Cover Reveal: A BEAUTY SO BEASTLY by RaShelle Workman

Dude, today I have the coolest cat around here on the blog: RaShelle Workman. If you haven't heard of her, I'd be surprised. She's got a tons of novels out, and she's an Internationally bestselling author.

Her next book is called A BEAUTY SO BEASTLY and today we get to reveal the cover!!

About A BEAUTY SO BEASTLY: “For your vanity, your cruelty, and your cold unfeeling heart, a curse I leave upon you . . .”

What happens if the beauty is also the beast?

The stunning Beatrice Cavanaugh is considered American royalty. She has everything except the ability to love. Cursed on her eighteenth birthday, she becomes more beastly than ever, having a newfound craving for raw meat, and an undeniable yearning for the night. Bitterness is her only companion.

After accusing a maid of stealing, a disgustingly kind and exquisitely handsome guy named Adam shows up asking Beatrice to drop the charges against his mother.

Infuriated by his goodness, Beatrice vows to break him. Destroy him. Make him hurt the way she hurts. So she agrees. On one condition: Adam must take his mother’s place as a servant in the mansion.

Because Beatrice won’t stop until he’s more beastly than she is.

Genre: Fractured Fairy Tale
Book 1 in the Beastly Series
Release date: July 3, 2014

And now for the cover!!

Isn't it gorgeous?! I think it's absolutely stunning, and I can't wait to read it! Find it on Goodreads, and preorder on Amazon.

Special Note: A BEAUTY SO BEASLTY will be available for 99 cents until its release date on July 3rd! Then it'll go up to $2.99. So pre-order now!

About RaShelle: RaShelle Workman is an international bestselling author. She writes fractured fairytales with bite and young adult science fiction that's out of this world. RaShelle likes cherry pie, movies, family adventures, and chocolate. If you want to get on her good side, send chocolate. RaShelle's sold more than 500,000 copies of her books worldwide. Sleeping Roses, Exiled, Beguiled, and Dovetailed have foreign rights contracts with a Turkish publisher.

Her books include:

Sleeping Roses

Exiled
Beguiled
Dovetailed
Blood and Snow (1-12)

The Cindy Chronicles

Vampire Lies (Blood and Snow Season 2)

Short stories:

Rose, Undercover

Cindy Witch

The Hunter's Tale

Gabriel
After the Kiss
Zaren's Travels

Find RaShelle on twitter, Facebook, her blog, or Pinterest.

AND she's giving away $25 Paypal cash to help spread the word about the cover for A BEAUTY SO BEASTLY!! Be sure to follow all the participating bloggers, tweet out the messages, and follow RaShelle over the weekend. The contest ends at midnight Monday! Enter in the widget below.

a Rafflecopter giveaway


What do you think of the cover?

How to Establish a Great Magic System, Part Seven

Okay, I'm back to talk about the next question to ask yourself when setting up your magic system.

Question 7: What are the limitations of the magic?

The limitations of a magic system are what sets it apart from everything else that has already been done. These limitations will force the characters to have to work for their goals, which makes the writing simply more interesting and the characters more sympathetic.

Limitations in magic give the enemy an advantage, which makes for more tension in your novel. And that makes it exciting!

This is where you can really shine. Force yourself to stretch your imagination and come up with something that is unique in it’s limitation. This is tied closely with cost, and the cost of using magic could lead to a limitation. So spend some time on both of these to truly work out what’s WEAK about your magic, and what’s WEAK about your character, and then have them work and strive to overcome those weaknesses. Because that’s what readers like to read about – regular people who are weak becoming heroes. It’s why Superman is so popular. Or Spiderman. Joe Bloggs who can’t get the girl can suddenly leap off tall buildings and save the world. We want to BE that hero. But not if he’s all-powerful. We want to see in ourselves that we could become that person. So the magic still has to have a limitation, a weakness, that makes it “human.”

When you establish limitations on your magic, it can:

• Force the MC to work for their goals
• Makes the MC more sympathetic
• Increase tension
• Tie to the nature of your world

So what limitations does your magic have?

I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one). My magic series is here: Question 1, Question 2, Question 3, Question 4, Question 5, and Question 6.

