Lori Devoti, paranormal romance and urban fantasy author

I have a photo shoot coming up on Monday. It’s for an article in a local paper about my (soon to be released :) ) urban fantasy novel, Amazon Ink. Note the “ink.” That word’s important because the Amazons (also important) in my book own a tattoo shop.

Knowing this I shouldn’t have been surprised when the editor said they wanted to take the picture at a local tattoo shop, but for some reason I was. In my mind I was going to be trotting into a nice personality-free room at the newspaper. I know exactly what said room would look like with it’s big pull down paper background and I was comfortable with that. But when he said tattoo shop, I thought “Crap.” I’m being honest here; that is what I thought. “I have to think about what to wear!”

Here’s why. Studio shots are like the room they are taken in, sterile. You can wear anything you like. But on site? Well, it needs to “go” with the site, but it also has to “go” with you. Or at least I think it should. I really do not want to look like a poser. So, whatever I wear has to look appropriate for both a tattoo shop and me. And quite honestly while I love tattoos and loved that aspect of my book, I don’t hang out at a lot of tattoo shops. So, my outfit now required thought.

For what it is worth, I’ve given it thought and have come up with what I think fits the bill. When the picture runs, I’ll try and post a link and you can all tell me if I made a hit or a miss.

In the meantime, how do you feel about “themed” author photos–the Scottish historical author who poses with a sword (I could have done that, there’s a sword on my cover), the dog mystery author who poses with her dog, or the kick ass urban fantasy author who poses in leather on a Harley? Love ‘em or hate ‘em? What causes you to go one way or the other?

Finding an agent is (in my opinion) one of the hardest and most painful parts of the publishing business. After enduring numerous rejections, writers frequently jump at the first offer and rush forward without thinking everything through–and there is a lot to think through. A BAD agent is approximately three billion times worse than no agent. And a good agent who is just bad for you is also bad….maybe not the three billion times figure, but enough it can stop you from getting where you want to go. Plus, if this type of relationship goes on too long it too can kill your career (so you are back at that three billion).

Now finding a agent who is not only good, but also good for you is a huge topic, but literary agent, Rachelle Gardner, has posted at least one thing every writer thinking of signing with an agent should consider… the author-agent agreement..

And I don’t think she mentions it in this article, but there is a second thing you need to ask to review before signing an agency agreement–the clause they will put in all of your publishing contracts. This is what tells the publisher things like the agent is authorized to receive your payments, but there can be other little hidden jewels in there that you will want to know about upfront. Because, trust me, if a publisher has made an offer on your book and you have a contract in hand–you will not want to have to start arguing with your agent about their inserted bit in that contract. Ask to read it upfront, before you even agree to go with an agency. Second tidbit to watch out for in this bit (probably no longer than one or two paragraphs) is an “in perpetuity” clause. Here is a good article on in perpetuity clauses and why you don’t want them.

Go forth and make good (for you) agent choices!

As I struggle with Amazon Queen’s plot, I’m trolling the Internet. I came across this and thought it might be of use to those of you who are writers. :)

Tameri Guide for Writers: Plot and Story.

Last weekend I was on a panel at OddCon titled People and Animals. It’s a pretty wide topic and the conversation varied a lot, but one thing that came up (Okay, I think I brought it up…) were tricksters.

I love tricksters. For those of you who aren’t familiar with the trickster (or don’t think you are, I’m sure all of you have seen a trickster or two), tricksters are(quoting Terri Windling) “contradictory creatures: they are liars, knaves, rascals, fools, clowns, con men, lechers, and thieves — but they are also culture heroes whose tricks can do great good as well as great harm, and whose stories serve to uphold the very traditions mocked by their antics.” They are also frequently shapeshifters.

In Norse mythology (which I base my Unbound series on) you have the god Loki. Loki is always poking a stick at someone. In Native American lore you have coyote and raven. In African the god Anansi, a spider. Rabbit is also a trickster in various cultures–obvious U.S. examples are Br’er Rabbit and Bugs Bunny. In literature Neil Gaiman had an entire book about the trickster Anansi (Anansi Boys). Terri Windling edited an anthology The Coyote Road and Tony Hillerman wrote the novel Coyote Waits. In Amazon Ink, I use rabbit in the form of an actual rabbit, but I also have a character who plays the trickster role.

