Saints & Sinners, Ep. 7

Saints & Sinners, Ep. 7

THE SIDE GALLERIES above the plaza smelled of dust and old incense. Ophelia moved like she belonged there, book tucked under her arm, head bowed just enough that anyone glancing would assume she was another junior scribe running an errand.

She had spent half her childhood mapping the Sanctum in stolen afternoons—where voices carried, where they didn’t, which doors opened onto crowded halls and which onto empty chambers. The Council thought secrecy started and ended with locks and runes. They never accounted for the fact that sound traveled.

She slipped into a narrow alcove just off the main gallery, where a carved screen of latticework stone overlooked a lesser hall. From here, scribes sometimes listened to sermons to document them. Today, the benches were empty.

Saints & Sinners, Ep. 6

Saints & Sinners, Ep. 6

MADELEINE COULDN’T STOP shivering, and she hated how it made her look timid more than anything else. The chamber they brought her to was colder than the cell she had scrubbed two days before. Cold in a way that wasn’t from draft or stone or shadow, but from the iciness of the people who occupied it.

Two Seraphs stood on the raised platform at the far end, their gold catching the light in hard, clean angles that made the rest of the room feel smaller. A scribe waited beside them, quill poised, eyes fixed on Madeleine with polite disinterest.

She kept her hands folded tightly in front of her apron as the guards stepped aside. The door shut behind her with a finality she understood all too well.

“Madeleine Amser,” Seraph Moriah said, her voice as sharp as the lines of her robe. “You tended the lower cells two days ago.”

Madeleine bowed her head. “Yes, Seraph.”

Lysander shifted, studying her with an expression that felt as sharp as glass. “Then you understand why you’ve been summoned. You were the last to see the boy before the Council intervened.”

She nodded once. “I understand.”

They made her kneel—not forcefully, but with expectation heavy enough that refusing would have been its own execution. The stone floor chilled through her stockings as she lowered herself down, old joints protesting.

Saints & Sinners, Ep. 5

Saints & Sinners, Ep. 5

AIDEN LET ORION rest for more than an hour, until he was sure the color and steadiness had returned to his body.

“Come on,” Aiden said gently. “Think you can stand without using three dominions and a prayer?”

“I’ll try,” Orion said.

Time blurred into the rhythm of boots on stone, the steady clink of bits of gear, Bran’s occasional snort. The tunnel widened and narrowed, ceilings rising and falling. Once or twice they passed side passages, darker mouths leading who-knew-where. Aiden ignored them all, following a route only he seemed to recognize.

Saints & Sinners, Ep. 4

Saints & Sinners, Ep. 4

AIDEN WOKE TO warmth where there should have been cold. For a few disoriented breaths he thought the fire must have caught again—spread from the ring of stones and crawled into his bones. Then he realized the heat was more focused than that, pressed along his chest and arm, rising and falling with a rhythm that wasn’t his—Orion.

The memory of the night slotted back into place: the slow settling of Orion’s breathing, the way he’d shifted in his sleep toward the nearest source of heat, Aiden hesitating for all of three heartbeats before sliding an arm around his ribs to keep him from rolling onto his bandaged back.

He hadn’t meant to fall asleep like that; he’d only meant to keep watch.

Aiden tried to ease his arm back. The movement was careful, measured, the way a man might lift his hand away from a skittish animal, but Orion stiffened. Not from pain—Aiden knew what that sounded like now—but from awareness.

Saints & Sinners, Ep. 3

Saints & Sinners, Ep. 3

AIDEN had barely slept, but he was still awake before Orion.

The room was frigid, the fire long gone cold. He crouched at the hearth—dry kindling first, then a few small logs—and coaxed the coals back to life with Ember, the flame catching, slow and steady, until the light reached across the room and thinned the darkness. He moved quietly through the space, every step muffled and measured so as not to stir the man asleep in his bed.

Saints & Sinners, Ep. 2

Saints & Sinners, Ep. 2

WHEN Orion opened his eyes, the world was still dark.

He didn’t remember much after the fall, but he remembered plunging into the Rift during the day and coming out the other side of it swallowed by darkness that behaved like night without belonging to it. It wasn’t the gentle dim that comes before sleep, the honest quiet of a world exhaling. This darkness pressed close, deliberate, as if it had a will. It sat on his chest and cooled his breath. It covered the room like a veil drawn by a careful hand.