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

How I Lost 50 Pounds

Okay, so this post has absolutely nothing to do with writing. I mean, not really. But my tagline for the blog is "Navigating the publishing world with splashes of real life," so I figured I'm covered to talk about real life too. Right? Right. Okay.

So if you're friends with me on Facebook, you may have seen me post this week that I've finally broken through the lost-50-pounds ceiling. And I have! I'm super-stoked about, and it is so motivating to see the numbers coming down on the scale.

But a lot of people are asking, "How?" or "What's the secret?"

I wrote a post on losing a while back, but I thought I'd expound a little bit.

First of all, there is no secret. I'm not taking a pill, or following a diet, or ordering foods from a company. I meal plan, buy all my own groceries, make all my own meals, every day, day in and day out. (Yes, I am tired just writing that. Ha!)

Basically, I subscribe to this principle: Eat less, move more.

That's really general to what I do. I am eating less, but not only that, I know exactly how much I'm eating. Down to every last calorie. I count calories. For a couple of months there, I was guesstimating, and I wasn't losing weight. So I went back to strict calorie counting, where I write down everything I eat.

This is not has hard as you might think. I email it to myself. In general, I eat 200 calories for breakfast, 300 for lunch, 100 for an afternoon snack, and 500 for dinner. That's 1100 calories/day. No more.

I do move more, but it's more specific than that. I do weight training twice a week, for 20 minutes. It's not hard to fit into my morning pre-work routine, and I listen to something uplifting while I do it. I go to the gym for carido 5 days a week (if my schedule allows, but never less than 3 days. I'm not that busy! It's usually 5 days/week) and I work out for 45 minutes.

I walk on the treadmill (with an incline) because running is only what happens when dogs are chasing me. If I'm bored of the treadmill, I get on the elliptical. I think I'm going to add a water aerobics class this summer for even more variety.

And that's what I do.

I personally think the key is in what you eat. I could probably reduce the exercise and still lose weight. But for me, the exercise MOTIVATES the good eating.

I'm not really sure what "Paleo" or "clean eating" are, but I think that's what I'm doing. I eat low-fat proteins, fruits, vegetables, eggs, and cheese. I eat very, very few carbs (bread, rice, muffins, cereals, granola, etc.). The only sugars I take in are from fruits.

Is it hard? Absolutely. Sometimes I just can't take it anymore, or I really need a treat. I have a stash for these days, and I am disciplined in how I eat them. (This means I eat the chocolate caramel covered pretzels, but I count the calories.) Sometimes I drop off the program for a week or more. And that's okay. I'm not on a diet. I'm living my life.

See, I'm an emotional eater. Eating makes me happy when I'm sad, distressed, stressed, overworked, mad, happy, joyful, celebratory, etc. No matter the mood--even if it's good!--eating makes it better. I have a little bit of an anxiety problem, and eating has always soothed that. Eating for family celebrations is awesome.

I'd like to eat everything, everyday, forever. The problem is, I weighed a lot. I could still do everything I wanted to do, but my quality of life was suffering. I didn't do some things because I was too tired, or didn't feel good about myself doing them.

One of the best posts I've ever read about losing weight went up by a friend of mine, Tristi Pinkston, a few weeks ago. Pretty much everything she says, I could ditto. I felt her post deeply, because it could be mine.

In the end, if you want to lose weight, you have to be doing it for yourself, for your own increased quality of life, for your own better health. You have to be dedicated to it, because it takes time away from writing, from work, from family, from friends, from everything. I do it, because I think my health and myself are worth the time away.

Maybe I didn't think I was before, or maybe I was just being lazy. I remember a time at critique group when we were talking about losing weight, and I remember thinking, If I wanted to lose weight, I could--and would. I don't need to. I'm fine the way I am.

I was lying to myself. I didn't know it then, but looking back, I can see that I wasn't being truthful with myself, rationalizing away the fact that I wasn't healthy or happy.

I don't know if I'm a ton happier now, because well, eating makes me the happiest. Ha! But I'm definitely healthier and I enjoy my life more, so that has to count for something.

And there you have it! How I've lost over 50 pounds. I hope to keep going, maybe lose another 25-30 pounds.

