Life, the Universe, and Everything, Publishing Miscellanea, Writing Craft

On Writing Irreligious Books

Photo by Pixabay on Pexels.com

One of my minor hobbies is ferreting out corners of the internet dedicated to people who want to think about the intersections between Christianity and art, and about how both the consumption and creation of good art are immeasurably beneficial to faith practice. Finding new iterations of this crossroad is always lovely and a little disorienting. Lovely, because these are things I dwell on a lot, and it’s nice to find other people doing the same. Disorienting, because there is a definite tendency in groups like this to focus on a very specific sort of creative as a model for the Good Christian Artist.

By which I mean, the sort of creative who makes explicitly Christian art.

Don’t get me wrong. I love some explicitly Christian art, by which I mean art that proclaims itself to be about Christianity, rather than discussing faith more obliquely (if at all). I have consumed many an inspirational romance in my time, and grew up haunting the church library (but I also haunted the public library and my school library–I am an equal opportunity library haunter). I was raised on CCM (contemporary Christian music, for those who aren’t In The Know) and spent countless hours on the school bus playing Steven Curtis Chapman and Jaci Velasquez on my CD walkman. The Christian Fantasist’s Holy Trinity (CS Lewis, JRR Tolkien, and Madeleine L’Engle) are the bedrock of my existence as a speculative fiction author–though one could make a case that their fiction work is only rendered explicitly Christian in light of their nonfiction writings.

But I also love a lot of art that very definitely does not fit the explicitly Christian framework. My current favorite fantasy series, The Lumatere Chronicles, couldn’t be considered allegorical, even if you squint. Virginia Woolf’s work helped me get through my teens and did more to impact my own literary voice than anything else. When it comes to television, I’m still off-base, as my favorite comfort watch is Star Trek in its many forms. No one would call music by Noah Gundersen or Ingrid Michaelson or Sleeping At Last explicitly Christian, either. And yet I find so much of goodness and truth in all of these things, despite the fact that they contain no stand-in figure for an omnipotent deity. No hands raised in the name of Jesus.

And then there’s me. A person who, as aforementioned, thinks a lot about the interplay of faith and art, and who makes art for a living, but who doesn’t do it in the manner of Good Christian Artists. I don’t write for a primarily Christian audience, or work for a religious imprint–I publish for the secular market. My books aren’t allegories–they don’t even mention any sort of higher power, much of the time. At the end of the day, though, there is this: I am a Christian, making art to the best of my ability. Does the way in which I choose to do so and the audience I choose to render my work accessible to preclude me from being a Good Christian Artist?

I hope not. I’ve never been much good at preaching to the choir. Or preaching to anyone, for that matter.

The conclusion I’ve come to is this: that as a Christian, you can create religious or irreligious art, but both can be done in faith. Religious art is the explicitly Christian kind–the sort that says “Yes, there is an answer to your questions, and this is it.” It’s instructional by nature–a signpost in the wilderness, a map that points to the road out, and tells you what you’ll find at the journey’s end.

Irreligious art, created in faith, doesn’t offer answers so clearly. Irreligious art is about comfort on the road. It’s not a signpost or a framework, but a friend along the way. A companion who says “I know you’re lost, but I think you ought to keep going. I believe there’s something beyond this, and that you haven’t yet fully become what you’re becoming. I trust you’ll get there in the end, though, and I’d like to walk beside you for awhile.” It is, in the literal sense, an act of encouragement. If a piece of irreligious art is truly Christian, the one who’s taken it in should feel a little stronger, a little more hopeful, a little more fit for the journey. They may not have been told what they’re looking for, or why, or how to find it, but they’ll know that the search itself and the act of struggling for transcendence are profoundly meaningful.

I’m not much of a mapmaker, myself. I still feel pretty lost most days, even if I’ve glimpsed the journey’s end. I’m not exactly sure how I’ll get there, and sometimes my faith in the outcome turns to doubt. But I’m a good walker. I can put one foot in front of the other and just keep going, in spite of doubt or darkness or moments of despair. So that’s what I bring to the table, as a Christian who makes art. Not a signpost, but a piece of my own stubborn soul. A companion for the journey–a fellow walker who may not be sure of the road, but who’s headed further up and further in, and wants to pass some time side by side.

Craft Advice, Life, the Universe, and Everything, Publishing Miscellanea, Writing Craft

Four Tips to Break a Reading Slump

A standard piece of publishing industry advice is that you need to read voraciously in any genres you plan to work in, or already do work in. If I had a dollar for each time I’ve heard this, I wouldn’t be precisely rich, but I’d certainly have enough ready cash to take my family out for a very nice dinner.

This is a maxim that used to make me feel like a failure as both a reader and a writer.

Why? Because for the past eight years, I’ve been in the mother of all reading slumps. It started not when I had kids, but at the time that I started juggling working as an author with having kids. Parenting is a singularly all-consuming endeavor. Writing for publication, likewise. And they both involve a LOT of reading. Reading Goodnight Moon fourteen times in a row (or in our family’s case, an infamous storybook called DW’s Guide to Preschool). Reading your own novels fourteen times in a row, your sense of enthusiasm for them withering into disdain with each successive pass (I always say that the best part of publishing a book is knowing I never have to read it again).

Like I said. Both parenting and publishing require a lot of reading, but not the sort that exactly sparks joy. More the kind that progressively saps your will to live. So for eight years now, I’ve been in a reading slump so vicious that I was lucky to read four or five books in a year, outside of those roles. Mostly I stuck to magazines with glossy pictures of immaculately-maintained English countryside gardens. That was, for a very long time, the only form of print that didn’t make my brain feel like imploding.

And throughout it all, I felt really bad about the fact that I didn’t read more. I wasn’t current on the big, highly-praised break out titles in my category and genre. I wasn’t even current on books my own author friends wrote. At the end of the day, if I had an hour or two to spare, the last thing in the world I wanted was to pick up another book. I gamed instead, or watched Star Trek, or juicy costume dramas.

