(How) Do Authors Get Paid?

Listen. All I needed was ONE FRIEND to tell me that an industry-related post explaining royalties would be interesting, and I’m so ready to dive into this topic. The last time I wrote I post like this, I included this disclaimer, that is still true: I’ve been a little self-indulgent here. I love these details, but I hope that even if it’s not usually their jam, readers will be able to use this knowledge to support authors! This post is a massive info dump, but I hope that even if it’s long, it will contribute toward an ongoing goal of mine for more transparency in publishing.

BUT FIRST, before I dive headlong into how authors make their (very small amount of) money from the books that they publish in traditional publishing stream, I’m going to offer up a review of All Boys Aren’t Blue by George M. Johnson, written by our regular contributor Jack (thank you so much!!), and a short review of a simple and queer visual novel I completed recently.

Review of George M. Johnson’s All Boys Aren’t Blue, by Jack

Cover of All Boys Aren’t Blue

The specificity in Johnson’s All Boys Aren’t Blue makes this memoir a survival guide. Johnson explores carving part of themselves in their relationships, community and individual while simultaneously thriving off their duality. It’s the Black Queer joy, Black magic, is skipping rope with your girlfriends and playing football with your father. All Boys Aren’t Blue is an exploration of lived experiences, the linking and unlinking of one’s gender, sexuality, and favorite past times. Johnson’s work is meant to inspire, educate, illustrate, and challenge the stereotypical depictions of Black boys.

Johnson is an activist and writer based in New York who according to Macmillan publishers has written on race, gender, sex, and culture for numerous prominent publications. Their writing experience is evident in their memoir, which is an exploration of gender and sexuality intersecting with race and class; it’s a love letter to intergenerational relationships.

Johnson mentions interpreting their feelings for men as an indication of their gender identity rather than sexuality. Similarly, to how Sara Ahmed connects orientation and orientalism to explore how one physically orients themselves in space and identity, All Boys Aren’t Blue explores how in a world of social constructs, we use often use race and gender as tools of understanding our sexuality.

CW includes but is not limited to violence, misogyny SA, incest, transphobia, and homophobia.

Johnson’s memoir doesn’t shy away from acknowledging their healing journey and demonstrating what accountability looks like. Or how confusing it can be when those who are supposed to love you can harm you. All Boys Aren’t Blue, Johnson’s story, deserves to be heard both in the context of educational generalizations and a memoir. Too often are marginalized authors demonized for not representing or speaking for the collective.

***This is a note regarding representation: no Black Queer person needs to/can represent all our experiences when they write.***

I recommend this memoir to all boys who aren’t blue, to families and kinships who are trying to create communities, Black Queer kids, and adults who deserve to see versions of their story being told. 15+ and up.

All Boys Aren’t Blue is the warmth and comfort one feels when being hugged by someone they love, it’s the presence of community and visibility.

Review: A Hero and a Garden

The banner for the video game A Hero and a Garden

A while back, I posted about having discovered visual novels for the first time, through first buying a Switch Lite to play Animal Crossing in lockdown. Well, if 2020 taught me anything, it taught me that visual and interactive novels are masterful storytelling that’s just as powerful as any book I’ve ever read… and it can be just as super queer, too. A Hero and a Garden is an indie game by npckc available for Switch, PS 4, Android, Windows, Linux, Mac, and Xbox One. In it, you play Cyrus. He was a knight, born and sworn to protect a princess… until she ran away from home to live in a village of monsters. Cyrus went after her, and destroyed the town to save her – only to find that she was actually pretty content, and not in need of saving at all.

The game begins at this point – when Cyrus has been cursed by a local witch to tend a magical fruit garden until he has repaid his debt to the villagers, and helped rebuild their town. This game is super simple and light to play – literally zero pressure – but brings all the feels. As Cyrus helps the town, he learns about the villagers, their lives, their love, and himself. This game doesn’t play into normative expectations when it comes to gender, sexuality, or monogamy. If you’re indulging in a lot of baking shows and slice of life anime right now to get through this weird time in human history, maybe what you need is to pick some berries, and get to know the delightful cast of this very fluffy and sweet, LGBTQ2S+ celebratory game.

The creator of this game has SO MANY OTHER COOL GAMES, and because I don’t usually play on my computer (I spend too much time with this machine as it is – they need a rest every now and then, and so do my eyes!!), I am just very very hopeful that Ratalaika Games will port more of them to Switch ASAP. Take my meagre dollars, I beg of you!!

Let’s Talk About Money

I have previously used this space to write industry-related posts about things like how to best use your purchasing power to support authors through choosing to support the best retail outlets for authors, but it’s been brought to my attention recently that some readers might be interested in a post about another aspect of how money flows from readers to authors in traditional publishing. Once the money goes into a bookshop’s coffers – how does that money make it from the bookshop, via the distributor, back to the publisher, through an agency, and then back to the original creator of the intellectual property that you’re ingesting: the author? One part of the answer to that question is through royalties.

Royalties are used in all kinds of industries, including traditional publishing. In basic terms, royalties are the percentage of money that an author gets from the sale of a book. Any time that a reader buys a new book – not a book that’s purchased second hand, and not a book that’s remaindered – but a brand new book, the book’s author generally gets a little bit of money from that sale. That applies to all formats: hardcover, paperback, mass market, special edition, eBook, and audio. The one notable exception to that (that I can think of) would be if the book was written on a Work For Hire contract, and that contract included a fixed rate, but no royalties. That happens most commonly, in my experience, in a licensed content situation, which you can learn more about by watching the video below, by Alexa Donne 👇🏼

A YouTube video called WHAT IS IP IN PUBLISHING?

The amount of royalties that an author will get depends on a LOT of different factors. Some of these might include the size of the publisher, the size of the imprint, the values of the publisher/imprint, the negotiating power that an author’s agent or agency has with a particular publisher, the author’s platform and their past publication history or track record, the economy in general – the list goes on and on.

From here, the information that you want to know may depend on your positionality a little bit – so I’m going to split the rest of this post into two sections. The section that follows is probably most relevant to authors. If you’re not interested in the back end of how royalties come together, but you are a reader who wants to know how to best spend their money to support creators, skip to the next section!