Have a great Memorial Day weekend!

How to Establish a Great Magic System, Part Six

Okay, so up today is part six in establishing your magic system. I hope you've been keeping up, but if you haven't, the links to all the past questions are at the bottom of the page.

Question 6: What is the cost of using magic?

• Magic use should have a price

This can be a physical cost, like getting a headache or being weak. It can be something that has to be made up in nature later. Perhaps magic acts cannot be performed close together, or simultaneously. This is where you can make your fantasy and your magic system DIFFERENT. You should always be looking for a new slant to put on your magic, and the cost of using or being associated with the magic is a great place to do it.

• The cost can establish character weaknesses

This is where you can establish weaknesses in the magic and provide something the enemy can exploit later. This will force them to grow and change BEYOND the magic (the magic can’t save them, they have to save themselves), and give you good conflict when you’re building your world and characters.

• Simply associating with magic can have a consequence

This is not to simply be more complex. It’s to force you to create better stories. You can do so here, with the cost of the magic. You set a limitation, and you stick to it. Don’t let yourself give your MC (magic user) a new power every time they need one. Resist using magic to solve every little problem in the book – unless you’ve already explained and shown that aspect of how the magic works. Be careful about writing laws into your system simply so you can use them once in a specific situation. Be more creative than that!

So what is the price of using magic in your world?


I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one). My magic series is here: Question 1, Question 2, Question 3, Question 4, and Question 5.

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

How to Establish a Great Magic System, Part Five

Oh my heck, you guys, I am so far behind on my list of things to do! I feel like I've abandoned you a little bit here on the blog. Because I have.

But the end of April found me planning an Eagle court of honor for my son, and then finishing up all the prep to teach at a major Utah writer's conference, at which I was also the Faculty Coordinator. It was busy to say the least. And then May hit, and for teachers, this is a very busy month.

So I'm sorry! But I am back today with Part Five of how to establish a great magic system.

Today's question is: How Are Magic Acts Performed?

• chants, spells, songs = SPOKEN
• wands, hand movements = PHYSICALLY
• MENTALLY
• combination of the above

We see examples of all of these in Harry Potter. Harry and his friends first learn the words they need to cast spells. These have to be spoken clearly or you could end up in the wrong alley.

Some spells have specific wand movements – a physical skill that must be performed correctly. But later on, we see that spells can be cast without words, suggesting that as a magic user progresses, they can simply use a wand and their mental capability to cast spells and perform magic. Some of these are done all together, some separately, but they can all achieve magic.

So what do the characters in your book need to do in order to perform their magic? Does it require another person, a specific tool, a list of memorized lyrics, etc. to get the spell accomplished?

I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one).

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

ROCK 'N' ROLL PRINCESSES WEAR BLACK by Kelly Polark

Okay, so I'm here today with my good friend and long-time blogger, Kelly Pollark! Her debut middle grade novel, ROCK 'N' ROLL PRINCESSES WEAR BLACK, just came out! I hope you'll all get a copy to support her!

About ROCK 'N' ROLL PRINCESSES WEAR BLACK: Music class and recess totally rock, but being teased in school and ignored at home totally stinks. Stefani Lucas is a rockin’ sixth grader who loves music and dresses like a mini hipster in all black, but there's one thing cramping her style - her lame baby brother who manages to hog all the attention from her parents.

When classmates tease her about her clothes and even double dare her to (gasp!) wear another color, Stef decides a minor makeover may be in order. Can Stef change for others and still stay true to herself?

BUY:

Amazon | B&N | Kobo

About Kelly: Kelly Polark is a married mom of three and educator/author from the great Midwest. ROCK 'N' ROLL PRINCESSES WEAR BLACK is Kelly's debut middle grade novel. She is also the author of the ABC picture book, ROCKABET: CLASSIC EDITION and two Meegenius books: BIG SISTER, BABY BROTHER and HOLD THE MUSTARD! In her free time, Kelly loves to hang with her fam, read books for all ages, and sing along at rock concerts.

FIND HER, STALK HER:

Twitter | Facebook | Blog | Pinterest | Goodreads

I hope you'll get a copy of ROCK 'N' ROLL PRINCESSES WEAR BLACK!!

