to escape. I thought the set-up was amusing. The women held all the power and often laid out the best plans.
If there is a moral to this sad essay, it is this. If you have the author standing in front of you, and have the desire to chastise his choice of subject, please allow him the courtesy of being able to open his mouth in defense.
I rest my case, your honour.
(and maybe take a peek inside?)
Working a book table at the Horror Con this weekend reminded me of an incident last year at the Comic Con.
The aisles were crowded with a slow-moving glacier of humanity. I was on my tired feet behind the table and a pile of our books.
A woman, arms full of books I assume she purchased, came swept along by the river of con-going humanity, pause by our table and picked up one of my books, The Queen’s Pawn. She glanced at the back cover, glared at me, snarled “Another male chauvinist has to rescue the poor woman,” set it back down, and hurried off before I had a chance to say anything.
For example, if she’d turned the book over, the cover reads “The Queen’s Pawn.” In my personal definition of a pawn, I do not come across the image of someone in control of the board. Who would I think was in charge after reading that title?
The complete blurb on the back cover reads as follows:
“On his way to study for the priesthood; Harrow is mistaken for a bold and infamous duke. Instead of study, he finds himself thrust into action to rescue a beautiful queen and her spoiled daughter as they flee the city. Now a rebel army is hot on their heels and Harrow must keep his wits about him as he leads the small group of survivors to safety.”
Okay, maybe she could have gotten the wrong impression from reading that. If the reader had taken a moment to stop and engage me in conversation, I could have pointed out that, yes, the queen really was the one in charge, and my poor bumbling hero was just carried off by the events. I heaped abuse on him for 260 pages while the women in his life ran roughshod over him. Even his borrowed horse abuses him.
Some hero. He has never held a sword and wouldn’t have a clue on how to use one if he did. I had great fun writing a reverse-role setup, where several women tried to drag him into bed while he struggled to escape. I thought the set-up was amusing. The women held all the power and often laid out the best plans.
If there is a moral to this sad essay, it is this. If you have the author standing in front of you, and have the desire to chastise his choice of subject, please allow him the courtesy of being able to open his mouth in defense.
I rest my case, your honour.
February 5, 2018
I've Been Tardy!
I've been tardy lately about posting lately. I blame it on the fact I'm trying to finish my first serious attempt at a space opera.
Book one of this epic is sitting at my publisher.
I'm not sure how they feel about it because my usual stuff is high fantasy or my fantasy detective series.
So I had a brilliant idea. Book one calls out for a sequel(s.) I decided I'd try and do book two of the planned trilogy. Only book two decided to combine itself with book three and turned the trilogy into a duet.
I'm almost finished. My beta reader has some complaints. (Not unusual). But this time I completely agree with her so I'm working on a fix.
Going to take a break from writing this weekend. I'm appearing at a book table at the Central Canada Horror and Sci Fi Expo Feb 10th and 11th at the Winnipeg Convention Center. Drop by and say hello if you are in the neighborhood.
Book one of this epic is sitting at my publisher.
I'm not sure how they feel about it because my usual stuff is high fantasy or my fantasy detective series.
So I had a brilliant idea. Book one calls out for a sequel(s.) I decided I'd try and do book two of the planned trilogy. Only book two decided to combine itself with book three and turned the trilogy into a duet.
I'm almost finished. My beta reader has some complaints. (Not unusual). But this time I completely agree with her so I'm working on a fix.
Going to take a break from writing this weekend. I'm appearing at a book table at the Central Canada Horror and Sci Fi Expo Feb 10th and 11th at the Winnipeg Convention Center. Drop by and say hello if you are in the neighborhood.
December 21, 2017
Why I Write Fantasy and Soft Science Fiction
There is a good reason why I write soft science fiction. I wasn’t a science nerd at school. Physics was the first subject that threw me for a loop when I ran headlong into it. Up until that class, I’d always held it over my buddy Allen that I was better than him in school. Then physics grabbed me by the throat and threw me for a loss. Allen aced it.