For authors…

Royalties are negotiated individually on every book deal between either an author or their agent, and the publisher, and are often based on what are called boilerplate contracts. These are standard template contracts that publishers have in place that serve as the starting point for negotiation – and they vary between agencies and publishers. If an author is lucky enough to be represented by an agency with a long history, their boilerplates with publishers will be well-established, and that often means that authors can receive more royalties than if they are unrepresented, or if they are part of a newer literary agency who has yet to establish standards with different imprints around the world.

That said, like most things, there are some industry standards. For a deep dive into these, I recommend checking out the Writers’ Union of Canada’s royalty math page, but the basic numbers are these: for hardcovers, 10% of the cover price on the first 5,000 copies sold, 12.5% on the next 5,000, and 15% thereafter; for paperback, 7.5% of the cover price, and for eBooks, 25% of the publisher’s net receipts. For more information on retail versus net royalties, check out this post from Alexander Field at the Bindery. It’s important to know that most publishers, while they will compete on advances, do not typically compete with each other on royalties.

If you want to know more about the publishing process and where contract negotiations fit into it, there are three resources I recommend: one from Bloomsbury, a guide to the publishing process; one from blogger Rachel Kent for Books&Such Literary Management, about the publishing timeline; and one from KN Literary Arts, a publishing timeline for first-time authors.

Photo by lucas Favre on Unsplash

The other big question that authors tend to have is when do I actually get my royalties? The answer is, as soon as you earn out your advance. It’s always a difficult balance to strike as an agent when you’re advocating for an author: do you negotiate for as high an advance as you can manage, or do you go more modestly on the advance so that the author starts getting royalties sooner? Royalties are a more sustainable form of income for an author, and the higher the advance payment they receive, the less likely it is that they will ever see those payments, in this economy. Let’s take a recent release as an example.

As I write this, Shadow and Bone by Leigh Bardugo is #4 on the Barnes and Noble bestsellers list online, the first listed paperback, at $10.99 USD – which I’m going to call $10 for the sake of simplicity. From that $10, applying a standard royalty rate of 7.5%, Bardugo is entitled to $0.75. If you set aside hardcover sales and subrights sales, and you consider that most authors are printed straight to paperback, you can see how earning out a high five figure advance would take some time – and a huge number of sales. After the advance earns out, that’s when an author begins to see royalties – but not the full $0.75 per copy. From that, you need to also subtract the 15% of that royalty that would be collected by her literary agency, $0.11, bringing that amount down to $0.64 per copy sold.

There are, however, other ways to earn out your advance as an author that don’t involve royalties at all. For this part of my long-winded story, I consulted with BBB contributor, CeCe Lyra, who is also an agent for PS Literary. Since she gave such valuable insight here, and this section of this post is specifically for authors, you can see CeCe’s most recent MSWL here. This might get a little bit convoluted, but the TL;DR of this next paragraph is: any money that you earn for your publisher as an author before you have earned out your advance counts against your advance. The way that this most often happens is through subrights sales.

Photo by Mirza Babic on Unsplash

If you want to learn the basics of subrights, check out this blog post from Valerie Peterson for The Balance Careers. For the purposes of this post, the thing to understand is that any subrights that publishers retain for your book and sell generates income for the publisher. If this happens before you’ve earned out, it will also count against your advance. To illustrate this, let’s say that I write a great new book, and it is acquired by a publisher for $20K, but they negotiate with my agent, and manage to hold on to my international and translation rights. This book is getting a lot of good press, and the publisher has a super keen rights team, so they manage to sell it in four different countries before the book even goes on sale. A huge coup! Each of those rights sales generates a $5K advance – and, just like that, my advance is earned out before my book has even hit shelves. FANTASTIC, in so many ways – but as CeCe pointed out to me, this also comes with downsides. Some argue that if the publisher sold $20K worth of foreign rights and the author’s advance was already earned out, then they could lower their marketing budget for the book’s debut in its home market, since they’re not worried about losing money if the advance doesn’t get earned back. This is part of the reason why the best thing for authors is often for their agents to advocate to retain as many of their subrights as possible and sell them separately on the author’s behalf, rather than having that service be performed by the publisher.

Now – let’s say that an author has earned out their advance (yay!), and now their agency is receiving royalties statements, and cutting them a check for their earnings twice a year. I got a question from a reader over Twitter, and it’s a great one: how do returns get factored in? Royalties payouts and statements are anything but straightforward. If you really want to do a deep dive on this, you can check out the (slightly older, but still reliable) video below, from the Authors’ Guild. If you aren’t ready for the deep dive, though – and I don’t blame you, because unless you are an unrepresented author, understanding all of this is really your agent’s responsibility and not yours as an author – let me give you a wee primer on how book distribution works!

A YouTube video on Understanding Your Royalty Statements.

In this hypothetical world, your book birthday has passed, you have earned out your advance, and bookstores are steadily ordering new copies of your book to sell. In their retail outlets, booksellers put in their orders for merchandise to their distributors. These are companies that exist between publishers and retail outlets/wholesalers who organize book sales. Books flow from the publisher to the distributor, who then makes sure that all the retail outlets get their orders. The general rule in the industry is that book retailers have 90 days from the time that they receive the books from the distributor to either sell them or return them without any financial loss.

That allowance is essential for book retailers to stay afloat… but how does it affect authors? It means that when your royalties statement comes in, the publisher will hold back a small percentage of your royalties earned on “reserve” to safeguard against books that have been ordered by booksellers, but will be returned instead of sold. If you are an unrepresented author, you should always keep an eye on exactly how much of a reserve your publisher is holding, and be sure to ask them their policies around this. If you are represented, your agent should be reviewing your statements and verifying that they are being executed correctly on your behalf.