Shadowvale, he thought, with a shiver that felt older than today. A place stripped of its Hallow and replaced by Shadow. A place named in whispers. A place Hallowmere pretended wasn’t real and feared just the same.

Saints & Sinners, Ep. 1

Saints & Sinners, Ep. 1

THE dream always began with feathers.

White ones—drifting gently through a golden sky. They spiraled downward in slow, lazy circles until they turned black halfway through the fall, catching fire as they hit the ground.

Orion jerked upright in bed, breath tight in his chest. The sunrise spilled through the sheer curtains, soft and warm as honey. Hallowmere hardly ever saw clouds—at least not anymore. The sun had its constant throne in the sky, and every day its crowned radiance blessed its favored city.

He pressed a palm over his sternum, waiting for his heart to quiet. Today was meant to be perfect. Today was meant to be the day everything he’d trained for finally manifested in front of all of Hallowmere—Beatification. Recognition. Acceptance.

Wings.

He exhaled once more, deep and steady, and pushed up from bed.

Saints & Sinners

SAINTS & SINNERS

A Serial Supernatural Fantasy

IN HALLOWMERE, magic is holiness and wings are proof of purity. The Seraph Council rules a gleaming paradise, blaming the cursed lands of Shadowvale for the Rift that split the world and plunged the West into eternal night. But when Orion Sinclair—the Council’s shining prodigy—manifests wings streaked in black, he becomes the enemy they forged in their own lies. Forced across the Rift to survive, he’s rescued by Adrian Toussaint, a supposed “Sinner” whose strength and compassion challenge every truth Orion was raised to cherish. Together, they must uncover who truly caused the Shadowfall—before the Council’s holy war consumes both sides of the divide.

Life’s Obstacles

Life’s Obstacles

ABOUT two months ago I realized what a grave mistake I made by announcing the release date of Wonderspark. Back when I made the announcement, I had two roommates helping with rent; and not too long after I made the announcement, they announced to me that they were relocating out of Tampa (one for his job, and one moved back to the area he was raised). I was happy for them, but needless to say, their announcements came as a shock and presented me with even more obstacles, especially financially, than I was facing before. Add to it two back-to-back hurricanes ripping through the Tampa area—and my bank account—and I was left picking up the debris and pieces of my life.

CONFLICT in storytelling is one of the biggest drivers of the plot—the build-up, the struggle, the climax, and the resolution of any small conflict often builds to a bigger one, which has its individual rise and fall. Often, what goes wrong in a character’s life has more lessons in it than what goes right. It shapes and moulds their resolve, their fight, and their resilience. They bounce back faster even if the fall is greater. They are quicker to pick up the pieces and move forward. But I’ve gotta tell you, Beardies, my resolve is truly being tested lately. And my resilience has lost its elasticity.

DUE to having to find other streams of income to make up the loss of rent, I’ve not had the time to work on Wonderspark. It sucks. It sucks more that I’ve lost momentum with the story and need to revisit a lot of what I’ve already written to get back into the swing of things. Like when you are on a road trip and stop at a rest stop for 10 minutes and start driving away and realize the GPS has added not only the 10 minutes to the ETA that you stopped, but the additional time that you would need to make up for the distance not driven while you were stopped.

With that said, I will have to push the publication date of Wonderspark, but I won’t have an estimate of the new date until I get back in the swing of things and get my momentum back and find my voice—I hope it won’t take too long.

Glove or Glass Slipper

Glove or Glass Slipper

YEAH, yeah, I know. Another post about something not fitting. I promise it is not a trend; it just seems to be trending in my writing and plotting lately. But there’s a true reason why I am writing this post.

Back in the day, I used to keep a binder of all my pre-writing stuff so that I could quickly access data regarding characters, settings, languages, maps, etc. with a quick thumbing through of the tabs of the binder. Actually, because it was so extensive, I had a binder alone just for the languages of my still-unpublished series (perhaps more on that later). While it was technically quite efficient, at least more so than a collection of scraps of paper with scribblings on them, it was still an antiquated way to organize everything.

And that was just how I organized my pre-writing—how I wrote was quite outdated and restrictive as well. I was what is referred to in the writing community as a “pantser” — no, I didn’t go around pulling down the pants of unsuspecting victims, it simply means that I wrote by the seat of my pants, that I had no road map. I remember some days I would sit at my computer attempting to write and the white page anxiety was crippling, and I stubbornly wouldn’t move onto some other scene in my book until I figured out the one I was working on. Seems stupid, now that I think about it, and I probably wasted so much of my time not writing when I could have moved to a different part of the book and worked on that part instead while I let the other scene stew in my brain and work itself out.