ELEVATED on sale!

Dude, so it's the last Thursday of April, which means that National Poetry Month is coming to a close. So I thought it would be fun and appropriate to put my verse novel on sale. So from now until the end of April, ELEVATED is on sale for only 99 cents!

I hope you'll consider getting a copy if you haven't yet, and helping to spread the word to anyone who likes YA romance.

About ELEVATED: The last person seventeen-year-old Eleanor Livingston wants to see on the elevator—let alone get stuck with—is her ex-boyfriend Travis, the guy she's been avoiding for five months.

Plagued with the belief that when she speaks the truth, bad things happen, Elly hasn’t told Trav anything. Not why she broke up with him and cut off all contact. Not what happened the day her father returned from his deployment to Afghanistan. And certainly not that she misses him and still thinks about him everyday.

But with nowhere to hide and Travis so close it hurts, Elly’s worried she won’t be able to contain her secrets for long. She’s terrified of finally revealing the truth, because she can’t bear to watch a tragedy befall the boy she still loves.

Buy on Amazon | Barnes & Noble | iTunes | Kobo

How to Establish a Great Magic System, Part Four

Okay, onto Part Four today! We're flying through these! I hope that you've found them somewhat useful as you consider writing a fantasy or science fiction novel. (See Part One, Part Two, and/or Part Three.)

Onward and upward to Question 4: How Is Magic Viewed?

• By society
• By other magic users
• By the MC
• Not only magic, but how are magic users viewed? By the public? Each other?

This is where you establish how the magic is viewed in society. Is it generally accepted? Unaccepted? Laws against using magic, or being a magician? How does the MC view magic and magic users? If s/he is a magic user, how do they feel about their society’s limitations or opinions on magic? How is the magic viewed among magic users? Is that different from society?

How are magic users viewed? Feared? Respected? Abhorred? All this should be established as you’re building your magic system. A lot of this can go toward limiting your magic users and your main character as well. So don’t skip over this step.


I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one).

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

How To Establish a Great Magic System, Part Three

Okay, so I'm back again, now onto the third question you might consider as you build and establish a magic system. (You can see Part One and Part Two here.) I think it's important to consider all aspects of the system, but if that freaks you out before writing, never fear! I answer some of the questions before writing, some as I'm going, and some after I'm done. So if you're not an outliner, you can still use the questions you need, in the order YOU need them.

Question 3: What is the Purpose of the Magic?

• Contributes to character motivation?
• Main element or mysterious?
• Plot-based?
• Serves the story?

Maybe this should be question 1, but you need to know the purpose of your magic system. Is it the main element of your book, or something more mysterious, happening behind the scenes? How much does it affect your main character, what they do, their motivations?

The purpose of the magic should be to serve your story. If it’s just some “cool” element and has no real place in the plot, you’ll have a well, not a very good book. The purpose of the magic must be convincing and cohesive to both character development and plot, or it’s just lame. So make the magic integral to both character and plot.

I think any time you can make the elements of world, setting, character, and plot cross -- meaning one impacts the other in a meaningful and uncontrived way -- your novel will feel like it was done deliberately, and readers always want to feel like the author is in control of what's unfolding on the page.

So examining the purpose of the magic can help you develop character motivation, character flaws, character strengths, and determine character growth. The purpose of the magic can (and should!) advance the plot. The purpose of the magic can be tied up in the world/setting. Everything can be intertwined so that when things start going bad, everything starts going bad -- which allows your main character to develop into a hero.



I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one).

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

THE SOUND OF LETTING GO by Stasia Ward Kehoe

Okay, so it's Thursday, and I've been spotlighting an amazing verse novel every week this month for National Poetry Month.

Today's title is THE SOUND OF LETTING GO by Stasia Ward Kehoe. This is Stasia's second verse novel, and the first, AUDITION, is just as compelling and beautiful.

I sort of stumbled onto Stasia's work through a group I used to be involved with, The Bookanistas. We formed several years ago as a support system, and one of the things we did was mail around ARCs for review. Sometimes they were just ARCs we got from publishers, but sometimes they were our own ARCs.

