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My Three Faves of Fae

My upcoming release, Yonder & Far: The Lost Lock, revolves around the fae (fairies, fair folk, wee folk, fey ... you get the idea). Not the spritely little brogue-tongued critters that Arthur Conan Doyle chased after. No, the fae in Yonder & Far are more akin to their more ancient conceptions: incomprehensible and dangerous beings who move among humans in mysterious ways. As a genre, fantasy has borrowed heavily from the accumulated store of folk tales, poems, epics, and stories of the fae. The Yonder & Far series is no exception.


So I thought I'd list my three favorite novels that feature the fae.  


#3 Faerie Tale by Raymond E. Feist: Growing up, I happened across this book in a bookcase in our house. Underneath the seemingly generic title is a dark and compelling story that I finished in a week. Ever since, I've been on the lookout for river stones that have had their middles worn through (which I've had no more luck finding than a four-leafed clover).


#2 The Book of Lost Things by John Connolly: Dark but heartful, I very much enjoyed this tightly paced novel.


#1 Jonathan Strange & Mr Norrell by Susann Clarke: 782 pages of historical fantasy delight--and at the end, I wanted more. The premise is simple enough: 2 gentlemen usher in the return of real magic in England at the height of the Napoleonic Wars. But that magic is, in many ways, tied to the fae, who are as wild as they are wicked. The book is infused with richly imagined scholarship, including more than a hundred footnotes to the prose (some readers found them discursive, but I loved them). In many respects, Yonder & Far is something of an American tip-of-the-hat to Ms. Clarke's imagining of what would happen if the fae became tangled up in our history.


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EDITING--Part II (Working with an Editor)

"Embrace your editor. Give them a big ole hug..."

I've been incredibly fortunate to have worked with some great editors on my books. One of whom has graciously agreed to join me in this post for an interview (because what better way is there to talk about what editors do than to talk to an editor?) So please welcome Mr. RobRoy McCandless, author and editor at Ellysian Press! 


Rob (who writes under the name "R.A. McCandless") was one of the first editors to work through my forthcoming historical fantasy novel, Yonder & Far. Rob is a consummate professional, an all-around great guy, and has quite an impressive bio, as you can see ....


R.A. McCandless has been a writer both professionally and creatively for over two decades. He was born under a wandering star that led to a degree in Communication and English with a focus on creative writing. He's the author of the steampunk THE CLOCKWORK DETECTIVE, winner of the 2020 IPPY bronze medal and BENEATH A FEARFUL MOON, the urban fantasy series TEARS OF HEAVEN, HELL BECOMES HER, and COMPANY OF THE DAMNED. His shorts have appeared in IN SHAMBLES with Kevin J. Anderson, HOLES, NINE HEROES, and GEARS, GADGETS AND STEAM. He continues to research and write historical and genre fiction, battle sprinklers, and play with his three boys.


In this interview, Rob reflects upon writing, explains the magic and mystery behind the editing process, and makes me laugh. Enjoy!




Matt: Tell me a little about your writing journey. How did you become an author and then an editor? What inspires you to write and what keeps you inspired when editing others' writing?


Rob: I was born under a wandering star, which led me on a convoluted path all over the western United States and eventually I landed in California. I was always reading, but also enthralled with the sights, the history, the people, and the experiences. As I turned those pages, and explored those other worlds, I wondered, "What if?" What if I could turn left in Rivendell, away from the view of Frodo and Bilbo, and see what the Elves were doing in a different direction? What if I could ride with Allanon on one of his quests that were only hinted at? What if I could carry a history of Pern to Lessa, or warn Ned Stark?


It's that excitement and journey of "what if" that intrigues me the most. You can play in other people's sandboxes, which is a lot of fun. You can also build your own and see what shape the world will take. It's a really magical time we live in, when a quick spell of WiFi will grant you access to a near endless supply of stories of daring heroes, nights of sorcery, and days of adventure.


That's the driving force behind what I read, what I write, and how I edit. I'm still in the process of finding my own author's voice, although I think I've done a good job of learning and growing as I've progressed. I'm very much interested in helping other authors find their voice, and seeing that voice heard.