For readers…

If you are a reader who is lucky enough to have some money to spend on books, and you wonder what the best way to support an author is, the basic answer is a bit unfortunate, but also pretty simple: the more money you spend, the more the author gets. In general, authors make more money on hardcover sales than paperback, more on paperback than mass market, and if you buy at a store that gets special sales editions and pricing (like Costco or Target, or through a subscription like a book box), the author will get a little bit less than if you buy from a brick and mortar chain store or an indie.

There are two exceptions to these rules. One is that if you buy a book that’s on sale at a regular retail outlet, for example, a 30% off hardcover at Indigo, usually that loss in profit is absorbed by the store, or in rare cases by the publisher, and not by the author. The second is if you buy an eBook. Because eBook royalties are often calculated based on net profit rather than cover price, authors don’t always come out on top, but in general, they make a higher percentage of the cover price of the book than they do for physical books, and this can serve them well in the long run.

There are two red flags that you want to keep an eye out for if you’re wanting to make sure that an author is getting full royalties from your book purchase (aside from where you’re shopping). One, a sticker over the cover price of the book that advertises a lower price than the original. This generally means that the book was sold through special sales (explained in this post from Ingram Spark), and authors often get a lower royalty rate for these kinds of bulk sales. The second is a remainder mark, usually a mark made by a Sharpie or other permanent marker to the pages of a book, near the binding. While they may be sold at a more advantageous price for consumers, authors do not get royalties on remaindered book sales.

Last but not least, is there a way to support authors financially without having your own money to spend? Always our heroes, the libraries. Authors do get some financial benefit from library loans, although the format of the book and the location of your library both play a role in this – and unfortunately, my knowledge here is limited to North America, so if you live elsewhere, it pays to do your own research about this! Also, when it comes to libraries and eBooks, what I will say is that at best, things are complicated, and if you want to support an author to the best of your ability, consider purchasing a hard copy of a book for your personal collection or as a gift or donation if you read something from your library’s eBook collection and you love it.

In the United States, authors only get royalties from libraries on physical books when they are purchased for their collections, no matter how many times the book is borrowed. That said, if you are an American reader, make sure to request titles from your local library so that they get that support! In Canada, we are #blessed to have the Public Lending Right program, which means that your library loans mean more to Canadian authors, so keep borrowing all the Can Lit you can manage!


PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

Victories Greater than Death

I am always humbled by the connections that I get to make with incredible new authors and emerging artists through this platform. Once in a rare while, I also get to connect with authors who I have admired for a long time. This week, I am super excited – and still kind of in disbelief? – that I get to share an interview that I had the pleasure of conducting with the iconic Charlie Jane Anders.

Charlie Jane Anders, photo by Sarah Deragon.

If Charlie Jane Anders is a new name for any of you reading this, buckle in, because you are in for a wild ride. I was excited to get to chat with Charlie Jane about her upcoming YA debut, the first book in a trilogy, Victories Greater Than Death, which comes out TOMORROW with Tor Teen! You still have a little while to pre-order! Run! (And don’t stop running.) This book is (if I’m counting right), Charlie Jane’s ninth novel-length work, but she is prolific and has won an awe-inspiring number of awards for her longer works, but also her short fiction: the Emperor Norton Award, a Hugo Award, a Nebula Award, a William H. Crawford Award, a Theodore Sturgeon Award, a Locus Award, and a Lambda Literary Award. Nbd. (Except, VERYbd).

I had the pleasure of reading an early copy of Victories, which was great, because I full-blown squealed when I heard that Charlie Jane was working on a YA project. Although I do love speculative work, for whatever reason I am a reader that struggles with worldbuilding – so, often, YA speculative is much easier for me to wrap my mind around. That said, though, I’m not an Epic Fantasy person… so sometimes, YA speculative that appeals to my interests can be a challenge to find. I was lucky, because (unsurprisingly to me at least) Victories delivered on everything that I wanted it to.

Like I told Charlie Jane before I interviewed her, I’m not usually an intergalactic-war person, but the characters and the voice of this novel were irresistible. Everything about this story is just fun. As an anxious and autistic person, the protagonist’s best friend, a character called Rachael, was highly relatable. Her needs were represented in ways that were charming and challenging and often not well-executed in fiction, and for me, it was a joy to follow her through this story. Still, the real beauty of this book for me was the absolutely bonkers diversity of the characters. The pub copy comps the book to Dr. Who meets Star Wars, and I grew up watching so much monster of the week TV that the levity of the worldbuilding really struck a chord with me as a reader, even though I’m not a science fiction buff. Suffice to say, I would recommend this book up and down to a wide variety of readers, and I’m thrilled that Charlie Jane agreed to chat with me about it in this space. Without further ado…


The cover of VICTORIES GREATER THAN DEATH.

You are becoming – if you’re not there already – a prolific author, and most of your work has speculative elements. This book is a bit of a departure, though, in that it is your first book intended explicitly for young readers. I have two questions about this. First, what came first – the story, or the intention to write for young readers?

I started thinking about writing a young adult book in spring 2016, around the time I quit my day job to write full time. I had been noticing for a while that YA fiction was getting more action-adventure-oriented, like there were more books being published like Warcross or Want or Illuminae. YA seemed to be taking a turn towards being a place where you could do something super fun and exhilarating. So I started to think about what I would like to do in a YA, and immediately started to remember all those times when I was a teenager, when I just wished a spaceship would swoop down out of the sky and come take me away from this planet. That led to imagining the story of a girl who’s actually the clone of an alien hero, and her efforts to reclaim her heritage and seize her destiny. 

Second, did you find it difficult to adapt your writing style to the voicey, confessional tone that is so characteristic of YA works right now (because I felt like you nailed it)?

In terms of the tone, that took a TON of work. I sat down with a huge pile of my fav YA books and paged through them, getting a sense of which were first person and which were third person, and how they worked on a sentence level. It took a ton of trial and error to get Tina’s voice right, and I had to keep coming back to the idea of her being snarky and funny, but not ironic or wry or self-mocking the way adults usually are. And once I handed in a complete draft, I worked a lot with my editor, Miriam Weinberg, to tighten the book and speed up the pace and boost the emotion in a lot of crucial places. 