That's how I came upon AUDITION. I read it early in my genre exploration of verse novels, and I loved it. Since then, I've left The Bookanistas, but I didn't forget about Stasia's writing. So when THE SOUND OF LETTING GO came out earlier this year, I couldn't wait to read it.

About THE SOUND OF LETTING GO: For sixteen years, Daisy has been good. A good daughter, helping out with her autistic younger brother uncomplainingly. A good friend, even when her best friend makes her feel like a third wheel. When her parents announce they’re sending her brother to an institution—without consulting her—Daisy’s furious, and decides the best way to be a good sister is to start being bad. She quits jazz band and orchestra, slacks in school, and falls for bad-boy Dave.

But one person won’t let Daisy forget who she used to be: Irish exchange student and brilliant musician Cal. Does she want the bad boy or the prodigy? Should she side with her parents or protect her brother? How do you know when to hold on and when—and how—to let go?

I even blurbed the book. Here's what I said: “Achingly beautiful, The Sound of Letting Go takes readers down a dangerous path while touching the heart and encouraging hope.”

And that's how I feel about it. It is achingly beautiful. It is about hope, about Daisy learning how to stand up for what she believes while still being a sister and a daughter. I loved the struggles she goes through, because they felt real -- and they're struggles that don't stop just because we become adults. So the book felt real to me, even outside of being a YA novel. It felt true to life, true to having to make hard decisions in many different areas of life.

But it was also hopeful. I don't need a perfect ending. I just want to feel like the main character will find their way, whether I see it on the page or not. Because I want to feel hopeful about my own life. I don't know what's going to happen yet, but I want to believe that I can figure it out -- just like Daisy does. And THE SOUND OF LETTING GO does that.

What have you read that has provided you with hope?

How To Establish a Great Magic System, Part Two

So we started exploring how to establish a great magic system earlier this week. (Click here to see it.) I said there why and how I started exploring this topic, as well as citing the Internet resources I used. I won't bore you with those again, but I am going to link the resources again at the end of the post.

But for today, let's dive right into question 2.

Question 2: Where Does the Magic Come From?

• what powers it?
• where does the energy come from?
• do the characters, the setting, or the world contribute to the magic?

I think the best way to form a cohesive book is to tie elements together. They don't operate independently of one another. The magic in your novel should facilitate the character development and plot. The plot should facilitate character development and world-building. The character development should facilitate the magic system and the setting. If you can tie them all together, the individual elements won't feel tacked on or extraneous. Your book will feel well-thought out and cohesive.

So as you're planning and developing your magic system, use it to tie your world elements, your setting, your plot, and your characters all together. One way to do that is here, in Question 2: Where Does the Magic Come From?

The source of the magic, or what’s powering it, can provide conflict if you want it to. Conflict for the plot. Conflict for the main character, either externally or internally. Look for things that have good ties to the nature of your world. The elements, the characters, the setting. How can these contribute to where the magic stems from? Look for things that tie the magic to other setting elements and which make life hard for the practitioners--especially the main character (if they're a magic user).

So now we've examined who can use the magic, and what's powering the magic. Stay tuned for part three, coming next Monday!


I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one).

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

How To Establish a Great Magic System, Part One

Okay, so a while ago, I was asked to speak at a teen writer's camp at BYU. I love talking to teen writers, so I said yes. A few months pass, and finally I have to give a topic I'm going to teach about. Well, it's a science fiction and fantasy camp, so I decided to go with "How to Establish a Killer Magic System" -- something I'd been studying and learning about myself.

See, I've written a futuristic fantasy that I'm going to self-publish this summer, and I've got a contemporary fantasy I'm hoping my agent can sell in the traditional market. I love fantasy. I read a lot of fantasy. But I always think there's room for improvement in my own craft, and as I've been revising the futuristic fantasy for publication, I realized that I needed to really cement my magic system.

So for myself and for the class, I came up with 10 questions authors can ask themselves as they establish their magic systems. Oh, and this works for technology systems in science fiction novels as well.

I did use Google to aid me in my research. I found three places that provided me with the most insight and useful information: Brandon Sanderson's Laws of Magic (Part 1, Part 2, and Part 3), WikiHow (don't laugh, it had good stuff!), and The Four Part Land (he has six parts, but they're all linked at the top of this one).