So when I write a science fiction story, you know there are certain areas I’m going to have to fudge. I try to avoid technical explanations I might have to give, and there are potentially minefields full of them out there in the void. (Which is not really void?). I really admire writers who can get the details correct (as far as I’m concerned!) while not dragging down the story with heavy techno-babble.
I always toss out the old line that if I’m writing a story where someone is driving a car, I don’t have to explain the inner workings of a gasoline (or hybrid electric!) engine, so why do you want to know how I get my spaceship up to warp speed? But that’s not quite true, is it? I think you should try and make the story believable. Still, when you go to those big budget summer movies, it’s permissible to suspend belief and just let the adventure rip.
The reason these thoughts are rattling around inside my head is I’m working on the second volume in a projected trilogy where at least some of the story will fall into the Space Opera category. I’d like to get the little details sounding correct, even if I have to fudge the big picture. This is a bit of a struggle.
Fantasy is another matter. I’ve often told friends the reason I write fantasy is because I’m lazy and don’t have to do all the research to create historical novels. That is only partially true. I like to make up settings, build worlds, characters and plots, unrestricted by conventional countries and backgrounds. I’ve always been a fan of history, read a lot of it, but have little desire to be restricted by having to stay within the existing lines, so to speak.
I ran face-first into this with a recent trilogy. I decided to write a what-if alternate history. Great, now I can make up a lot of the details once my change in what happens in history takes place. However, I still have to stick to actual geography, and blend in what is going on in the rest of the real world. This means having to take the time to do some actual detail searching instead of plunging blindly ahead with my writing. Now I catch a glimpse of what the historical authors go through, and why, I really prefer to write fantasy. Besides, I really can get sidetracked mucking about where the research may lead me rather than sticking to the actual creating.
I’d rather let my wild imagination make things up instead of doing the research, with one caveat. You still have to write within the realms of possibility, in your imaginary world, or explain why not. Rules are made to be broken, but only knowingly.
R.J.Hore
So when I write a science fiction story, you know there are certain areas I’m going to have to fudge. I try to avoid technical explanations I might have to give, and there are potentially minefields full of them out there in the void. (Which is not really void?). I really admire writers who can get the details correct (as far as I’m concerned!) while not dragging down the story with heavy techno-babble.
I always toss out the old line that if I’m writing a story where someone is driving a car, I don’t have to explain the inner workings of a gasoline (or hybrid electric!) engine, so why do you want to know how I get my spaceship up to warp speed? But that’s not quite true, is it? I think you should try and make the story believable. Still, when you go to those big budget summer movies, it’s permissible to suspend belief and just let the adventure rip.
The reason these thoughts are rattling around inside my head is I’m working on the second volume in a projected trilogy where at least some of the story will fall into the Space Opera category. I’d like to get the little details sounding correct, even if I have to fudge the big picture. This is a bit of a struggle.
Fantasy is another matter. I’ve often told friends the reason I write fantasy is because I’m lazy and don’t have to do all the research to create historical novels. That is only partially true. I like to make up settings, build worlds, characters and plots, unrestricted by conventional countries and backgrounds. I’ve always been a fan of history, read a lot of it, but have little desire to be restricted by having to stay within the existing lines, so to speak.
I ran face-first into this with a recent trilogy. I decided to write a what-if alternate history. Great, now I can make up a lot of the details once my change in what happens in history takes place. However, I still have to stick to actual geography, and blend in what is going on in the rest of the real world. This means having to take the time to do some actual detail searching instead of plunging blindly ahead with my writing. Now I catch a glimpse of what the historical authors go through, and why, I really prefer to write fantasy. Besides, I really can get sidetracked mucking about where the research may lead me rather than sticking to the actual creating.
I’d rather let my wild imagination make things up instead of doing the research, with one caveat. You still have to write within the realms of possibility, in your imaginary world, or explain why not. Rules are made to be broken, but only knowingly.
R.J.Hore
November 30, 2017
An Author's Brain on Overload
I’ve heard several comments about some authors who sit staring blankly at the keyboard wondering what to do next. I don’t think that problem applies to me.