There is such a wide range of characters in this book, and it has a huge cast. Humans, clones, aliens, teens, and adults, all with very distinct aesthetics, cultures, bodies, identities, etc. Do you have an absolute favourite, or one who you relate to the most? What was the most enjoyable part about creating such a rich and diverse cast?

I had so much fun creating all of these different aliens and creatures. It was a total dream come true, and I spent hours and hours cooking up complicated histories and backstories for the different alien worlds and societies, as well as the galaxy as a whole. And then I also spent hours and hours doing research and talking to people for my human supporting cast, since they come from all over the world. I definitely had different characters on different days, but overall my favorite character probably ended up being Rachael — I love how she just wants to hide away and draw when she’s on an alien ship in the middle of a space battle. 

One of the norms in this book is that the characters consistently introduce themselves with their pronouns, and many of the characters use non-binary pronoun options or no pronouns at all. This isn’t prominent in many books. What was your rationale behind that choice, and did you struggle with it through the editorial process at all? 

I honestly can’t remember how I decided that everyone should introduce themselves with their pronouns. I was just thinking about the fact that all of these aliens are speaking their own languages and it’s being translated into English, and so it made sense to me that a translator could also give you other important information — like someone’s pronoun. And once I started doing it, it just made sense. I made sure to mention that not everybody actually “hears” the pronouns spoken out loud, the way Tina does. It works differently for different people. But this felt like a good way to be introducing a lot of human and alien characters, some of whom might not have genders or other identifiers that a human would be able to figure out at a glance. It also went along with the overall theme of the book, of respecting other people’s identities while you try to figure out your own.  

Photo by NASA on Unsplash

As a literary agent who represents speculative authors across age categories, I am constantly hearing from editors that sci fi in YA is a super tough sell, and that they have trouble getting these works approved by their acquisitions boards. In comparison to your other works, what was the process like finding a home for VICTORIES, and what made you choose to write sci fi for this age group? 

I always hear people say that science fiction is a hard sell in YA as well, but then you look at series like The Hunger Games, Illuminae, Divergent, the aforementioned Warcross, and a bunch of others, and it’s clearly not accurate. That said, I am very nervous about launching a YA science fiction book, just because I’m aware of that widespread misconception, and I’m worried it’ll keep people from offering the book to kids. I think especially right now, it’s super important to get young people (and everyone) fired up about science and exploration and discovery. Luckily, the folks at Tor Teen were super excited to delve into this space-opera universe—and I think the fact that it stands out a bit is not a bad thing. 

If an educator was going to teach your book in a high school or college creative writing class, what do you hope students would take away from that experience? Similarly, what do you wish you could tell educators who are going to choose this book to put in a young reader’s hands?

Wow, I can’t ever think about people teaching my books to creative-writing students, except as an example of what *not* to do. 🙂  In the case of Victories, I hope they’d be interested in the voice, like we talked about before, and the way I use humor and feels to add to the suspense. (Or at least, I hope I do that.) For high-school teachers generally, I would hope they’d talk about the themes of post-colonialism and what it means to be a hero. 

Being a marginalized publishing professional can be super challenging once in a while. You have worked with a few different imprints and editors over the course of your career so far. What has your experience been like working with an agent and an editorial team at a big publishing house? What would you say the most fulfilling part of this process was, and what was the biggest challenge?

I’ve been so lucky with Russ Galen and with everyone at Tor, including Miriam Weinberg and Patrick Nielsen Hayden. Everybody has been incredibly supportive and understanding, and nobody blinked when I said I wanted to include so many queer characters in my space opera universe. The most fulfilling part has probably just been talking to Miriam about the characters and the story and how to make them pop — and the biggest challenge has just been breaking in as a YA author, especially during a time when school visits and other in-person appearances are not possible. 

Last, but not least, when I’m covering a non-Black author, I ask them to recommend a book by a Black author to go alongside their post. Would you mind sharing a rec with me?

Three that I’ve read and loved recently come to mind: The Stars and the Blackness Between Them by Junauda Petrus, A Song Below Water by Bethany C. Morrow, and Legendborn by Tracy Deonn. 

Victories Greater Than Death comes out on April 13th, 2021 from Tor Teen. If you enjoyed this interview, you can find Charlie Jane Anders on her Hugo Award winning podcast with co-host Annalee Newitz, our opinions are correct.


PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

The Longest Shortest Month of the Year

Theydies and gentlethems, the first thing I need to do in this post is apologize for the sometimes sporadic timing of posts over the last several months. I am personally, officially more than one year into lockdown, more than one year into working as a literary agent, and I am doing my best to be mindful of my abilities and limitations during this weird part of our collective history. As such, there have been times when I’ve had to step back from some obligations in order to fulfill others, and at times the regularity of the blog schedule has suffered.

Today, however, I have a great post in store. First, I want to review a super exciting picture book, Jamie and Bubbie, by Afsaneh Moradian and illustrated by Maria Bogade. Then, I have a very exciting interview from author Zak Salih, whose gay literary fiction Let’s Get Back to the Party comes out THIS TUESDAY (!!!) from Algonquin books.

Before I dive into those, I have a VERY COOL resource to share for all of you who maybe didn’t get as much reading done in 2020 as usual. I’m super, super lucky to be part of a great online book community, called the Rogue Book Coven. This year, some of our incredible and skilled members put together this great resource featuring the best books read by our members in 2020 – across age categories, genres, and release periods. Check it out, and find something great that maybe you missed. I think of it like the front table at your favourite indie bookshop at the end of a long year.

Jamie and Bubbie

The cover of Jamie and Bubbie, A Book About People’s Pronouns

I have written about Afsaneh Moradian’s first children’s book, Jamie is Jamie, in this space before. I am a huge supporter of Moradian’s work, and so I was thrilled when she reached out to me to ask if I would review her newest offering. Moradian is an educator, and her expertise and familiarity with children really shines through in her picture books.

This book features illustrations of a diverse population that extends beyond racial inclusion, including wheelchair users, and a broad range of ages. It addresses an important topic – the use of pronouns – and it fills a huge gap in resources created on this topic by non-white creators. The book handles the topic with great sensitivity, allowing the young character to be the hero of the story, educating their elders in new and different ways to use language, while maintaining a sense of gentleness, positivity, and humility throughout.