I’m here to tell you that if this is where you’re at, there is nothing wrong with you. And you don’t need to feel pressured to undertake an activity that feels so off-putting you’d rather sit and stare at a wall. Sometimes, we’re just not in a reading season of life, even as self-proclaimed bookworms. Sometimes, we’re in a season of life where we have to read so much for reasons beyond our own pleasure that choosing books for fun is out of the question. None of the fun is left. It has all been sucked out of the pages.

But it will come back. And there are some gentle ways you can implement to hasten its return. I know, because this year, I set out to break my reading slump. To a degree, I managed. Here are the steps I undertook to do so.

Log Every Book

If you read to your kids, or for professional development, or in some sort of work capacity, log it. Those are valid reads. They don’t suddenly fail to count because you undertook them for a reason outside of personal pleasure. This year, I hit that magical place where my kids are older enough to follow more complex chapter books, and was able to introduce them to a lot of stories I absolutely adored as a kid. Was I technically reading them for myself? No. But I read them, and I logged every last one. My favorite resource for this is Storygraph, though your logging system can be as simple as a pen and post-it note.

Visit Uncharted Territory

If you are required for any reason to read in a particular category or genre, do not, and I repeat, do NOT, try to force yourself to read within it for pleasure as well. My sainted Oma Bergmann was fond of saying that a change is as good as a rest, and as usual, she was right. This year, I managed to maintain interest in books I was reading just for me by staying completely outside of YA as a category, and speculative fiction as a genre. I read a couple of adult novels (women’s fiction). But mostly I read nonfiction. I’ve always loved a well-crafted nonfic, and diving down rabbit holes related to whatever my passion of the moment happens to be is one of my defining traits. Right now, I’m super interested in creating an enriching and rewarding home education experience for my kids, so I read a lot of books on that topic.

Try think outside the box when attempting to find reading material that suits. Foray into nonfiction, poetry, romance, mystery novels–whatever might actually get you excited about a book when that enthusiasm has waned.

Don’t Be Afraid to DNF

For those who aren’t familiar with the term, in book circles, DNF means “Did Not Finish”. I am a huge proponent of DNFing with abandon, and have been since before my current reading slump. Unless you are required to complete a book for some reason, life is just too short to slog through something you don’t enjoy! If the first chapter or first few pages don’t seem like your cup of tea, stop, and move to the next thing. The world is full of books–somewhere out there is one you’ll like better. But pay attention to patterns–if you keep DNFing books within a specific genre or category, maybe it’s just not for you right now. Maybe you should shift gears and implement Tip #2.

Having Fun Isn’t Hard When You’ve Got a Library Card

Acquaint or reacquaint yourself with the local library. If you follow the advice laid in Tip #3, you’ll need to. All that DNFing will get expensive if you buy every last thing you read! The library is a booklover’s buffet–there’s tons to choose from, and you can pick whatever looks good for you. But unlike a buffet, it’s free and you can return whatever you don’t like. If, like me, you’re strapped for time and your attention is fragmented while at the library (I go there with the kids, and library trips are primarily structured around their needs as readers), make liberal use of the holds system. Pick out a variety of titles that you think you might enjoy, reserve them via your library’s online system or over the phone, and then simply pick them up at the front desk at your next visit. This process, more than anything else, has facilitated my return to the domain of the written word over the last year.

Hopefully if you’re in a reading slump of your own, some or all of these tips and tricks will be helpful to you. But the most important thing is to be gentle with yourself–there’s no moral virtue implicit in finishing a certain number of books a year, or even in being a reader at all. While many books contain stories of great value, books are patient–they’ll still be waiting when you’re ready for them.

Craft Advice, Publishing Miscellanea, Writing Craft

How to Vanquish Your Murky Middles (+ a free Four Act Structure Template)

I have a problem with murky middles.

It’s a common woe among writers–you hit twenty or thirty thousand words in a first draft and your plot just…fizzles out. The luster of starting a new project fades. The exciting and climactic final act is still just a glimmer on the horizon. And you get stuck, in the bewildering, unexciting doldrums of moving your characters from a good beginning to a better end.

Many a time have I foundered in those very doldrums.

Over the years, I’ve learned to structure my plots not just around a thrilling finale, but also around a high-stakes, explosive midpoint. Previously, I envisioned stories as a steady uphill climb, where characters ended on a peak of revelation. And boy, was that climb a drag sometimes. Now I envision them as an entire mountain instead–there’s the uphill striving, the summit, and then a precipitous descent towards the inevitable arrival in new territory.

My amazing friend Wendy Heard has talked more extensively about midpoints, and her thoughts on the matter have really shaped the way I now approach plotting. Where I used to break things up into three acts (a la the very well known Save the Cat beat sheet) and the second act would lag, I now break plots into four acts instead.

However, I’m a very checklist-oriented person, and love to use templates. In my travels about the internet, I’ve never been able to find an existing template for four act structure that I really love. There are some templates out there, and some comprehensive breakdowns of how four act structure functions, but none of them really worked for me on a fundamental level.

So since I couldn’t find a four act structure template that entirely suited my needs, I cobbled together ideas from a few different sources (this fantastic post by Heather Cashman, this one by Mikhaeyla Kopievsky and this one by The Magic Violinist were all incredibly helpful) and made my own. Maybe it’ll work for you, maybe one of the structures I linked to will better serve, or maybe you’ll need to forge your own path like I did. But this is the template I’ve ended up with, and I thought I’d share. I’ve provided some well-known examples for each plot point within an act, though they’re from older books so the division of the four acts is different than you’d find in modern novels.

Without further ado…

A Four Act Structure Template, by Yours Truly

ACT ONE: Setting the Scene

Image by Sir John Tenniel

The Old World
This is where readers get a brief glimpse of the main character’s life and world to date. How does everything around them function before their adventure begins? This stage of the story is important because in order to appreciate changes the plot will bring, readers need to know what is being changed, and what (if anything!) will ultimately remain the same. Think Bilbo sitting on his doorstep blowing smoke rings during the opening of The Hobbit, or Alice dozing on the banks of the stream before her journey to Wonderland.