SCENE WRITING

WHEN I met my writing coach, Joe Nassise, back in 2011, I had never really heard of plotting. I mean, I vaguely outlined my projects, but only in the sense that I knew the parts of the novel/story that I was forced to study in all my literature classes: Exposition, Conflict, Rising Action, Climax, Falling Action, and Resolution. And those are definitely crucial parts to have at least softly worked out before you start the writing process, but the study of literature and process of writing it are far different. In actuality, a story is not comprised solely of these 6 parts; each part could have multiple scenes within it, meaning that the scenes have to make sense within their respective parts (having a high-energy climax scene during the falling action of the story might make the resolution seem rushed, etc).

If you think of your story less like a linear path of writing and more like scenes of a movie—like how a director might film certain scenes of a movie first and others later,  joining them together in seamless sequence during editing—it might reduce that white screen anxiety and make your writing process a lot less daunting. So how does one do this? 

When I worked with Joe, he had me think of my chapters as scenes and had me write out the chapter/scene name on the white side of a 3″x5″ index card, and place the basic bullet points of each scene on the lined side. I could pick up any of those index cards on any given day and write that scene. So, if I felt worked up or combative, writing a fight scene that day might be better, and writing a love scene on a day I was feeling extra emotional, romantic, or sentimental would yield a better product because of my respective mood.

GLOVE OR GLASS SLIPPER?

BUT here was the other great thing: I didn’t have to get it right the first time. If in writing a scene I realized it didn’t make sense or didn’t fit in that spot, I’d pull the card out (saving the scene for later) or shift it and make another card for the scene that did. I went into this “Glove or Glass Slipper” style of writing with my scene cards. Now you might be asking yourself: “WTF is he talking about?”

Let me explain, and it will (hopefully) make sense.

Some of of you reading this are probably too young to remember the OJ Simpson murder trial, but starting the fall of 1994 and spanning over a year, that was pretty much the thing to watch and follow on television. There was a famous line from OJ’s Defense Attorney, Johnnie Cochran: “If it doesn’t fit, you must acquit,” referring to the glove found at the crime scene, saying that if the glove didn’t fit on OJ’s hand, then he couldn’t have possibly been the one to commit the murders of his ex-wife Nicole Brown Simpson and her friend Ron Goldman. As asinine as that logic is, it’s what returned a not-guilty verdict from the jury, which meant that whomever’s hand fit that glove must be the murderer. Right?

Here’s the issue. Gloves are made to fit more hands than just one person. You know, something something capitalism. In fact, all apparel on the market is generally mass constructed so that it fits multiple buyers and increases profits. Unless it’s custom, like a Glass Slipper, which fits only the person it was designed for. Yes, yes, I am sure you could argue that someone with an identical foot could slide on into it, but those would be few and far between.

Sometimes scenes are Glass Slippers—they fit the gap between their bordering scenes with the precision of footwear formed by a fairy godmother; but other times, a scene can fit like a generic glove—too loosely that the scenes around it seem disconnected, as if it belonged somewhere else, or even too tightly, and leaving it in place would be almost criminal, like getting away with murder.

PLOTTING WITH PLOTTR

SINCE I started writing again after my hiatus, one of the tools I’ve grown the most fond of is Plottr. It acts as both binder and index card holder, keeping information such as places, characters, notes all in one place while also acting as a timeline of your story with Scene Cards—much like those trusty index cards of yore—which you can move around, even to another book in the series if you realize that the scene you just finished writing belongs at a different place in the whole scheme of the overall plot.

THIS past weekend was spent doing damage control on my own Plottr timeline for Wonderspark. What I had originally plotted was fitting as well as the foot of an evil stepsister, and the more I tried to make it fit, the more holes I created in the plot further down the line. But the great thing about Plottr is that instead of just scrapping all the scenes within the existing timeline that didn’t fit, I moved them with one click to a “bucket” project from which I can pull from later, even for an unrelated project altogether.

STILL LEARNING

WHILE I am still learning the software, I love its capabilities. They offer YouTube tutorials and both free and paid seminars to get the most out of the software. I’ve learned they creators of the software are very receptive to feedback and suggestions, so I have already made a couple of suggested features that would enhance user experience and functionality.

As I learn how to use it better, I plan on giving my own tutorials and creating my own templates for it, so stay tuned!