Matt: Talk a little bit about your editing process at Ellysian Press. What happens "behind the curtain," so to speak, as a manuscript is transformed into a book?


Rob: First, we find the right wand that we'll wave over the manuscript. Wands are fairly important, but some people stop there.  Not Ellysian. We carefully match specially harvested pixie dust with each wand to ensure the greatest magic that will morph the manuscript into a wonderful book!


Altogether, it's lots of effort, working directly with the author to balance between their voice and what a reader will expect or have trouble with. We signed authors because they bring something special to the table, and they have a story to tell.  It's very important that during the process, that story and that voice remain intact. Some publishing houses aren't as respectful of their authors, and that's never good for the industry.


The important part is working with the author, making suggestions and corrections but having them ultimately responsible for the edits. They are, after all, the talent, and that's exactly what we're trying to showcase to our readers.


Matt: What are some common pitfalls newer authors sometimes fall into? Conversely, what do you think makes a story stand out?


Rob: For myself, it was thinking that I was only telling the story for me, and that my view of the world was the only one that mattered. That's fine if I was keeping the book for myself, only sharing with friends and family, with no intent for pure strangers to ever pick it up.  My good friend, mentor, and editor once told me that if a reader doesn't understand, that's the writer's fault. That's a tough pill for some authors to swallow, but it's true. If you're going to be published, and push your work out for others to read, then the story needs to be understandable. Anything that breaks a reader out of your world is bad, no matter how much you love it, or how much you want to logic and handwave it away. Sometimes, that takes a lot of extra work to smooth out the rough patches.


By contrast, stories that stand out to me aren't necessarily ones with an wholly new, original premise. That's not necessarily a hard thing to do, but to sustain that premise, and make it interesting, can be really tricky. It's great that you've come up with a society of 16 different genders. That is certainly interesting. But how will your reader relate to all, or any, of that, if that's the whole of your story? What I want, as a publisher, is a good story well told. For a good, recent example, check out Amazon's "Reacher" series. Nothing new here whatsoever. But it's a solid story, well told, that is enjoyable. That doesn't mean we're looking for a paint-by-numbers carbon copy of what's already been done. The lesson of "Reacher" is an interesting character and a solid plot are good recipe for success.  If you're a talented writer, with a good head for dialogue, and some fun plot-turns, that's when the hook is set and you're reeling me in!


Matt: Do you ever find that your editing work shapes your writing, or vice versa?


Rob: The worst that being an editor has done to me is that it impacts my pleasure reading. As I'm reading, I'll start to edit lines, and I have to make myself stop. It's a super annoying habit, and it's tough to let go of. I recommend a few good slaps to the cheeks, or a couple shots of whisky. Not good whisky either. Try the stuff that can also be used to remove varnish.


For myself, it's not the process of editing that impacts my writing, but the reading/experiencing of other people's works. You give 100 writers the same simple story to write, and you'll get 100 completely different versions. That's what really gets to me. The turn of a phrase, flipping of a trope, or the use of a character in an unexpected way. I LOVE that stuff.


Matt: What do you see down the road for you as a writer, as an editor, and for Ellysian Press?


Rob: Nothing but excitement. We've signed some incredibly talented authors, including yourself (Matt Lucas), and their works are amazing. I've been very privileged to read their early drafts and provide assistance through the editing process. Fantastical worlds of magic mixed with science, amazing journeys from sailing ships on the high seas to spaceships in the depths of the stars. There's so much good stuff coming down that I'm fair to bursting with all of it.


Matt: What are some tips for writers to make the editing process successful?


Rob: Embrace your editor. Give them a big ole hug and view them as your best friend in the whole world when it comes to your book. An editor's job isn't to steal your voice or make your life miserable—those are just perks. Instead, what any good editor wants is a collaborative process with their author, discussing elements, looking for all the places where a rough manuscript can be fine-tuned into a full-bore race engine of entertainment. Any editor wants the same—the writer's success. If you grasp that, throw your arms around them and just lean into the process, you'll find that the entire thing works so much better.