This is a great 101 resource, and a lovely story. The only criticism that I could offer is that it is limited in the sense that there is no discussion of neopronouns. That said, for most people living in North America, this book is a great, accessible starting point for learning, that is expertly executed. It also includes resources for teachers and caregivers in the back of the book.

While you’re checking out Jamie and Bubbie, check out another one of my favourite picture books, Saturday, by Black author Oge Mora.

The cover of Saturday by Oge Mora.

Feature Interview: Zak Salih

Debut author Zak Salih’s novel, Let’s Get Back to the Party, will drop this Tuesday, February 16th. It’s been hailed as “iconic” by the Gay Times, was one of this month’s most anticipated books from Lambda Literary, and Michelle Hart, the assistant editor of books at O Magazine, said that it was among the titles that would change the literary landscape this year. I am honoured to have gotten the chance to interview Salih, and I hope that you enjoy reading as much as I did!

Cover of Let’s Get Back to the Party, by Zak Salih.

I can remember the exact moment that I heard that the US had legalized gay marriage – it wasn’t so long ago, after all. Do you remember that moment in your life? What did it mean for you?

I was working in the marketing department at The Washington Post at the time, so I was at my desk and saw the news on the website as soon as it broke. The next morning, I went down to the lobby and picked up a copy of the paper; I still have the front page here somewhere in my office. While marriage equality hasn’t been a social panacea for the LGBTQ2S+ community, it’s a powerful symbol and its legalization was a powerful moment. I’m glad I was alive to witness it.

You write a lot about art in this book, which is in itself a very artistic, literary work. Is art something that you feel passionate about, or was it just something that you researched for your novel? What role has it played in your life? Do you have a favourite artist or particular work that you wish all of your readers could experience?

I’ve always enjoyed art—flipping through art catalogs, walking through art museums, reading novels about artists—so those sections of the novel were relatively delightful to write. When it’s safe, the National Gallery of Art here in D.C. is the first indoor place I plan on going post-pandemic. I highly recommend it to everyone, especially because you’ll find John Singleton Copley’s Watson and the Shark there, a painting that’s fascinated me since I was a young boy.

Watson and the Shark

For me, your book felt very nostalgic. I think that it really hearkens back to a tone and type of iconic gay literature that we don’t see as much of these days, but it grapples with very contemporary material. I wonder what books you would recommend for readers of your book, and what works you would say influenced you when you were working on it?

I’d recommend all of the LGBTQ2S+ books that inspire me— as a member of an incredibly diverse and wonderful community, as a writer, and as a human being. At the moment, I’m thinking in particular of books like Maggie Nelson’s The Argonauts, Daniel Mendelsohn’s The Elusive Embrace, Alexander Chee’s How to Write an Autobiographical Novel, and Andrew Holleran’s The Beauty of Men.

From my experience, particularly for LGBTQ2S+ “elders” (feel free to interpret that in whatever way you wish!), childhood memories of grappling with sexuality and complex relationships with peers are often poignant, and linger throughout our lives. This is a theme that comes up in your book, and I’m curious what that was like to explore through your writing. 

While I don’t share the specific childhood memories of Sebastian and Oscar, I do dwell on the past a little more than is healthy. But I think that’s true of most people, queer or otherwise. The past always tends to pop up in the most unlikely of places: the face of a stranger, a painting in an art gallery, a line in a poem. I find stories that focus on the past, or in which characters cannot get over the past, to be the most rewarding types of stories. They teach me about navigating my own relationship with memory and experience.

Obviously, as creatives, we all carry different parts of our identities into our work with us. How did your identities direct what you wanted to do with this novel, and to what extent do you feel your various identities define you as a writer?

In an obvious sense, my identity as a gay man informed what I tried to do with this novel, and the complexities of what it means to be part of a generation strung between a traumatic past and a more hopeful future. But when I sit down to write, I’m nothing thinking (at least consciously) about my identities. I don’t care to label myself a “gay writer” any more than I would label myself a “biracial writer” or a “cis-gender writer.” These identifiers and descriptors, I feel, are more for other people to make sense of me than for me to make sense of myself.

One of the characters in your book is a high school teacher. If an educator was going to teach your book to a group of young adults, what do you hope students would take away from that experience? Similarly, what do you wish you could tell educators who are going to choose this book to put in a younger reader’s hands?

I would hope students came away from the book with a sense of enlargement about their relationships with other people—the idea that they’re part of a larger community with a past, a present, and a future. I suppose I’d caution educators (and all readers to remember that Sebastian and Oscar represent no one but themselves; their messiness is not what makes them queer, it’s what makes them human.

Being a marginalized publishing professional can be super challenging once in a while. What has your experience been like working with the editorial team at Algonquin, which is a large independent publisher? What would you say the most fulfilling part of this process was, and what was the biggest challenge?

I honestly have nothing but kind words for everyone at Algonquin Books. Since they first acquired the novel, everyone from my editor to the marketing team has been entirely supportive not just of my writing but of the inherent queerness of the book itself. Perhaps other writers have horror stories to share, but in my relationship with Algonquin, I was never once asked to tone down or make more “cis-hereto-friendly” the story I was trying to tell.

Last, but not least, when I’m covering a non-Black author, I ask them to recommend a book by a Black author to go alongside their post. Would you mind sharing a rec with me?

Season of Migration to the North, by the Sudanese writer Tayeb Salih. A fascinating, and occasionally disturbing novel about reverse colonization, whose enigmatic central character is a Western-educated Sudanese man who resolves to “liberate Africa with [his] penis.”

Cover of Season of Migration to the North, by Tayeb Salih.

Wounded

2020 is drawing to a close, and as arbitrary as time is, this is our last post of the year here on Books Beyond Binaries! First things first: if you’re here, that means that you’re seeking our new banner! I could not be more thrilled with the result of this year’s refresh, thanks to Oaky, a non-binary, Latino, concept artist and illustrator, who created this awesome new look for the blog going into 2021!