So I read (ahem, maybe I skimmed a little. Some of the posts are long!) up on magic systems. I thought about what *I* liked in a magic system. I thought about the fantasy novels I'd read (because I don't read high-high fantasy like Sanderson or many of the authors/titles they talk about in these posts). I thought about Harry Potter, Percy Jackson, the TV show Merlin, movies like The Prestige, and other -- in my opinion -- accessible references. (Basically I'm saying I was too lazy to take the time to read those high fantasy novels. I reflected on what I was familiar with. And that's a tip I always give when I'm teaching: Use what you know to draw conclusions and create learning for what you don't.)

After I'd done a little light Internet reading, I formed my 10 questions. Today, we'll just explore the first.

Question 1: Who Can Use the Magic?

• the main character?
• special characters?
• everyone?
• the wealthy?
• a specific gender?
• only those trained?

You must decide who in your world can use the magic (or who has access to the technology in the world). Only a few people, designated to do so? Is the main character included in this group, or not? Can everyone use it? Only the wealthy? Or the poor? Only men, or women, or children? Only those who are trained? Those who are genetically capable? (Which leads us to another question we’ll get to later.)

But you have to know who can and who can’t use the magic, or who does and who doesn’t have access to the technology, in your world. This will help you establish weaknesses and limitations on the magic--also something we'll discuss in a later question.

So when creating a magic system, the first step is determining who will be able to access that power -- and why. Why them, and not everyone? Why only a select few? The why is important too.

So there's Question 1. I'll be back over the course of the next several weeks exploring all 10 questions, and I hope you'll join me!

I HEART YOU, YOU HAUNT ME

Okay, so in celebration of National Poetry Month, I thought I'd share with you the very first novel in verse I'd ever read. It was I HEART YOU, YOU HAUNT ME by Lisa Schroeder. I've since read a few more of Lisa's books, and they're all everything a verse novel should be: angsty, precise, vivid, and tense.

Since you have so little room in a verse novel, every word has to count. And Lisa knows how to choose the right words to make them worth their weight in gold.

So let's learn a little bit more about I HEART YOU, YOU HAUNT ME.

Girl meets boy.


Girl loses boy.


Girl gets boy back...


...sort of.

Ava can't see him or touch him, unless she's dreaming. She can't hear his voice, except for the faint whispers in her mind. Most would think she's crazy, but she knows he's here.

Jackson. The boy Ava thought she'd spend the rest of her life with. He's back from the dead, as proof that love truly knows no bounds.

It's got a paranormal slant to it, which in my eyes, makes it that much better. If you're looking for a novel in verse to read as your first introduction to the style, I highly recommend I HEART YOU, YOU HAUNT ME.

What book have you loved that introduced you to a new genre?

Celebrating National Poetry Month!

Okay, so it's April, which means it's National Poetry Month. I know, I know, some of you are madly blogging with the A-Z blogging challenge. My hat goes off to you! I can barely think of anything to blog about these days, though I do have something up my sleeve!

Anyway, since I wrote a novel in verse, I thought I'd spotlight a few books this month that are written in verse that are absolutely wonderful.

Up today is INSIDE OUT & BACK AGAIN by Thanhha La. It is a brilliant novel that you can read in about 45 minutes. It details the story of Ha as she leaves Saigon and comes to America.

Here's the official blurb: For all the ten years of her life, Ha has only known Saigon: the thrills of its markets, the joy of its traditions, the warmth of her friends close by, and the beauty of her very own papaya tree. But now the Vietnam War has reached her home. Ha and her family are forced to flee as Saigon falls, and they board a ship headed toward hope.

This is the moving story of one girl's year of change, dreams, grief, and healing as she journeys from one country to another, one life to the next.

I loved how the story came to life with just a few words. I loved the relationships between Ha and her brothers, as well as her mother. The sparseness of the words allows the emotion to flow freely. I think that's one of my favorite things about verse novels in general. INSIDE OUT & BACK AGAIN is no exception. It's a beautiful novel about a girl and her family surviving terrible things.

I hope if you're looking for a novel in verse to read this National Poetry Month that you'll try INSIDE OUT & BACK AGAIN. I don't think you're regret it.