I’m currently waiting to hear from my publisher about two pieces they may pick up. If so, long stretches of editing awaits. Meanwhile, I’m waiting on another publisher to launch the third book in a trilogy that was supposed to come out in July 2017. I should be busy promoting it.
While all this is going on, I have been burning up the keyboard. I’ve started two new projects although I’m trying to finish one before I go back to the other, a sequel to a novel sitting in submissions. I’m whipping through the draft of a tenth novella in the Housetrap Chronicles fantasy detective series. You have to strike while the idea is hot. This one can’t miss, the author optimistically thinks.
But while all this is going on, I’m being flooded with new ideas. I’m scribbling down notes on a final to a trilogy where the first volume hasn’t even been officially accepted yet. Worse, I’m doing outlines of two more tales in the Housetrap Chronicles series. I think I’ve got projects lined up until at least 2019.
I guess this is what happens when you sell the sailboat and are informed about how much work there is to be done in the garden. Good thing the snow is already here. Now, if I could only get the cat to adjust to standard time. I really don’t need to get up that early to keep my writing on some kind of schedule.
R.J.Hore
www.ronaldhore.com
www.facebook.com/RonaldJHore
I’m currently waiting to hear from my publisher about two pieces they may pick up. If so, long stretches of editing awaits. Meanwhile, I’m waiting on another publisher to launch the third book in a trilogy that was supposed to come out in July 2017. I should be busy promoting it.
While all this is going on, I have been burning up the keyboard. I’ve started two new projects although I’m trying to finish one before I go back to the other, a sequel to a novel sitting in submissions. I’m whipping through the draft of a tenth novella in the Housetrap Chronicles fantasy detective series. You have to strike while the idea is hot. This one can’t miss, the author optimistically thinks.
But while all this is going on, I’m being flooded with new ideas. I’m scribbling down notes on a final to a trilogy where the first volume hasn’t even been officially accepted yet. Worse, I’m doing outlines of two more tales in the Housetrap Chronicles series. I think I’ve got projects lined up until at least 2019.
I guess this is what happens when you sell the sailboat and are informed about how much work there is to be done in the garden. Good thing the snow is already here. Now, if I could only get the cat to adjust to standard time. I really don’t need to get up that early to keep my writing on some kind of schedule.
R.J.Hore
www.ronaldhore.com
www.facebook.com/RonaldJHore
October 18, 2017
How Do You Feel When a Writer Changes Style or Genre?
The question I’m wrestling with here is how does the reader feel when a writer whose work you have read doesn’t stick to always writing in the same style or genre?
I recently had a discussion with a publisher who was hesitant about one of my new manuscripts because it was slightly darker than others I’d written in the same series.
At least two writers who I have met have a second pen name to cover off this situation. One is a male writer who writes novels, some of which he felt would be more acceptable if he used a woman’s name, the other is a woman who writes both thrillers and romances. She also uses two pen names.
So far I’ve simply published anything I’ve written under my own name.
I can answer the question of why I write in different genres or styles simply. I would probably become bored very quickly if I had to stick to one standard format. Even within genres I can vary. Take High Fantasy. The Dark Lady series is much/slightly “darker” than The Queen’s Pawn series. In one I’m trying to tell a serious story; in the other I’m having fun abusing the hero.
In Alex in Wanderland I drift away from a straightforward medieval High Fantasy, in We’re Not In Kansas I head off into a thriller/ science fiction tale. The Toltec series is a What If alternate history. Some of my tales include romance, some not.
The stories I come up with in the Housetrap Chronicles have few rules. One may include a trip into outer space after a missing McGuffin; the next may be a haunted house murder mystery. Some are almost serious, others much less so.
The point I’m trying to belabor is, as a writer I enjoy experimenting in different styles and crossing genres. Hopefully that doesn’t mean I’m losing readers because they don’t wish to follow me, or have them give up on me because I write something different once in a while.
R.J.Hore
I recently had a discussion with a publisher who was hesitant about one of my new manuscripts because it was slightly darker than others I’d written in the same series.