In today’s post, lots of new resources to share (as you can see) for books to read from trans and/or non-binary authors from 2020 and going into 2021, including this list of 2020 debuts from trans, non-binary, and gender non-conforming authors from the Chicago Review of Books.

Otherwise, this post is all about the Big Feels, which seems appropriate for the end of 2020. I review a new poetry collection called Wound from the Mouth of a Wound, by torrin a. greathouse, and we are super excited to host a post from #SpineSquad author A. J. Vrana on writing for emotional impact.

As always, when we feature books by non-Black authors in this space, we also offer recs of books by Black authors to accompany them. For my part, I want to recommend my favourite book that I read this year, Riot Baby, by Tochi Onyebuchi.

The cover of Riot Baby, by Tochi Onyebuchi.

A personal request for support…

Before I kick off this post, I’m going to use this space to make a small ask for support. For those of you who don’t know, I’m completing my PhD studies right now. I was supposed to have defended my dissertation in December, but due to an administrative error at the School of Graduate Studies at my institution, and delays within my committee caused by COVID, I am being forced to take an extra term in order to be able to complete my studies. All of this, despite my having met every deadline and requirement thrown at me in 2020, has been really challenging to come to terms with. In addition, this situation comes with a whopping, unexpected, $2300 price tag that I am completely unable to afford. As a new agent and having lost my bookstore income due to the pandemic, I am just making enough money with freelancing and agenting to stay out of debt, and my department is not offering me any financial support for this extra semester of studies. If you are interested and able, there are three ways you can support me, a disabled trans student trying my best to have my work over the past seven years of study recognized. One, I have a crowdfunding campaign that you can donate to, two, you can hire me to edit your work or the work of an aspiring writer in your life, three, you can share these links (and the blog!) within your networks. Thank you in advance! 💜

Review: WOUND FROM THE MOUTH OF A WOUND, by torrin a. greathouse

A few months ago, I was approached by Claire Laine, a publicist of Milkweed Editions, one of my favourite independent publishers, to review the poetry collection Wound from the Mouth of a Wound, by torrin a. greathouse, which comes out tomorrow: December 22nd, 2020. torrin’s online bios describe her as a transgender cripple-punk and poet.

I am a person with Big Feelings, so sometimes I struggle to read poetry, because when it is done well, it feels like every syllable is an emotional gut-punch. That said, I love poetry for the same reason. Two of my favourite books of all time are a place called NO HOMELAND by Kai Cheng Thom, and Bodymap by Leah Lakshmi Piepzna-Samarasinha. Both of these collections absolutely gutted me. The blurb for torrin’s collection calls it, “A versatile missive written from the intersections of gender, disability, trauma, and survival.” I felt confident when I accepted the offer to review that this book would soon join Kai and Leah’s in my heart.

Wound from the Mouth of a Wound is the winner of the 2020 Ballard Spahr Prize for Poetry, and has already received many glowing reviews and recommendations from Refinery29, NBC Out, Book Marks, Lambda, and the Chicago Review of Books. I’m afraid that Books Beyond Binaries won’t be the source of a dissenting opinion in this case. I do feel that I should, however, note that I am not a poetry expert, so I come to this review purely as a reader. If my thoughts in this post lack precision or technicality, I apologize in advance for that.

The collection opens with six verses inspired by a 2008 sculpture of Medusa carved by Luciano Garbati. The statue itself is fairly unadorned, a rendition in bronze of the woman with hair of snakes, unapologetically holding in one hand a blade, and in the other hand the severed head of a man. This sculpture is a response and inversion of another work that resides in Garbati’s hometown in Italy, near Florence, a statue by Benvenuto Cellini, called Perseus with the head of Medusa. In torrin’s collection, they use accessible, but poignant, imagery to write about this sculpture as a symbol of rape culture, and how that culture bleeds into the lives of children who are the product of traumatic experiences. Garbati’s sculpture has been reinterpreted again as the stunning cover art for this collection.

The cover of Wound from the Mouth of a Wound by torrin a. greathouse.

The first formal section of this book begins with a quote. I was charmed by this, because coincidentally, shortly before reading Wound, I connected with queer Palestinian poet George Abraham after the Palestine Writes Literature Festival, in the hopes of featuring them and their poetry in this space soon. His collection, Birthright, is available now.

Wound is a collection of short works in verse, prose, and essay formats. There are five sections total. I am amazed by the efficiency of torrin’s collection. This is writing that works hard. In the first section, she tackles themes including motherhood, infant loss, and parentage; a relatable yet brief critique of the medical model of disability; the sterile experience of medical transition and the scientific fragility of physiological gender; sex and trauma; finally, and most resonant for me in this section, the radiant, emotional impact of medical transition. These themes unravel at a pace that is perfectly possible to keep up with, and with moments of startlingly beautiful imagery. Often, I find myself lost in poetry, but in this section, I rather found myself awash in it.

Mirroring the first section, the second begins with a quote (this time from Jillian Weiss), and a section of prose. The themes from the first section thrum throughout this book, with occasional meditations on body image and eating disorders, morality, addiction and blackouts, etymology, fear… torrin pulls absolutely zero punches in unraveling what I can only assume are their reflections on personal experiences on the page.

My personal favourite piece in this collection, and one that I am eager to share with the world, is the poem That’s So Lame, which addresses the casual violence of ableist language. It is searing, relatable, and communicates so much that is difficult to articulate in such a short space. It is both beautiful, and functional, and such a valuable tool, I think, for social justice and for literature.

Wound from the Mouth of a Wound by torrin a. greathouse launches tomorrow, and if you are able to purchase it from an independent bookstore, you have the opportunity to support a trans, disabled author, an independent not-for-profit press, and an independent small business, all at the same time. This collection, despite dealing with impactful themes, is not a chore to read. It is accessible and easy to follow, overflowing with evocative imagery, and it filled me with the sense of empowerment that one might get from watching a beautiful flower emerge from a crack in the concrete. Works like these are how the light gets in. I’m very grateful for Claire and torrin sharing this book with me, and with Books Beyond Binaries, and I hope that many of our readers will indulge in this incredible collection this winter.

