Book writing: I wrote a book!

If you have been following this blog for a while, you will know that I have been writing a book. Last night I typed the final full stop on the draft manuscript, and today it’s going off to the series editor and the publisher. The work is not yet done – reviews and changes and proofs and all that are still ahead, but guys, I wrote a book!

It feels amazing and oddly anti climatic, a bit like finishing the PhD thesis. In form, the book and the thesis were a lot less alike than I thought they were going to be, but in process they were quite similar. Much to my dismay, it turns out I have not become any better at time management and planning my writing time than I was 5 years ago. Also, while I am better at shushing the Mean Voice that says my writing sucks, I am still quite angsty about whether I have anything to say that people will want to read. So, I wrote a book but in many ways I am still struggling to be a confident writer.

Perhaps this is unsurprising. Reading Helen Sword’s book about how successful academics write, I am struck by truth that learning to be a writer is not a process with an end. Well, death is an end, I suppose. But, what I mean is that there is no point where you go ‘Yes, I am here! I can now write without any imposter syndrome or struggle or fear that my writing is crap – it will all be smooth sailing from here on!’ I think many students have this weird idea that their supervisors just churn out published research and erudite online pieces without any trouble and that they are the only ones who struggle with writing. There’s a lot of self-blame about writing struggles, and this can be hard to manage and overcome, especially without help.

Maybe there are magical academics who write and write without a single moment of self-doubt or fatigue over revisions or wishing they could just stop and not do this anymore. I have not yet met any, but academia is a big place, so who knows? I’m going to go out on a limb here and say that if you have no angst at all about your writing you are probably not doing it fully consciously. By this I mean that all writers, fiction and non-fiction, put themselves into their pages. I write about my research, which I do because it is meaningful to me, part of my identity as a scholar and also as a human. So, when you read my papers and my book(!), you are getting to know me a bit, and what I care about professionally and personally. If I was completely unfazed by any parts of the writing process, I probably wouldn’t be fully connected with it on a personal level, I reckon.

This is probably why I find writing so angsty so often – I’m not writing about something detached from me. If readers and reviewers are really critical, it hurts. If people think my ideas are weak, or wrong, that’s hard to process. If you’ve spent any time writing for publication and sending your work to journals and publishers, you will know that critical feedback is part of the deal. If you have had hurtful feedback already, you will know that it can be hard to come back from in terms of believing in your ideas and continuing to put them out there. I think part of my angst and struggle is often linked to anticipation of criticism. I get ahead of myself and imagine all the disagreement and opposition to my ideas that might be out there before I’ve written it all down, and then I start to doubt myself. I did that far too often with the book, and ended up behind schedule for most of it.

pexels photo 2740956 - Book writing: I wrote a book!

The solution here is to surround yourself with people who genuinely do believe in you. As Lovely Husband said the other day, it (the last bits of the book, in my case) is like climbing Mount Doom, and Frodo could not have done that alone. He needed Sam to help him get there, to keep telling him he could do it. You are Frodo and you need Sams, family, friends and peers who can encourage you, make you tea, share your ideas and offer constructive advice, and keep you going. The trick, when these people tell you that your writing is not crap and that you can do it, is to believe them. You need to pick Sams who you will believe, and whose encouragement and advice will be meaningful to you. I had so many Sams, virtually and in person, and I could not have kept going at points without them. As with my PhD, this part of writing has not changed: you need people with you on this road.

The other solution here is to consciously get out of your own way. I am so good at getting in my own way and getting ahead of myself. I have written the mean reviews for the mean reviewers before I have written a word for them to actually read! I did this a lot during the PhD too, putting feedback into my supervisor’s voice even though I knew that she wouldn’t actually be that mean or that critical and was far more likely to be encouraging even if she thought I should rewrite a whole section, or think harder about my claims. The thing is, you can only write and read and think your way through your project one day, one idea, on sentence at a time. Try to actively bring yourself back when you start freaking out about next month, next year, the next 100 pages. You’ll get there, but you have to go through here first. This has been a huge lesson for me in writing this book.

I think being a more confident writer probably requires a mix of things. I need to keep learning to be conscious of where I am now and where I need to end up with the paper or chapter, but not freaking out and getting ahead of myself so that the writing is tied up in knots before I have started. I need to keep being brave and sharing my writing struggles and my clunky words with my Sams, and try to believe their feedback when it comes, both positive and not. I need to be kind to myself but not let myself off the hook – a little bit of writing and thinking every day is better than nothing; it keeps the ideas from getting away from me and taking on a life of their own.

None of this is new. I have written it all before here, in different words and ways, this just reinforces for me that this writing gig is a lifelong learning process, and that we often have to learn the same lessons over and over in relation to different projects and at different times. I am always going to be learning how to believe in myself and my ideas, and I think doubt is part of the process of becoming a good writer, someone who is conscientious, understands the power of words, and takes this responsibility seriously. But we have to work to keep the doubt in check, so that we can keep writing and working and get the ideas out there for people to agree and disagree with.

Putting your work out there, in any form, is hard. I want everyone to love this book and, like the PhD, I want it to be the best book ever. It won’t be, of course. But, I am so proud of it, and it’s written. It’s a stepping stone to new projects, like the PhD was a stepping stone to this one. This is another thing I am still learning: that every paper, every project is another building block for me, another opportunity for learning, another chance to fail better. This actually helps me – if the PhD or the book is not the only things ever that you will write, you have more chances to do better, to reflect and learn and grow.

87cbb8ca dfb7 4030 b502 764fb9030280 12009 00000288ef7af528 - Book writing: I wrote a book!