At least two writers who I have met have a second pen name to cover off this situation. One is a male writer who writes novels, some of which he felt would be more acceptable if he used a woman’s name, the other is a woman who writes both thrillers and romances. She also uses two pen names.
So far I’ve simply published anything I’ve written under my own name.
I can answer the question of why I write in different genres or styles simply. I would probably become bored very quickly if I had to stick to one standard format. Even within genres I can vary. Take High Fantasy. The Dark Lady series is much/slightly “darker” than The Queen’s Pawn series. In one I’m trying to tell a serious story; in the other I’m having fun abusing the hero.
In Alex in Wanderland I drift away from a straightforward medieval High Fantasy, in We’re Not In Kansas I head off into a thriller/ science fiction tale. The Toltec series is a What If alternate history. Some of my tales include romance, some not.
The stories I come up with in the Housetrap Chronicles have few rules. One may include a trip into outer space after a missing McGuffin; the next may be a haunted house murder mystery. Some are almost serious, others much less so.
The point I’m trying to belabor is, as a writer I enjoy experimenting in different styles and crossing genres. Hopefully that doesn’t mean I’m losing readers because they don’t wish to follow me, or have them give up on me because I write something different once in a while.
R.J.Hore
October 7, 2017
The Problem With Writing (or Reading?) a Series?
I had an interesting conversation recently that arose out of a reading I did at our writer’s workshop. I was trying on the opening chapter of my latest effort in the Housetrap Chronicles series. They come out first as ebooks, and the publisher will bundle them in groups of three tales to bring out a trade paper version. I have eight of these novellas currently published. I’ve been wrestling with coming up with a Housetrap number nine so I can bug the publisher about bringing out a third collection.
One of the newer members of the group asked during his critique if I was reading from the beginning or the middle of the story. (He missed my opening remarks?) He wanted more description of the location and the characters and raised several valid points. But this brings up an interesting question and an author’s dilemma. Over the course of the nine Housetrap Chronicles novellas I’ve settled into a pattern that tries to lead the reader into the story with just enough information so they know what is going on. In eight out of nine stories I open in the detective’s office, usually with him and his secretary bickering, and then trouble walks through the front door.
I don’t want to bore the regular reader with a repeat of everything that has gone on before, yet I wish to give the individual who starts somewhere in the middle of the series, be it number six or number nine, enough information so they can follow the tale without the need for a repetitive information dump.
I realize people may read these fantasy tales in no particular order. I often re-introduce characters from a previous story, but when I do I try to give enough info so the reader doesn’t become totally lost. If I succeed, each tale stands on its own.
I guess the burning question is how much information does a reader require to make them comfortable when they dive into a new series, when not necessarily reading them in the order they were first written and published?
R.J.Hore
One of the newer members of the group asked during his critique if I was reading from the beginning or the middle of the story. (He missed my opening remarks?) He wanted more description of the location and the characters and raised several valid points. But this brings up an interesting question and an author’s dilemma. Over the course of the nine Housetrap Chronicles novellas I’ve settled into a pattern that tries to lead the reader into the story with just enough information so they know what is going on. In eight out of nine stories I open in the detective’s office, usually with him and his secretary bickering, and then trouble walks through the front door.
I don’t want to bore the regular reader with a repeat of everything that has gone on before, yet I wish to give the individual who starts somewhere in the middle of the series, be it number six or number nine, enough information so they can follow the tale without the need for a repetitive information dump.
I realize people may read these fantasy tales in no particular order. I often re-introduce characters from a previous story, but when I do I try to give enough info so the reader doesn’t become totally lost. If I succeed, each tale stands on its own.
I guess the burning question is how much information does a reader require to make them comfortable when they dive into a new series, when not necessarily reading them in the order they were first written and published?
R.J.Hore
September 26, 2017
How Do You Choose a Book?
Much has been made about the importance of the very first sentence in a novel. Some experts grumble if you don’t have that gripping, magic first sentence, no one will want to bother reading your manuscript or book.