Inciting Incident
In a Hero’s Quest narrative, this stage is often referred to as the Call to Adventure. It is where something happens that beckons the main character away from their current circumstances and towards something new. It is the first whiff of change, though the protagonist may initially resist it. Again, think Bilbo unexpectedly being drawn into conversation by Gandalf, or Alice seeing the White Rabbit hurry by.

Initial Stakes
This is where the gentler invitation of the inciting incident becomes an insistent push. Something happens to tilt the scales in favor of the protagonist abandoning their old world and heading out into the unknown. There may be some distasteful quality of the old world the character wishes to escape–for Alice, the initial stakes are her current boredom versus satisfying her curiosity about the White Rabbit. Or, there may be something about the shift the inciting incident has provided that draws the protagonist in. For example, in The Hobbit, the dwarven dinner party provides Bilbo with his initial stakes–it piques the inherent adventurousness of his Tookish side coupled with wanting to be thought better of by the dwarves.

The Lock In
The lock in is where the main character goes all in. After the enticement of the inciting incident coupled with the intensification of the initial stakes, they’re fully invested in the events to come; they’ve reached the point of no return and proceeded to barrel past it. Again, this is Alice tumbling down the rabbit hole, and Bilbo tearing out of his comfortable hole to chase after the dwarves. The call to adventure has been both heard, and heeded.

ACT TWO: Heading Uphill

Image by J.R.R. Tolkien

Hatching a Plan
This is when the protagonist first takes ownership of their circumstances. Previously, they’ve been responding to external movers. Now, as their adventure really begins they must decide what their role will be in the new realm they’ve entered. This stage will echo throughout the remainder of the story, as it involves the main character committing to a certain vision of themselves and their place in the world. The vision can be wrong or right, or a bit of both. This is Bilbo choosing to become the burglar the dwarves hired him as when faced by the trolls; it is Alice drinking her first potion and fundamentally altering herself in order to navigate the strangeness of Wonderland.

False Calm
The protagonist’s proactive planning and new sense of identity seem to be paying off. They’re coping fairly well with their changing world, and it seems like the vision of self they’ve arrived at is an accurate one. Bilbo is of great use to the dwarves along their journey to the Lonely Mountain, using his self-image as a burglar to rescue them on multiple occasions. Alice uses her shape-altering capacity to move throughout Wonderland, meeting odd and interesting creatures.

Storm Clouds Build
Uncertainty begins to mar the protagonist’s competence and confidence, and signs point towards greater conflict to come. Things are set in motion that cannot be undone, and that the main character will have to reckon with before the end. They have nearly reached the summit of their uphill climb, and conflict is looming. For instance, Bilbo’s less than friendly encounters with the goblins and wood elves foreshadow the eventual Battle of Five Armies even as he arrives at the Lonely Mountain, and Alice’s meetings with the White Rabbit and Duchess serve as a preview of the tempestuous nature of the Queen of Hearts’ court.

THE CATASTROPHIC MIDPOINT: Gains and Losses

Image by J.R.R. Tolkien

All of the first and second act have been leading to this point. The protagonist must, for the first time, face the major conflict their journey and their current vision of self have been moving them towards. This may end in a total loss, or they may both gain and lose something from the encounter, but it will NOT resolve the plot–this is not climax of the story, but rather the thing that tips the protagonist over an edge to hurtle towards the climax. Likely at this point, the protagonist will learn their initial vision of self was flawed in some way, and requires correction. This is Bilbo successfully facing Smaug in his burglar role, only to pridefully raise his ire and indirectly cause the destruction of Lake Town; it is Alice finally getting through the little door to the beautiful garden only to find not the peace she sought, but the pettiness and danger of the Queen of Hearts’ entourage.

ACT THREE: Careening Downhill

Image by Sir John Tenniel

Initial Failures
Just as initial stakes pushed the protagonist towards a fundamental change, initial failures now push them towards a need to expand their understanding of the world and their place in it. They are faced with the consequences of attempting to overcome their major obstacle while harboring a flawed or incomplete sense of self. Bilbo, until now operating primarily as a burglar, sees Lake Town destroyed and the dwarves and others consumed by greed for the treasures he’s made accessible. Alice has a terrible time at the croquet game, is unable to use her skills to succeed at it, and begins to realize that Wonderland is truly a lawless and illogical place.

Dark Night of the Soul
The weight of carrying a flawed understanding of self, and of weathering the catastrophic midpoint followed by further failures, wears the protagonist down. They are defeated not only externally but internally at this point. This is their “all is lost” and “abandon hope” moment. But is just that–only a moment, and it must cause a greater understanding of their role in the new world as they reckon with their failures. This is Bilbo’s increasing unhappiness with the decisions of the dwarves as he realizes they’re making many unnecessary enemies, but that he’s tied his fate to theirs; it is Alice thinking she’s at last found sensible and sympathetic allies in the Mock Turtle and the Gryphon only to fail to understand them at all.

ACT FOUR: Crash-Landing and Reconstruction

Image by Sir John Tenniel

The Bitter Dawn
Armed with a new understanding of self that is informed by their failures as well as their successes and personal agency, the protagonist once again takes their fate into their own hands. The Bitter Dawn is the fulfillment of The Lock In in Act One: where they initially chose adventure and conflict, now they choose to move towards resolution, no matter the cost. This is Bilbo turning his burglary skills against the dwarves and attempting to trade the Arkenstone for what he now knows he truly values: peace and song and friendship. It is Alice returning to the Queen of Hearts’ court for the Knave’s trial, and attempting to bring order to the chaos at hand despite her own confusion.