Many thanks to Rob for taking time out of his busy schedule. To learn more about his work, check out:







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EDITING—Part I (Self-editing)

There's a metric ton of information out there about "the process" for writing a novel. Lots of approaches, lots of ways to stay motivated, lots of sometimes competing suggestions. Some people swear by outlines; others declaim that only the muse-in-the-moment will lead you to a completed novel. I've finished four novels and a novella (and a handful of short stories)--by no means do I consider myself an expert or especially knowledgeable, but I've picked up a couple of things along the way. For what it's worth, I would consider myself about 85% a discovery writer ("pantser") and 15% an outliner ("plotter"). Which is basically the inverse of what I was when I finished my first novel. Whatever process one uses to get to "The End," and however that process may evolve over time, there are two constants: (1) you've got to keep your butt in a chair and write words in order to write a book; and (2) you're going to have to go back and edit those words--a lot. 


I'm going to focus on the second constant. 


Editing is where you confront the hard reality that not every line you spun was literary brilliance. In fact, if you approach it honestly, you'll probably be embarrassed at how bad some of what you wrote really is (I've lost count of the number of times I've gone over a line I wrote and wondered, "what does that even mean?"). That's the point of the process. Because I work with a publisher, I'm going to break my editing process down into two parts. This first part focuses on how I approach self-editing. I'll post a second part that addresses how one works with an editor later.


Depending on who you ask, there are three--or four, five, six, or seven--levels of editing. The precise taxonomy of the editing process can get a little wonky, but for purposes of self-editing a work of fiction, I'll keep it simple and make it three: (1) Structural Editing; (2) Line Editing; and (3) Proofreading. Each is done separately and in order.


First, in structural editing, I'm looking at the "big picture"--are there plot holes? Are character arcs progressing? Is the conflict clear? Is the pacing good? Are characters acting "honestly" and organically given who they are? Because I am more of a discovery writer, this part of the process keeps me busiest. As I go back over a manuscript, it will be littered with highlighted notes for me to change things earlier in the story based on things I discovered later. A scene that was originally written with three undead knights attacking the protaganist might work better with one annoying, wise-cracking ghost. Often, this is where my 110K words gets trimmed down to 95k. Because one of the shortcomings of discovery writing is that you don't always see a dead-end until after you've written it, I'll end up with scenes or exposition that ends up cluttering the story. So, for me, there's always a good amount of deletion going on in this stage.


With line editing, as the name implies, I am focused more on each line and paragraph--are there too many dialogue tags? Is there a better way to phrase this description? Have I used the same word three times in the same paragraph? I'll often read aloud as I do this to make sure everything "sounds" right. 


Last of all comes proofreading. This is what your seventh grade English teacher kept dinging your homework for. Misspelled words. Superfluous commas. Run-on sentences. Inexplicably changed names. Think of it as quality control for all the little rules and conventions that, if you break them, you'll yank your reader right out of your story. To some extent, I'll often do some proofreading while I'm line editing. But it's important to do a final pass-through the entire manuscript (don't try to just spot-check it--trust me).


Each of these editing levels is imperative if you're going to turn a rough draft manuscript into a book. What makes this particularly challenging in the self-editing process is, well, that you have to do it all yourself. Which means, first, you have to tamp down your gushing joy at having completed a novel that will surely sell millions of copies. And, second, once you've curbed that enthusiasm, once you're relegated yourself to weeks of further work on your "completed" story, you have to try to pretend you didn't write the words and lines you'll be carving up into pieces. It's tough. Like I said, it's my least favorite part of the process.


There's one thing I've learned, though. There really is no better self-editing tool than time. For me it's about three to four weeks. After I've finished a novel, I celebrate with the family, say "congratulations" to myself--and then I set it aside. During that time, I try to write something else, clear my head of the story, get into something totally different for a while. Once about a month has gone by, only then, can I go back and read that manuscript with a fresh set of eyes--eyes that won't gloss over problems or proofreading errors.


It's certainly not the most glamorous aspect of the writing process, but it's vital. Far more enjoyable is the process of working with an editor--which I'll get to in my next post.


- Matt

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