Have you ever read a novel in verse? Which one did you like?

FLESH AND BONE by Lee Strauss

Introducing  Flesh & Bone
(The Minstrel Series #2)

She can’t remember. He can’t forget.

Eva Baumann is invisible. Sebastian Weiss is famous. In a perfect world Eva would be fearless and Sebastian would be guiltless.

It’s not a perfect world.

Another amazing cover by the very talented Steven Novak of Steven Novak Designs!

The Minstrel Series is a collection of contemporary romance novels set in the singer/songwriter world. The books are companion novels, with shared settings and characters, but each is a complete stand-alone story with a HEA (happily ever after) and no cliffhangers!

FLESH & BONE INCLUDES MORE GREAT ORGINAL MUSIC MP3s! The Music for Flesh & Bone is amazing! View it here.

Haven't read #1 Sun & Moon? Get it here:
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EXCERPT of Flesh & Bone - read to the end and enter to WIN a $20.00 Amazon gift card and songs!

The Scars They See

Gabriele had dared her to do this. “Just walk in, sign your name, and play a song for heaven's sake.” It was easy for her to say. Eva Baumann's sister didn't understand what it was like to be afraid. What it was like to be invisible. Gabriele oozed confidence, tall and lithe like a runway model, lighting up every room she entered. She was pretty, talented, smart.

And not handicapped.

Eva eyed the graffiti-marred entrance of the Blue Note Pub and watched as other musicians and-patrons strolled into the darkened room. Music pumping from the sound system escaped into the narrow corridor of four-story stone buildings every time the heavy wooden door opened and closed. Eva carefully set down her guitar case and rested her hand over her chest, willing her heartbeat to slow. The muscle pulsed erratically, and her stomach wanted to dry heave.

Eva gripped her cane with white knuckles. She'd learned to master the uneven sidewalks with careful steps, but the cobblestones were still a nemesis, especially in colder months like March. The tip of her cane had to center on a stone, otherwise she could lose her balance and fall. It was necessary to wait for a break in traffic or to continue to the corner for a walk light before daring to cross the street.

She took a deep breath. She could do this. This was just an irrational fear—not real. Nothing bad would happen to her in that room. It was filled with people who loved music as much as she did. It was loud and crowded and dark, and no one would expect her to talk. When they called her name, she'd focus on the small stage, blocking out everyone in the room out until she safely stepped up. Then she'd just close her eyes and pretend she was at the street church playing to the people who came for the soup they provided.

She could do this.

A cold wind blew hair across Eva's face, and she snapped to attention just as the little green man flashed on to indicate it was safe to walk. She lumbered across with a guitar in her left hand and her cane in her right. The weight of her instrument pulled her shoulders forward, her back arching slightly under her winter jacket. She caught her reflection in a store window and frowned. She looked like a crazy, old lady, not a nineteen-year-old girl.

Eva tucked her cane under her left armpit and reached for the door. It swung open sharply, a patron had exited at the same moment, and she was shoved against the wall, nearly losing her balance.

“Excuse me,” the guy said. He held the door open, waiting for her to go in. She wanted to turn around and head straight home, but the guy's eyes stayed on her, waiting. The cold air whooshed inside.

It would be impolite not to pass through. “Thank you,” she said softly. She leaned on her cane and entered. She'd been to the Blue Note before. Gabriele and her British boyfriend Lennon Smith had dragged her out one night, so she knew what to expect. There was a bar to the right and table seating to the left. A poster on the wall read: “If you want to chat with your pals while the band is playing, take your conversation outside.” The air smelled of beer and cigarette smoke clinging to damp wool jackets. At the back of the room was a small stage lit by two lights hanging from the ceiling.

Her stomach churned, and once again she questioned herself. Why had she come? What did she have to prove? Why did she care so much what Gabriele thought? She stared back at the door.

“Hello, ma Cherie. Would you like to sign your name?”

The gruff yet friendly voice stopped Eva before she could leave. She knew the manager, Herr Maurice Leduc, by reputation, but had never spoken to him before. “I don't know,” she answered.