Victory
The protagonist’s new sense of self is cemented by their sacrifice during the Bitter Dawn, enabling them to finally prevail over the forces arrayed against them. Frustratingly, Bilbo is robbed of active participation in the Battle of the Five Armies, but his overtures in the name of peace and his previous encounters with goblins force a victorious alliance between the humans, dwarves and elves, and his decision to leave the dwarven stronghold to seek peace arguably saves his life. Alice realizes that she does not require external agents to control her destiny in Wonderland, and that she can impose order on the looming chaos. She alters her size without help, and scatters the threatening army of cards.

The New World
With victory obtained, we are given a brief glimpse of the protagonist’s post-adventure life, mirroring our vision of the Old World in Act One. We see what has irrevocably changed, and what has stayed the same. Bilbo returns to Hobbiton, where he still enjoys his creature comforts but keeps very different company and is perceived very differently than before. Alice returns to her dull existence, but we realize that sleepy circumstances will never dampen the fire of her vivid imagination. All is as it was; all is fundamentally different. And so our story draws to a close

*****************

There you have it! A recipe, a template, an outline for Four Act Structure and an end to saggy story middles. I hope this proves helpful to at least some of you–may all your plots be cohesive, all your pacing airtight, and all your character development flawless <3


News, Publishing Miscellanea

A Rush of Wings Cover Reveal Plus Excerpt!!!

Today, I’m absolutely thrilled to be revealing the cover for my third YA novel, A Rush of Wings. Ever since I was a tiny girl, listening repeatedly to an audio version of Hans Christian Andersen’s fairytale The Wild Swans, I’ve been fascinated by the classic story of a devoted sister, her cursed brothers, and the daunting task she must undertake to set them free. As a teen, I tried to adapt the narrative and make it my own several times. But it wasn’t until years later, when I began to envision the events taking place against the backdrop of the rugged Scottish Highlands, that it truly came into its own. Without further ado, A Rush of Wings

Rowenna Winthrop has always known there’s magic within her. But though she hears voices on the wind and possesses unusual talents, her mother Mairead believes Rowenna lacks discipline, and refuses to teach her the craft that keeps their Scottish village safe. When Mairead dies a sinister death, it seems Rowenna’s one chance to grow into her power has passed. Then, on a fateful, storm-tossed night, Rowenna rescues a handsome stranger named Gawen from a shipwreck, and her mother miraculously returns from the dead. Or so it appears.

This resurrected Mairead is nothing like the old one: to hide her new and monstrous nature, she turns Rowenna’s brothers and Gawen into swans and robs Rowenna of her voice. Forced to flee, Rowenna travels to the city of Inverness to find a way to break the curse. But monsters take many forms, and in Inverness Rowenna is soon caught in a web of strangers who want to use her raw magic for their own gain. If she wishes to save herself and the people she loves most, Rowenna will have to take her fate into her own hands, and unlock the power that has evaded her for so long.

Here is Rowenna herself and her swan-cursed boys, in all their tumultuous glory. I could not be more thrilled about how the cover artist, Kim Ekdahl, has captured Rowenna and the individual nature of each of the boys in her care.

Cover art by Kim Ekdahl, Design by Debra Sfetsios-Conover

You can add A Rush of Wings to your reading list on Goodreads or Storygraph!

And lastly, if like me, you’re the sort who likes to sample the merchandise before you buy it, well, discerning reader, I have an excerpt just for you 😉

A RUSH OF WINGS

Prologue

“When will you show me how to do that?” Rowenna Winthrop asked her mother. She was newly turned nine, and Mairead had been promising for years to teach her the secret of working craft.

They were out on the headland beyond the village of Neadeala, where the cliffs grew steep, dropping from a breakneck height to narrow spits of shingle where waves shattered and foamed. Mairead had a shovel with her, and was digging up stones, which she laid in waist-high cairns and infused with protective power.

“Not yet, love. Not for awhile,” Mairead said absently, but a frown drew her golden brows together. Rowenna flushed with shame—she knew what her mother was thinking of. Only that morning Rowenna had let her brother Duncan, the closest to her in age, tease her into a towering passion. She’d thrown herself at him, pummeling her brother with her small fists while he only laughed.

“If I could, I’d string you up by your toes,” Rowenna had hissed at Duncan. “I’d skin you alive and pull your guts out and feed them to the cliff wyverns. That’d teach you a lesson.”

Mairead, fair-haired and forever composed, had overheard it all from across the single long room of the Winthrop’s cottage. She’d been standing before the tall, warp-weighted loom at which she wove fine woolen broadcloth to sell. Her hand holding the shuttle stilled at Rowenna’s sharp words, but she’d said nothing—just taken it all in and carried on with her work.

Rowenna knew, though, that this was why Mairead would not teach her craft—the making of stone cairns into wards, and the fashioning of green and growing things into charms or possets. You must have control of yourself in order to work with power, Mairead reminded Rowenna often.

And Rowenna knew Mairead saw no signs of that control in her yet.

“Maybe next year?” Rowenna asked hopefully, and Mairead smiled, her cornflower blue gaze soft with affection.