Writing for Emotional Impact, by A. J. Vrana

A. J. Vrana’s recommendation for a book by a Black author to read alongside this post is from non-binary author Rivers Solomon, The Deep.

The cover of The Deep, by Rivers Solomon.

As a reader, there is no better experience than being emotionally moved while devouring a good book. The written word is, after all, intended for communication, and more often than not, what writers want is to make their readers think and feel a certain way. This is especially true in the world of fiction and memoire writing, where readers expect to be drawn into the story and to grow attached to the characters.

However, if you’re an author, you know that it’s not easy getting people to notice your book, and it can be even harder to get them invested. The world is full of different kinds of people, which means not everyone will pick up what you put down. Nonetheless, at the heart of authorial passion is the desire to have your story emotionally resonate with as many people as possible.

Okay, great, but how does one convey emotion through writing? We know beautiful prose when we see it, but how do we emulate it? How do we communicate the rawest parts of ourselves authentically and effectively? This is no small or easy task, but there are techniques that can help. In this piece, I will share four tricks I’ve picked up.

Photo by Seven Shooter on Unsplash

Sentence Structure

The very structure of a sentence—its length, syntax, and punctuation—can impact the way it is received be a reader. The way writing flows from word to word, sentence to sentence, conveys a lot about the writer’s intentions. For example, short, choppy sentences can be great for communicating strong, sudden emotions like distress, confusion, and pain (in the negative) or excitement, anticipation, and joy (in the positive). Although I am generally not an advocate of using sentence fragments, the occasional fragment can be very effective in communicating a strong emotion—the caveat being that it’s used occasionally. Let’s look at a few examples:

            It came from within, this furious, bone-deep itch. Thousands of tiny needle-point legs, trampling on nerves. They burned and screeched, demanding nails on flesh.

In the above example, I’m describing someone in distress. I would assume that a person experiencing this level of discomfort wouldn’t be able to think or narrate in fully formed, complex sentences because of their emotional state, so their thoughts would come out choppy and somewhat fragmented. Keeping the sentences short ensures a snappy, urgent pace that puts the reader on edge. Now let’s look at another example:

            She stood there—a ghost returned from the grave. Only she wasn’t a ghost. She was flesh and blood. She was family, and she was alive.

 In this example, we have someone seeing a loved one they thought was dead. Although this is definitely a happier occasion, it is nonetheless riddled with complex emotions. Seeing someone you’ve grieved over is still quite traumatic and stressful, even if you are happy to see them! Similar to the previous example, I would assume that the person in question wouldn’t really have it in them to form long, eloquent sentences when first seeing a family member who is presumed dead. The short sentences mimic their tattered emotional state: shocked, confused, uncertain, but ultimately relieved or happy.

However, short sentences aren’t the only ones that can convey emotion. Longer, occasionally even rambling sentences can communicate scrambled thoughts, worry, or exasperation. For example, someone trying to recount a highly stressful or exciting event might narrate in run-on sentences. The same could be said of someone who is overstimulated or has had too much caffeine! Here’s an example:

            I put the key in the ignition, then turned it—the key, I mean—and then the engine revved like usual, but as soon as I switched the gear, I heard this noise like someone had dropped a glass from the roof, and then there was this bang and a sputter, and I could smell smoke, so I panicked and hit the breaks even though the car wasn’t moving because I was scared, you know?

The sentence above is narrated in the first person from someone who is frazzled after their car broke down (and who knows what happened before then!). The sentence is longer than any sentence should be, frankly, but the use of punctuation makes it manageable to read/ However, occasionally, using sentences like this is fine because they can effectively convey the person’s emotional state.

Photo by Jerry Wang on Unsplash

Word Choice

Be methodical about word choice. Sometimes, the right words can go a long way in creating a specific emotion. For example, if I say someone is ‘angry,’ it doesn’t really evoke much of an image, but it I say someone is ‘seething,’ my brain conjures a specific image of a pot about to boil over. It gives me the distinct sense that something bad is about to happen—like someone might lose their temper and lash out. In comparison, the adjective ‘angry’ has very little impact.

Here is another example: if someone is drunk, rather than describing their gait as ‘clumsy’ or ‘uncoordinated,’ you can describe them as ‘shambling.’

“They shambled down the hill” is far more evocative than, “They walked clumsily down the hill,” or, “Their gait was uncoordinated as they walked.”

Photo by Dollar Gill on Unsplash

Metaphors and Similes

Perhaps one of my favourite techniques for evoking emotion is using similes and metaphors to conjure a specific image in the reader’s mind. The fact is, direct, simple language often does not create emotional impact the same way that abstract images do. When we write about something directly, it may engender intellectual understanding, but it rarely provokes empathy from the reader.

Metaphors and similes are a great way to communicate how something feels without saying it directly. Because direct and clinical descriptions are so endemic to how we communicate on a daily basis, we are desensitized to their impact. For example, when a friend has a bad day at work, they might say, “I was so annoyed,” and then go on to explain why. We hear this so often that it has almost no meaning and falls flat when encountered in prose.

However, metaphors and similes give us a tool for creative expression for emotions we all experience; they defamiliarize us from the simplicity of loaded terms like ‘anger’ and ‘happiness.’ They offer us a specific and tangible image with which we can better understand the power of what is being conveyed.

For example, saying someone is “unpredictable” doesn’t really evoke any particular emotional response from me as a reader. However, if we say that someone is “like a tornado in the middle of the night,” we can insinuate that they are unpredictable based on culturally shared knowledge and symbolism around tornados: they are highly unpredictable and destructive storms with an erratic path, and the idea of one dropping from the sky after dark is especially terrifying because everything is less visible and less certain when the sun goes down. In other words, it’s the image, not the adjective, that evokes feelings of uncertainty, unpredictability, and anxiety. Through the image, we create an empathic connection with the subject of the writing. As a result, we genuinely feel that the person being written about is unpredictable.