I don’t know if I have ever purchased a book, or chosen one at a library, based on the first sentence. An interesting review might catch my initial attention and send me on a search. The cover might lure me in but more often I pick up a book based on a favorite author, or a subject that interests me. Next, I look at the back cover to get an idea of the content. After that, maybe a peek at the inside flap of the front cover. That is about it for me.
I took a look at the first sentences I used is some of my published novels and novellas to see how they fared.
“They say she is the Devil’s spawn, born in a cloud of brimstone and sulfur on a night when the peaks echoed with thunder and the castle walls trembled.”
“They are through the city gates!”
“How can I ever trust you again?”
“I stare out through a crimson haze.”
“I don’t like Elves, never have.”
“Alexis came through the door like an unguided missile at the end of its orbit.”
"Macy rose to her feet, leaned over, and poured the entire ruby contents of her wine glass neatly over the crotch of his light gray slacks."
"Hidden behind the wooden shutters, Fergus waited by the window and stared into the crowded, narrow street below."
Okay, so I admit that I sometimes like to throw a bit of drama into the opening. I’m just not certain it’s the only critical key to landing a purchase.
The other no-no some experts have been known to throw out is, “Never open with the weather!” Why not, if it is relevant? I probably would if I thought it was suitable, or just to be difficult.
While I tend to think the world does not always turn on the opening sentence, the sooner you introduce the main characters, and the plot, the better. When I used to run the judging in an annual literary contest where they often had to read and rank around forty books in a very few months, I instructed them they only had to read the first three chapters. That was enough to indicate whether or not it was a possible winner. My personal opinion is that the reader should be grabbed and well on their way after the first chapter.
How do you choose a book? Where do you look to see if it is worth picking up?
R.J.Hore
I don’t know if I have ever purchased a book, or chosen one at a library, based on the first sentence. An interesting review might catch my initial attention and send me on a search. The cover might lure me in but more often I pick up a book based on a favorite author, or a subject that interests me. Next, I look at the back cover to get an idea of the content. After that, maybe a peek at the inside flap of the front cover. That is about it for me.
I took a look at the first sentences I used is some of my published novels and novellas to see how they fared.
“They say she is the Devil’s spawn, born in a cloud of brimstone and sulfur on a night when the peaks echoed with thunder and the castle walls trembled.”
“They are through the city gates!”
“How can I ever trust you again?”
“I stare out through a crimson haze.”
“I don’t like Elves, never have.”
“Alexis came through the door like an unguided missile at the end of its orbit.”
"Macy rose to her feet, leaned over, and poured the entire ruby contents of her wine glass neatly over the crotch of his light gray slacks."
"Hidden behind the wooden shutters, Fergus waited by the window and stared into the crowded, narrow street below."
Okay, so I admit that I sometimes like to throw a bit of drama into the opening. I’m just not certain it’s the only critical key to landing a purchase.
The other no-no some experts have been known to throw out is, “Never open with the weather!” Why not, if it is relevant? I probably would if I thought it was suitable, or just to be difficult.
While I tend to think the world does not always turn on the opening sentence, the sooner you introduce the main characters, and the plot, the better. When I used to run the judging in an annual literary contest where they often had to read and rank around forty books in a very few months, I instructed them they only had to read the first three chapters. That was enough to indicate whether or not it was a possible winner. My personal opinion is that the reader should be grabbed and well on their way after the first chapter.
How do you choose a book? Where do you look to see if it is worth picking up?
R.J.Hore
September 13, 2017
Comic Con
Along with two other local authors I'm going to be at Comic Con in Winnipeg October 27th, 28th and 29th under the Burst Book Banner selling print copies of my books.
I'll also be handing out information on where to find my books on-line for those of you who prefer the ebook format.
Even if you don't want to buy, feel free to drop by our table to just say hello or talk about writing.
Always happy to chat with newbies and old pros in the writing game!
Ron
I'll also be handing out information on where to find my books on-line for those of you who prefer the ebook format.
Even if you don't want to buy, feel free to drop by our table to just say hello or talk about writing.
Always happy to chat with newbies and old pros in the writing game!