“Aye, love. Maybe next year.”

~~~~~~~~~~

“Do you think I’m ready now?” Rowenna asked, trying vainly to keep impatience from creeping into her words. It was midsummer of her thirteenth year, and two summers back she’d begun to hear the voice of the wind. It made little sense to her, but Mairead had told Rowenna it was a good sign, that she’d work powerful craft when her time came, for a piece of nature itself had chosen to be her ally.

Yet her time never seemed to come.

Once again, they were on the cliffs, but today they kept near home. The Winthrops’ stone cottage stood a hundred yards away, smoke spiraling from the chimney. A shaggy cow cropped grass at the end of a picket and Rowenna’s youngest brother Finn, who was only two, lay napping on a blanket in the sun.

Mairead, who’d been burying iron nails at intervals in the rich peat soil, straightened and glanced at Rowenna.

“What did George Groom say to you on Sunday after church?” she asked. “I know he can be a difficult lad—Duncan’s fought with him a dozen times if he’s done it once.”

Rowenna looked down at her feet.

“Enna,” Mairead coaxed. “What did the boy say?”

“He said you’re a witch,” Rowenna answered reluctantly. “And that I must be a witch too. Not just that, either—he said…”

She faltered. But Mairead was waiting, her beautiful face mild and expectant.

“He said I must be the spawn of a union between you and the devil himself, because I look nothing like you or my brothers or like Athair,” Rowenna finished, using the Gaidhlig for father as was her practice.

“I’m sorry,” Mairead said. Pity underpinned the words, but with a sickening drop of her stomach, Rowenna guessed what would come next. Her mother was too shrewd and too clever by far.

“What did you say in reply?” Mairead asked. There was no accusation in the question. It was just an inquiry after fact, but Rowenna felt pinned down, like a gutted herring staked out to dry.

“I said he was right and that I’d lay a curse on him,” Rowenna replied. “I told George I’d ask the devil, my father, to drag him down to hell for fighting with Duncan and speaking ill of you.”

Even now, she couldn’t keep a note of anger from ringing out with her words. How dare George say such things, when everyone knew how hard the Winthrops worked, and that the Grooms were shiftless and lazy, the whole lot of them?

“Hm.” Mairead took an iron nail from her apron pocket and set it into the earth. “Go check on Finn, won’t you, love? I think he’s waking.”

And Rowenna knew she should not ask about craft again for some time.

~~~~~~~~~~

“I’m fifteen today,” Rowenna said desperately to Mairead as they stood side by side, washing the breakfast dishes. “Athair reminded me this morning before he left.”

There were English soldiers billeted at a few of the homes in Neadeala, and Rowenna’s father Cam was in a rage about it, though no troops had come to the Winthrop cot on its lonely clifftop. Cam had kissed Rowenna upon waking, and told her happy birthday, and gone straightaway to Laird Sutherland to see what could be done about the redcoats in the village.

Likely nothing, Rowenna knew. Ever since the English king had sent his youngest half-brother to Inverness to be rid of him, small battles and uprisings had sparked intermittently across the Highlands, like so many torches guttering to life only to be snuffed out. The boy in Inverness was ambitious, folk said, and determined to set up a court to rival that of his kin in the south. He’d come with troops of his own, and Rowenna had overheard Cam say time and again that the Highlands were a scapegoat England had used to avoid yet another bloody civil war.

But they were not used to servitude in this wild and free place. Fealty to a laird was one thing. The tyranny of a distant king’s inconvenient relation and the yoke of bondage that came with him was quite another. In the Highlands, that could not be borne.

“Fifteen today!” Mairead gasped, her face lighting at the reminder. “So you are. I’m sorry it slipped my mind with all that’s going on. Poor Enna, scrubbing the porridge pot on her birthday. Dry your hands and come sit a moment with me—the dishes will keep.”

Obediently, Rowenna wiped her hands and let herself be drawn over to the hearth, where Mairead settled into a rocking chair and Rowenna sat on the floor, resting her head against her mother’s knees. Mairead ran one hand over Rowenna’s black hair and the girl shut her eyes, knowing what would come next. It was tradition between them, that every year Mairead would recount the story of Rowenna’s birth.

“The night you were born, the sea raged at our shores,” Mairead began, and Rowenna smiled. She knew this story by heart, but loved to hear it told. “I’d never seen weather to match it—the waves beat so hard at the cliffs that their spray hit against our windows, along with the rain. It was as if the ocean and I had chosen to make war with each other, both of us laboring away as the night dragged on. Finally, near dawn, you slipped into the world. But as you did, the breakers below the cliffs surged so high and the wind gusted so fiercely, one of the storm shutters tore from its hinges. When the midwife held you up to the lantern to look at you, salt spray caught you full in the face. You squalled at the sea and the sea squalled back, and that was your first baptism, by the wind and the ocean, before ever a priest laid hands on you.”

Mairead’s touch was gentle as she combed through Rowenna’s hair. Opening her eyes, Rowenna stared at the peat embers burning on the hearth, and gathered her courage.

“All I want this year is for you to teach me our craft,” she said, and regretted the words the moment they’d left her. Once she’d spoken her heart’s wish, it could not be unsaid.

Mairead’s hands stilled, and Rowenna knew at once that the answer would be no again.

“I saw you,” Mairead told her, and a hint of reproach crept into her mother’s gentle voice. “I saw you in the village, Rowenna, when that redcoat passed you by.”

Ice lodged itself in the pit of Rowenna’s stomach. Only the day before she’d gone into Neadeala with Mairead, to buy sugar and lamp oil. One of the billeted redcoats had brushed against Rowenna and said something foul as he did.

The wind had been rustling about her, restless and longing, murmuring over and over to itself in its senseless way.

Rowenna Rowenna Rowenna, our love, our own, our light.

And Rowenna, who had not yet received a moment’s instruction in craft, yielded to temptation and tried to curse the redcoat. With one piece of her, she reached out to the wind, and with the other she focused all her hurt and spite and shame on the retreating soldier. What she wanted to bring about with her unschooled craft, she didn’t know. But she longed to sting, as she had been stung. She’d found herself spineless and powerless, though, and that had cut her deeper than even the redcoat’s words.

“I can’t teach you yet,” Mairead said decidedly. “But you must keep asking, my saltwater girl.”

Her hands began to move again, once more running through Rowenna’s hair. “Even rock wears away before saltwater in the end. One day, you’ll be ready.”

Rowenna was relieved to have her mother at her back, so that Mairead could not see the hot tears yet another dismissal brought to her eyes. For the first time, despair washed over the girl. She would never be free of anger. If that was the requirement for learning craft, then she’d have to live all her life in ignorance, and cut off this part of herself entirely.

“Yes, Mathair,” she said dully. “I can wait.”

But in her heart of hearts, Rowenna knew she would not be able to bring herself to ask for her mother’s help again.