The trickster is often seen as mean, but really he is teaching a lesson. Without the trickster, other characters would go unchallenged and without challenge we get comfortable with the status quo. Tricksters promote growth and from an author’s point of view, provide conflict. But they do it in an entertaining way. They don’t walk up and poke a finger in the hero’s chest saying “You need to change.” No, they, knowing the hero’s weaknesses, set him up. They provide the setting for the hero to be his own downfall. And in the end, the hero (hopefully) grows from it.

So, that’s a brief overview of trickster and where you might find him today. Where do you find him, what books, movies and TV shows do you see that still use him, and do you love him or hate him? (As I said at the beginning, you can put my check firmly in the love column.)

Amazon Ink Lori Devoti. Pocket/Juno, $7.99 (384p) ISBN 978-1-4391-5427-4

This intriguing series from urban fantasist Devoti (Dark Crusade) marks Juno’s first outing as a Pocket imprint. A group of Amazon women in present-day America closely guard their extraordinary powers and only interact with men for breeding. Melanippe, who left the Amazons 10 years ago to raise her daughter, runs a Madison, Wis., tattoo parlor and nurses a grudge against the priestess she believes killed her infant son. When two Amazon women are slain and dumped on Mel’s doorstep, their tribe immediately suspect her of the killing. Mel soon wonders who poses the greatest threat to her adolescent daughter: the unknown murderer, the rigidly controlling Amazons or disturbingly attractive and magically skilled tattoo artist Peter Arpada. Mel can be a frustrating sleuth, jumping to conclusions and ignoring obvious clues, but Devoti’s fascinating mix of myth and reality will keep readers engaged. (June)

Note from Lori: Yay! :)

This has been my in-between week. I finished a project last week, including revisions. I have three deadlines between now and November, but I’ve carefully charted each project on my handy calendar and am as confident as I can be that I can make all three deadlines. Which is good, because you really do need time between projects AND you (OK I) really need plotting time.

I’ve written a number of books, and plotted even more. For the first four or so, my process changed with each book. I thought I was incapable of having a process. Then I hit on one that seemed to work for me…for a FEW books. This is where I made a mistake. I tried to force myself to stick with that process because, “HEY, it worked before.” Unfortunately, a book can not be forced. If you try to force a book or any element of a book (characters, romantic connection) it reads like that and I can feel it as I’m writing it. This makes me twitchy. It is way far from fun.

I have three projects to plot and I’m taking bits from the processes that worked before and mixing them into something new. So far its working for me.

I started with the characters, not just their goals, motivations and conflict, but their physical appearances. I did not, however, do the fill in the blank thing–this has never worked for me. Instead I trolled the Internet and found pictures. Then beside each I write the book title, the character’s name and what they are (werewolf, vampire, Amazon queen). From there I open Word and just start typing.

I love this part–this is the story telling part. First I write a short blurb describing each of the main characters–like you might find on the back cover of a book. Then I move on to the actual book–a synopsis. I keep this like back cover copy in tone too, but longer and with an ending and plot twists.

I just tell the story, writing it down as I do. It is FUN. And by doing this I keep from slipping into the analytical part of my brain. I think that is why writers freeze while trying to write synopses. They move out of story-teller mode into business-writing mode. A synopsis is your story–just a boiled down version, don’t get so caught up in the facts, let it flow. Then later when it is on the page you can do exactly what you do with your book…revise.

(FYI, the main difference between this process and my last version is that I was charting turning points before I started the writing. That’s what began to feel forced. I have that form on my web site, if you are interested. It might work for you and even if you do the more story-teller oriented version of this, plugging those pieces in afterwards is a a great way to check and make sure you have them all there. Also the pictures. I used to do that, but then I let my A personality take over and I tried to rush things. To write a book you have to be relaxed. That’s my new mantra. :) )