Ron
August 25, 2017
Magic Has Its Uses
I don’t introduce a lot of magic in my high fantasy trilogies like The Dark Lady or The Queen’s Pawn. Too much of the stuff is cheating and gets the author out of deep plot holes far too easily. If you do use magic, don’t surprise the audience by pulling a rabbit out of a hat to save yourself, if you haven’t given hints about rabbits and hats earlier on.
In the Dark Lady books I have magicians/wizards but they are used sparingly. Fireballs and lightning bolts are about the main extent. In the Queen’s Pawn novels I introduced a more powerful wizard so the tales involve a bit more trickery, but nothing that dominates the plot. In the later QP books I sink a bit more into the “other” side.
Where I go quite mad in the use of magic, and magic characters, is in the Housetrap Chronicles. These tales are full of magical creatures such as: elves, demons, vampires, witches and warlocks, as well as the occasional god or demi-god. In these fantasy detective stories I give my imagination free rein. After all, if you have both dirigibles and spaceships, it never hurts to throw in the odd unicorn too.
Next, it’s time to take a break from blogging and get back to some actual serious writing. A few things are on the go: I’m polishing off the start of a possible space opera series, giving some thought to a new Housetrap tale, and thinking about whether I want to do any more on the Toltec epic.
Oh good grief, winter is coming, and so is the local Comic Con
In the Dark Lady books I have magicians/wizards but they are used sparingly. Fireballs and lightning bolts are about the main extent. In the Queen’s Pawn novels I introduced a more powerful wizard so the tales involve a bit more trickery, but nothing that dominates the plot. In the later QP books I sink a bit more into the “other” side.
Where I go quite mad in the use of magic, and magic characters, is in the Housetrap Chronicles. These tales are full of magical creatures such as: elves, demons, vampires, witches and warlocks, as well as the occasional god or demi-god. In these fantasy detective stories I give my imagination free rein. After all, if you have both dirigibles and spaceships, it never hurts to throw in the odd unicorn too.
Next, it’s time to take a break from blogging and get back to some actual serious writing. A few things are on the go: I’m polishing off the start of a possible space opera series, giving some thought to a new Housetrap tale, and thinking about whether I want to do any more on the Toltec epic.
Oh good grief, winter is coming, and so is the local Comic Con
August 23, 2017
World Building - The Toltec Series
This trilogy involved a different type of world-building for me. I was using invented incidents located in the real world. I set the first volume in 1215AD. Of course, my What-If events made quite a difference, but at least I had the basics already in front of me, the geography, the peoples, and the countries so far unaffected by what was going on.
But to make my wild ideas work, I had to make some other changes. I couldn’t simply have a Toltec war canoe show up on the coast of Ireland. I had to make other circumstances fall into place to make their conquest seem somewhat realistic. This is a pure fantasy tale, but even fantasy should have some realistic background. (Well, most of them, anyway.)
Of course, the further I get into the narrative, the less I can rely on actual historical events, because I changed everything. I still make use of some real characters, and a few I borrow or make up.
I probably did more research and world building setting up for this novel than any other I’ve done so far. I even spent some time looking at North America and coming up with notes on what happened in other parts of the continent where my story may never actually take me. If I keep this up I could turn into a plotter.
Oh good grief.
Next time, a look at how much I rely on the use or abuse of magic in my tales.
But to make my wild ideas work, I had to make some other changes. I couldn’t simply have a Toltec war canoe show up on the coast of Ireland. I had to make other circumstances fall into place to make their conquest seem somewhat realistic. This is a pure fantasy tale, but even fantasy should have some realistic background. (Well, most of them, anyway.)
Of course, the further I get into the narrative, the less I can rely on actual historical events, because I changed everything. I still make use of some real characters, and a few I borrow or make up.
I probably did more research and world building setting up for this novel than any other I’ve done so far. I even spent some time looking at North America and coming up with notes on what happened in other parts of the continent where my story may never actually take me. If I keep this up I could turn into a plotter.
Oh good grief.
Next time, a look at how much I rely on the use or abuse of magic in my tales.