Chapter One

Three Years Later

Rowenna found her mother on the clifftops to the northeast of the Winthrop cottage. It was a storm-tossed March night—the sky was a boil of approaching thunderheads, and Mairead Winthrop crouched on her hands and knees, scrabbling for stones in the scant, unyielding earth of the cliffs.

It hadn’t been hard for Rowenna to find Mairead. A nameless something, a pull at her bones, had alerted her to the fact that her mother was missing and drawn her here. The untapped craft within Rowenna led her places of its own accord with increasing frequency now, but she said nothing of it to anyone, and ignored the call when she could. Mairead had made it clear enough that Rowenna was ill-suited for this sort of work, and too undisciplined for power. And Rowenna had resolved not to grasp for power if that was so. If she had to wait a lifetime to be taught her craft, then wait she would, even if the wordless pulls and yearnings within her tore her apart.

Mathair, come inside,” Rowenna begged. “This is no weather to be out in.”

Anxious things clawed at the insides of her ribcage at the sight of Mairead. The oncoming storm hadn’t yet swallowed up the last grey light of dusk, and she could see that her mother was filthy. Dark soil stained Mairead’s clothes and clung to her skin, and her nails were broken and bloodied from wrestling with rocks she’d dug up and built into a lopsided cairn. Far below them, the angry sea worried away at the cliffs, its constant muttering having built up to a discontented roar.

Whatever Mairead was doing, Rowenna did not understand it. All her life she’d sat by observing her mother’s craft, trying to still the shards of it that lurked beneath her own skin until such a time as she was deemed ready. An all too familiar sense of frustration and confusion washed over Rowenna, bitter enough for her to choke on.

“Go home, Enna,” Mairead pleaded. “There’s nothing you can do to help.”

Rowenna stayed as she was, wracked with indecision.

You’re not ready yet, Mairead had told her so many times, with or without words. Perhaps you never will be.

But there was hunger in Rowenna Winthrop, no matter how she strove to keep it in check. A hunger to know her inexplicable pieces better. A starveling desire to be whole and understood, even if only by herself.

“Enna!” Mairead insisted.

Rather than do as she was bid, Rowenna sank to her knees at her mother’s side. A cold, fitful rain was starting up, and she knew if her father, Cam, had been there, he’d have dealt with this very differently. If he’d been home, he’d have coaxed Mairead in out of this weather, taking her back to the Winthrop cot and warming her by the fire. He’d have soothed her with quiet words and his steadfast presence, the way he’d done for all of the Winthrops at one time or another.

But Cam was gone and had been for months. The English tyrant in Inverness still kept his upstart and unwanted court, and the disparate sparks of rebellion had been fanned to full flame by his cruelty. Cam had left to join the Highlands uprising, and in his absence, there was only Rowenna to manage Mairead’s fey moods, for her brothers found them entirely unnerving. Well, so did Rowenna, but she did not have the luxury of casting off her mother’s care onto someone else.

Setting her lantern down, Rowenna pushed up the sleeves of her oilskin and slowly began to dig at Mairead’s side. It seemed simple enough—to pull rocks from the earth. There was no craft in that on its own. No witchwork. Her mother was sobbing with fear, the whites of her eyes gleaming in the lantern’s feeble glow. It was catching, that fear, and however benign the work, soon Rowenna’s belly roiled with nerves. She’d seen Mairead compelled to do things before—to build her cairns on the clifftops at the solstices and equinoxes; to spin yarn and knit new pullovers for every one of the Winthrop boys well before their old clothes had worn out.

But none of it had ever been like this.

This wasn’t just a compulsion. This was raw panic.

The wind died down for a moment, and Rowenna realized with a chill that the strange, rhythmic sound she’d heard beneath the gale was not the omnipresent sea, breaking against the shore, but Mairead herself. Her lips moved constantly as she muttered the words of the Our Father, over and over again as she worked.

Our Father, who art in Heaven
Hallowed be Thy name
Thy kingdom come, Thy will be done…
Deliver us from evil
Deliver us from evil
Deliver us from evil


Mathair?” Rowenna finally managed to get the word out. She pried a rock free from the iron-hard earth and handed it to Mairead, who took it with a shamefaced look. “What is it you’re afraid of? What are you doing? And how can I help?”

It was the first time in three years that Rowenna had put a question to her mother about the nature of her work.

Mairead glanced towards the sea, her eyes owl-like in the gloom.

“I’m making a ward,” she said. “A hedge against the devil and his creatures. A work of protection, built of hard stone and unshakeable intent.”

Rowenna’s throat tightened and she let the mud-slick rock she held fall from her hands. “I can’t help you then. I don’t know how to make a ward. You know that.”

“Just go,” Mairead ordered, her voice ragged with despair. “Please, Enna. There’s nothing you can do here.”

Slowly, Rowenna got to her feet and looked down at Mairead. And despite her own ignorance, despite the mistrust that had driven a wedge between them, Rowenna loved her. Loved Mairead with a fierceness and wildness made sharper by the tension of knowing her mother saw her as too quick-tempered to help in this work.

“Come with me,” Rowenna pleaded. “Whatever you’re doing can wait. No one’s asked you to take on the burden of protecting this land—it’s too much, and you’ll get no thanks for it in the end. Leave it, and come home.”

When Mairead looked up, there were tears shining in her eyes, but she shook her head. “I can’t, Enna. I just can’t. Someday you’ll understand.”

That cut Rowenna to the quick, because were it not for Mairead’s resistance, she’d understand already. All around them, the wind keened across the moorland, repeating stormy words in a hollow, rain-sodden lament.

She comes, she comes, she comes.

Scrambling to her feet, Mairead disappeared into the deepening twilight. Wind howled over the cliffs and set the rain to stinging like bees by the time she returned. Rowenna glanced up and a strangled gasp escaped her, for under one arm her mother bore an incongruous burden—a great white trumpeter swan, the creature oddly quiescent with Mairead’s hand covering its eyes. Rain beaded off its soft plumage, and its neck arched gracefully.