I hope some of this helps you to feel less alone, and like you have Sam her, believing in you and your ability and ideas. Everyone struggles, everyone fails, even the most successful and productive writers you know. Their secret is that they don’t let either the success of the failure define them to the point that they stop learning from the struggles, and working out how to keep moving forward. Happy writing, Frodo Baggins. You got this.

find the cost of your paper

Sep 13, Grand Remembrances

Today is Grandparents Day in the United States. Being a Grand is a special honor. I feel very blessed that my wife and I have two grandchildren. We were able to visit them today. Yes, we are still being cautious with the coronavirus, but we also find it very difficult to not see them when they live so close. So today we did drop by to visit Jacob (age 10) and Sophia (age 7) along with their parents. We brought donuts and caught up with them. Our grandchildren are still pretty young and this is a precious time in their lives – and ours!

I wish I had known my grandparents better. We never lived in the same place. Dad was a career Air Force pilot, so we moved around a lot. But we did get to see them once in a while when they would visit us, or we them.

A Plague of Giants

There are five known magical ‘kennings’ or types: air, water, fire, earth, and plants. Each nation specializes in of these kennings, and the magic influences the society. There’s a big pitfall with this diversity of ability and locale–not everyone gets along.

Enter the Hathrim giants, or ‘lavaborn’ whose kenning is fire. Where they live the trees that fuel their fire are long gone, but the giants are definitely not welcome anywhere else. They’re big, they’re violent, and they’re ruthless. When a volcano erupts and they are forced to evacuate, they take the opportunity to relocate. They don’t care that it’s in a place where they aren’t wanted.

I first read Kevin Hearne’s Iron Druid books and loved them (also the quirky The Tales of Pell), so was curious about this new venture, starting with A PLAGUE OF GIANTS. Think Avatar: The Last Airbender meets Jim Butcher’s Codex Alera series. Elemental magic, a variety of races, different lands. And it’s all thrown at you from page one.

But this story is told a little differently. It starts at the end of the war, after a difficult victory, and a bard with earth kenning uses his magic to re-tell the story of the war to a city of refugees. And it’s this movement back and forth in time and between key players in this war that we get a singularly grand view of the war as a whole. Hearne uses this method to great effect.

There are so many interesting characters in this book that I can’t cover them all here. Often in books like this such a large cast of ‘main’ character can make the storytelling suffer, especially since they don’t have a lot of interaction with each other for the first 3/4 of the book–but it doesn’t suffer, thankfully. And the characterization is good enough, despite these short bursts, that by the end we understand these people and care about what happens to them.

If there were a main character it would be Dervan, a historian who is assigned to record (also spy on?) the bard’s stories. He finds himself caught up in machinations he feels unfit to survive. Fintan is the bard from another country, who at first is rather mysterious and his true personality is hidden by the stories he tells; it takes a while to understand him. Gorin Mogen is the leader of the Hathrim giants who decide to find a new land to settle. He’s hard to like, but as far as villains go, you understand his motivations and he can be even a little convincing. There’s Abhi, the son of hunters, who decides hunting isn’t the life for him–and unexpectedly finds himself on a quest for the sixth kenning. And Gondel Vedd, a scholar of linguistics who finds himself tasked with finding a way to communicate with a race of giants never seen before (definitely not Hathrim) and stumbles onto a mystery no one could have guessed: there may be a seventh kenning.

There are other characters, but what makes them all interesting is that they’re regular people (well, maybe not Gorin Mogen or the viceroy–he’s a piece of work) who become heroes in their own little ways, whether it’s the teenage girl who isn’t afraid to share vital information, to the scholars who suddenly find how crucial their minds are to the survival of a nation, to the humble public servants who find bravery when they need it most. This is a story of loss, love, redemption, courage, unity, and overcoming despair to not give up. All very human experiences by simple people who do extraordinary things.

Hearne’s worldbuilding is engaging. He doesn’t bottle feed you, at first it feels like drinking from a hydrant, but then you settle in and pick up things along the way. Then he shows you stuff with a punch to the gut. This is no fluffy world with simple magic without price. All the magic has a price, and more often than not it leads you straight to death’s door. For most people just the seeking of the magic will kill you. I particularly enjoyed the scenes with Ahbi and his discovery of the sixth kenning and everything associated with it. But giants? I mean, really? It isn’t bad enough fighting people who can control fire that you have to add that they’re twice the size of normal people? For Hearne if it’s war, the stakes are pretty high, and it gets ugly.

The benefit of the storytelling style is that the book, despite its length, moves along steadily (Hearne is no novice, here). The bits of story lead you along without annoying cliffhangers (mostly), and I never got bored with the switch between characters. It was easy to move between them, and they were recognizable enough that I got lost or confused. The end of the novel felt a little abrupt, but I guess that has more to do with I was ready for the story to continue, despite the exiting climax.

If you’re looking for epic fantasy with fun storytelling and clever worldbuilding, check out A PLAGUE OF GIANTS.

The post A Plague of Giants appeared first on Elitist Book Reviews.

The Artwork Of Gary Choo

Gary Choo is a concept artist/illustrator based in Singapore. I’ve know Gary for a good many years ( 17, actually ), working together in animation studios in Singapore like Silicon Illusions and Lucasfilm. Gary currently runs an art team at Mighty Bear Games, but when time allows he also draws covers for Marvel comics, and they’re amazing –

The Art Of Gary Choo
The Art Of Gary Choo
The Art Of Gary Choo
The Art Of Gary Choo
The Art Of Gary Choo

To see more of Gary’s work or to engage him for freelance work, head down to his ArtStation.

The post The Art Of Gary Choo appeared first on Halcyon Realms – Art Book Reviews – Anime, Manga, Film, Photography.

27