“Well—” His eyes darted to the guitar in her hand. “I just thought since you lugged that thing in with you.” He pushed the sign-up sheet closer.

Eva didn't have the heart to deny the man. She took the pen and scribbled her name.

“Wonderful,” Herr Leduc said with a sincere grin that filled a round face. “I look forward to hearing you play...” he glanced down at his sheet, “Eva Baumann.”

The room consisted of a lot of wood. Tables, chairs, benches and floors—all darkly stained, old wood. Even the ceiling had rough, open wood beams. Eva claimed a nearby empty chair and breathed in and out, long and slow. She was here. She'd done it. Wait until she told Gabriele. Wouldn't she be surprised?

A server arrived, and Eva ordered a cola. The other people who shared the long table gave her sideways glances at her childish drink and cheered each other as they lifted their beer glasses.

Herr Leduc walked on stage and welcomed everyone. He called the first act, a girl with long, golden hair, he introduced as Katja Stoltz.

Eva listened intently impressed with the girl's talent and the way she took over the stage like she owned it. That was what Eva needed to do. Own it.

The girl finished her song, and after much-deserved applause, she joined her friends at a table across the room. A guy in his early twenties with a peacock tattoo along one arm stood to give Katja Stoltz a hug. He had messy, dark brown hair and bristles on his face, like he hadn’t shaven in a few days. He laughed and high-fived her before sitting and draping the peacock around a thin girl with spiky hair.

A shiver ran up Eva's back. She recognized that guy. Last summer, when she was playing guitar for the homeless, many of them had raised their hands to God in praise. The outside metal blinds had been raised, they always were when the church was open, and a group of guys had stopped to watch from across the street. They began to laugh and then threw their arms in the air, mocking the people worshiping inside.

That was the first time Eva had seen that peacock tattoo, and she'd never forget the laughing face of the handsome boy who went with it.

Her short-lived confidence shriveled at the thought of being the guy's next target. Oh, why did she come? She'd leave right now if she thought she could do it without making a scene. The room had filled, and there was no way she could slip out unnoticed with her guitar and her cane.

She sipped her cola and kept her eyes focused on each act as it was called. Every time Herr Leduc stepped to the mic to call a name, Eva’s heart filled with nervous dread and emptied with a flush of relief when she didn't hear hers.

“Sebastian Weiss,” Herr Leduc said.

The guy with the peacock tattoo hooted, shifted out from behind his table and grabbed his guitar.

So that was his name.

He hopped onto the stage and strapped on a guitar with an over-confidence Eva envied. She wanted him to be terrible so that she could add self-delusion to his other obvious traits of conceit and insensitivity, but unfortunately he wasn't. His voice was smooth and strong, and he had great range.

She also happened to notice the flex in his biceps that poked out of the short sleeves of his dark T-shirt and how his jeans fit nicely on slender hips.

He finished his song and fisted the air like he just won a boxing match. The audience went crazy. Eva couldn't help but join in the applause. Something about Sebastian was electric. His aura and competence, his popularity—she couldn't peel her eyes off him. His arm returned to its position around the girl beside him who hadn't smiled once. Such a contrast to Sebastian who couldn't stop smiling. He seemed quite taken by the pixie girl and kissed her excitedly on the cheek.

“Eva Baumann.”

What? Eva had been so busy watching the table of cool people, she hadn't been paying attention.

Herr Leduc's accented German bellowed again. “Eva Baumann.”

Eva's heart stopped. Then raced. Her hands broke out into a sweat, and she blinked back the tears welling up behind her eyes, which were opened far too wide. Her head prickled hotly, and she swallowed hard. She could sense the attention of the room, necks craning, everyone searching, waiting for the next act to stand.

Herr Leduc stared at her, and all she could do was shake her head. He gave her a gracious nod and called the next name.

A girl with short, dark hair bounced out of her seat, and within seconds Eva was forgotten. She took advantage of the swirl of commotion that occurred between acts, grabbing her guitar and cane, and limped to the entrance.

It was a terrible mistake to come, she thought as she hobbled down the crusty street. She kept her head bowed low against the cold, and gripped her guitar case and her cane. If she'd had a third hand, she'd swipe at the bitter tear that slid down her cheek.

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