“What are you—” Rowenna began, but Mairead shook her head. She set the swan down atop the completed cairn, and the bird stood up, ruffling its feathers.

Eala,” Mairead said, calling the bird by its name in Gaidhlig. “For years I’ve helped your kind on their long journeys across the sea. Now I stand here in need of an offering from something wild and pure to make fast my ward, and protect this land. Will you do as I ask? Will you help me?”

Rowenna shivered as the swan bowed low. Since she was a child, she’d fed the swans with her mother when they stopped in their wandering from north to south. A handful of times, when birds arrived exhausted or injured, she and Mairead had taken them in, tending to them at the Winthrop hearth until they were well enough to carry on.

Mairead bowed back. “Thank you, beloved.”

But when Mairead reached into the pocket of her overskirt and pulled out a sheathed gutting knife, Rowenna could watch no longer. It was one thing to be up on the cliffs laying out wards in a gathering storm. To do harm to a living creature with this strange work, though—that was more than even Rowenna with her hunger had ever wanted. That felt like darkness.

Her eldest brother Liam with his priest’s leanings would have a thing or two to say about all this. Ungodly, he’d call it. Unforgivable.

“No, Mathair,” Rowenna said breathlessly, hurrying forward and taking hold of Mairead’s arm. “Surely there’s another way to finish your work.”

“Enna, I asked you to go for a reason. But it’s only a little blood,” Mairead assured her, quieter and calmer now that her work seemed to be near-finished. “Just a drop or two. The swan will be fine, love. We’ve done it before, the swans and me.”

“You’ve done this before?” The knowing that her mother had repeated this ritual in secret burned through Rowenna. It was as if an entire other life existed, beyond the one Rowenna knew, and Mairead had struggled to keep her out of it. Yet it should be hers by rights—didn’t her bones cry out for power and craft, just as her mother’s did?

Betrayal made Rowenna angry, and she chose her words with the intent of wounding.

“I didn’t realize that all this time, you’ve been just what they say you are in the village.” Rowenna spoke with defiance, and for the first time that she could remember, Mairead met her sharpness with answering anger.

“Say the word if you’re bent on doing harm,” Rowenna’s mother snapped.

“You know what it is,” Rowenna answered.

“I do. But I want you to speak it.”

Rowenna drew herself up. “They call you a witch. And they call me a witch too, though I’ve none of the craft of one. I bear all the blame, and none of the power.”

Her voice wavered a little at the last, and Mairead winced.

“Enna, I’m sorry,” she said, her words hardly audible over the wind’s cries. “I’m sorry I was cross with you and I’m sorry for what they say. I didn’t want any of this for you. Believe me when I tell you that all I’ve ever wanted is to keep you and our village safe.”

“Then let me help in earnest,” Rowenna pleaded. “Show me what needs to be done. Teach me. We’ll finish this work together, and when it’s complete we can go home together, too. The boys are waiting. Finn’s asleep, but Liam will read aloud, and you and I can help Duncan untangle his nets. Then in the morning, let me keep helping you, Mathair. Stop trying to cut me off from who we are and what we can do.”

Mairead hesitated, glancing from the swan to Rowenna and back again.

“You’re a good lass, Enna,” she said. “Truly you are. I don’t know what your father and I have done to deserve you, my saltwater girl.”

Rowenna swallowed back tears and waited, hardly daring to breathe.

“Alright,” Mairead said at last. “I need you to show me your courage now, if you’re to be a help.”
Still standing on the cairn, the swan regarded them both with knowing dark eyes. But as Mairead and Rowenna turned to it, something startled the creature. It half-ran, half-flew past them, wings buffeting the air as it fled.

Eala!” Mairead called, and started after the swan. “Don’t leave me. Our work’s not done!”

From somewhere in the gathering dark, the creature let out a riotous trumpeting which echoed off the stormy cliffsides. Rowenna ran after Mairead who chased the swan, until abruptly, the clamorous sounds of the white bird were cut off. Mairead froze, and Rowenna fell still at her side.

“What is it, Mathair?” Rowenna asked, her voice little more than a whisper that the wind caught and carried away.

“I don’t know.” Mairead shook her head. “I don’t know, but my work will have to stay unfinished. We’ll be safest at home now. Come with me, and hurry.”

She grasped Rowenna’s hand and pulled her along, and Rowenna went willingly, heart beating so hard within her that it hurt.

They were just passing Iteag Burn, where a stream rushed over the cliff face and down a steep track to the sea, when Rowenna tripped and nearly stumbled. Pausing, she lowered her lantern only to find one of Mairead’s cairns in a scattered heap. Atop what remained of it lay a shapeless white and crimson object.

Rowenna’s pulse quickened, and for a moment her breath refused to come.

“Is that your swan?” she finally managed to get out.

Without answering, Mairead stepped forward. When she set a hand on the white shape, the once-elegant head and neck of the swan lolled over her broken ward. The creature’s breast feathers were sodden with gore, for it had been torn apart, its ribcage split and all the soft and vital pieces inside stolen, so that it was no more than an empty husk. No more than the twisted idea of a bird, rather than the thing itself.

“What did this, Mathair?

She comes, she comes, she comes, the wind sang desperately to Rowenna, as unreasoning fear woke inside the girl.

“I won’t speak the name of the thing that’s done this. Not here, not tonight,” Rowenna’s mother said with a tense shake of her head. “But I mustn’t leave the bird, not when it would have offered me blood to keep us safe. I must at least give it back to the sea.”

Mairead glanced at Rowenna, and the girl’s chest ached with fierce devotion, and with familiar hunger and longing.

“I think I’ve been wrong, to keep you in the dark,” Mairead said slowly. “And I think you’re ready. You are who you are, and there’s no changing that. We’ll work together from now on, my saltwater girl. Just as soon as we get through this night.”

When she pressed a kiss to Rowenna’s forehead, it felt like a benediction. Like a new beginning. Like the moment Rowenna had waited for all her life.

Mairead bundled up the broken swan and carried it to the edge of the cliff. There she lingered, murmuring something to the lifeless bird, but her voice was stolen by the wind. Toeing blank space with the breakers pounding endlessly against the shore below, she let the dead swan slip from her arms. There was a flash of white, and the darkness and the distance swallowed the creature up.

At last Mairead turned back to her daughter, and to the blur of the Highlands, shrouded in stinging rain. She reached out, and for the briefest, tantalizing moment, her fingers brushed warm against Rowenna’s own.

In spite of the storm, Rowenna smiled, overcome by a surge of pure relief. Things would be better now that they’d come to an understanding. Mairead smiled back, and for a moment Rowenna’s fear quieted.

Then with a strangled cry Mairead was torn away, as something reached out of the darkness and dragged her down the wet and treacherous track of the burn.

I hope you enjoyed this sneak peek at A Rush of Wings! As we head towards fall, I’ll be running an exciting preorder campaign, so keep watching this space or subscribe to my newsletter for updates.

Wishing you love and light, health and happiness,
~Laura

Publishing Miscellanea

How I Got My Agent

Alternate title: On Never Giving Up, But Maybe Moving On.

Alternate alternate title: Why You Should Write The Book Of Your Heart.

Four years ago, I started writing a book. I’d been writing fiction regularly for a decade at that point, though only actually finished one (never to be read) MS before. So I started something new, and it took me two years, but I plowed through and finished the first draft. After that I spent a year on revisions. I did everything right–I found other writers to swap work with, I work-shopped my first chapter, I learned to write and rewrite (and rewrite again) a query letter. When I’d finished and had something I was really proud of, I entered Pitch Wars 2015.

The experience of entering Pitch Wars was amazing. I got connected with so many incredible writers who I remain in contact with today. I found my incomparably fantastic CPs (hi Jen! hi Joanna!), one directly and one indirectly, through Pitch Wars. And waiting to hear back from the mentors I’d submitted to was great practice for querying.

I didn’t have long to wait. Soon, I had three mentor requests come in. One mentor in particular read my full and let me know she was deliberating between my book and only one other. I waited until Reveal Day and…

Didn’t make it into Pitch Wars 2015.

However, Sarah Marsh, the brilliant mentor who’d been considering my work, sent me an email letting me know that while she loved my story, the changes she thought it needed would likely take longer than the Pitch Wars window to implement. The thing is, she saw so much potential in my story, and is so generous and awesome (you can buy her debut novel here or follow her on Twitter here) that while I wasn’t chosen as her mentee, she still sent me a full set of revision notes, and helped me with the entire revision process, for both my MS and my query.

Sarah, you are my significantly more attractive Yoda.

By the beginning of 2016, I’d torn my book apart and almost completely rewritten it. The story was faster-paced, the characters were better developed, and I was ready to query. So I sent out those first tentative queries.

And I got requests.

I had a pretty reasonable request rate, and received a lot of kind feedback from agents, but they all told me the same thing. They loved the actual writing, and my characters, but didn’t think my story line was original enough to compete in such a competitive market. Business is booming in YA Fantasy, after all.

I kept doggedly querying, but because I’ve always been the kid who does all her homework, I started a new MS. That is, after all, what you’re supposed to do. I had an idea, sparked by an editor’s MSWL post, and it took hold of my heart. I didn’t know if it was saleable, didn’t know if anyone would love it but me, and thought the format I was using might be a little too Out There. However, Sarah, the aforementioned attractive Yoda, advised me to write what I want to write and not worry about the end result. I took her advice, and I wrote the Book of My Heart.

I’d nearly finished the first draft when I got an R&R on the other MS I was querying.

So, I set Book of My Heart aside, and went back to work on MS1. I tore it apart again, and put it back together. Then I returned it to the agent who’d made the suggestions, and sent a few new queries to others. I got requests, again. I got the same feedback, again. “We love it, but it doesn’t stand out.” As a last ditch effort, I entered that MS in Pitch Wars again.

Second verse, same as the first. I had lots of mentor interest, just not quite enough.

While that feedback was coming in, I finished Book of My Heart. It poured out of me in a matter of months, and revisions went equally quickly. I sent it to CPs, who adored it. And finally, I decided it was time.

By this point, I’d been working on MS1 for four years. It had gone through 18 drafts, including all the minor tweaks, and two MAJOR revisions. It had been through Pitch Wars twice, and been seen by all kinds of wonderful agents. The feedback it had garnered wasn’t completely negative, but it just wasn’t there yet, and honestly, I wasn’t sure how to change it in such a way that it would stand out more amongst its competitors.

Reluctantly, I withdrew outstanding queries on MS1, which I’d spent years, time, and so much energy on. I did so to clear the slate before I started querying weird, wistful, maybe unsaleable Book of My Heart instead.

With a fair bit of trepidation, I sent out my first round of queries for Book of My Heart. When I received requests, I tried not to get my hopes up. I’d had requests come in before, only to be disappointed.

Ten days after sending out my initial batch of queries, I received an offer.

I ended up fielding multiple offers on that book I love so fiercely but had been so unsure about, and in the end, I signed with Lauren Spieller from Triada US, who is smart, determined, energetic, and also loves my odd little book. I’ve never heard of an agent working quite as hard as Lauren did to convince me to  choose her, and I’m over the moon that we’re now working together!

None of this would have happened if I hadn’t decided it was time to set aside that first MS and focus on something new. It can be a wrench to take a break from something you love and have worked so hard on, but there’s more than one story in you. There’s a vast well of them, and each one will only be stronger for the experience you had writing the one before. Never stop telling yourself “if not this book, then another.”

<3 Laura

PS: Book of My Heart, which I queried with such uncertainty, spent less than 24 hours on submission before going to auction. In Fall 2018, you’ll be able to read it under the title The Vanishing Kingdom, and I’m thrilled to be able to share it with you all.