Photo by Jilbert Ebrahimi on Unsplash

Bodies Talk

Ah yes, the mind-body dualism. Whoever came up with it did some serious damage to how we think of ourselves. In reality, the border between mind and body is paper thin, and anyone who has ever had anxiety (aka all of us) can confirm this. Our emotions manifest through our bodies, and more often than not, bodies speak what we cannot.

For this exact reason, using the body as a tool to convey emotion is far more effective than direct, clinical description. Many of you will have encountered this advice in the form of “show, don’t tell.” For example, rather than telling your reader that someone is grief-stricken, show them through body language.

Does their face twist with realization? Do they curl in on themselves, seeking comfort and safety? Do they flee their immediate surroundings? Do they grab a drink or light a cigarette with a trembling hand? What does their voice sound like? Does it come out rough like sandpaper? Are they swallowing rapidly, mouth parched? Are their eyes red from tears and sleeplessness? Do shadows cling beneath them?

When you find yourself writing a scene that demands emotional impact, try to make those emotions visceral by focusing on the body. Embodied experience is the most tangible way we relate to the world, and it is also one of the best tools for communicating what lies beneath the skin.


PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

A Delicious #SpineSquad Addition

Happy Monday, theydies and gentlethems! I’ve got a full roster this week for you on BBB… first up, I’m going to give a little nod (both sad and happy) to Trans Week and TDOR, there’s some rad trans books in the news that deserve a little shoutout, I’ve got a tip to make you smile, a new author (and some delicious snacks) to introduce you to, AND a review of The Harpy, by Megan Hunter, written by contributor CeCe Lyra. Stick with us, there’s lots to see!

First, I’ll give a quick shout out to Téa Mutonji’s short story collection, Shut Up You’re Pretty, which is a kickass collection that totally drew me in when I encountered it at the Toronto launch of Vivek Shraya’s VS. Books, an imprint of Arsenal Pulp Press. Mutonji’s collection is CeCe’s recommendation of a book by a Black author to check out alongside The Harpy.

Trans Week and Trans Day of Remembrance

CW: death, police violence, ableism

Full disclosure: I don’t typically mark Transgender Visibility or Awareness Week, or the Trans Day of Remembrance. There’s a lot that’s complicated and difficult for me about these events, and I do my best to affirm trans voices all the time, and not just these couple of days a year. Despite that, I know that they are meaningful to many people, and so I do want to mark them in this space this year, both with a heavy heart, and also with a celebratory spirit for all the amazing things that trans folks are doing out in the world.

There are two members of my communities that I do want to use this space to recognize and remember. First, Coco, a Black trans sex worker who died in police custody in my local community recently. As many who were close to Coco have said better than I can, Black lives matter, Black trans lives matter, and Coco deserves to be remembered and her communities deserve justice. If you are able to participate or support that cause, check out the links below.

Second, Corey Alexander passed away a few months ago. They were a disabled trans person (like me), who had to balance a lot of factors and considerations when seeking medical support and treatment. Corey was one of the first people to support this blog, and me as a content creator, and for that, I will always be grateful. They left behind an archive of incredible work, including their own books and blog, that are still available to appreciate.

I also want to use this space to share some great resources that other content creators have put together to lift up trans voices right now, and always. First, if you haven’t checked out the Transathon, an ongoing reading challenge to celebrate trans authors and books, you absolutely should. They are sharing AWESOME book lists, like this thread of books by trans authors being released in 2021, some trans books by Orca publishers, and this list from author C.G. Drews. For further reading about the Transathon, I would also recommend reading this wrap up post by participant Daniela, from The Booksnom.

One last book list that I want to share is by bookstagrammer @anyaemilie, which you can check out below:

Trans Books in the News

Quick shoutout to trans YA author Aiden Thomas, whose book Cemetery Boys is currently a finalist in the Best Debut Novel category for the Goodreads Choice Award, but also HUGE congratulations to Kacen Callendar, whose middle grade novel King and the Dragonflies won the National Book Award for Young People’s Literature last week! 🎉

#DrawYourBookstore

If you need an uncomplicated bookish something to brighten your days right now, might I suggest checking out the #DrawYourBookstore hashtag, hosted by the SelfMadeHero graphic novel publisher? I discovered it earlier this week when illustrator Mariel Ashlinn Kelly posted her drawing of the bookstore of my heart, Another Story Bookshop, here in Toronto. For safety reasons, I haven’t been able to go there since April, and this drawing made my day.

New Addition to my List of Authors, the #SpineSquad

For those of you who follow this blog but who aren’t in the professional publishing world, you may not know that I am a literary agent. I don’t usually use this space to make personal announcements, but I’m making a delicious exception, just this once…

I discovered Abi Balingit’s blog, the Dusky Kitchen, when one of her recipes popped up on my Twitter timeline. It was for lao gan ma spicy chili crisp cupcakes. My partner loves that flavour that kind of makes your face go numb a little(??) and sweets, so I was immediately excited and started scrolling Abi’s feed and eating with my eyes. Not long afterward, I started chatting with Abi about working on a cookbook together – something that captures her incredible cultural experiences and translates the diasporic identity through food.

When Abi signed on to work with me, I was thrilled… but as with any agenting project, I also had some major research to do. Abi’s work is largely based on her Filipino-American experiences, and although there is a big Filipinx community in Toronto where I live now, I grew up in Newfoundland, and I had never experienced the flavours in Abi’s recipes before.

I dove into Abi’s blog. First things first, I realized that I had no idea where I was going to get the ingredients needed to make any of these recipes with the flavours that Abi was so passionate about. I did a quick Google for stores in or around Toronto that might have Filipinx products and be offering delivery, since we’re still in COVID quarantine in these parts. I was super hype when I found Sunshine Grocery. This little shop opened because of the pandemic, ships all over, and has a huge range of Filipinx products to choose from. Abi was super helpful and sent me all kinds of recommendations for stuff that my partner and I should try. Really not sure what we were getting into, we went for it…

Our grocery haul from Sunshine Kitchen.

My partner and I are both white, and when the folks from Sunshine showed up to drop off this big order we had made, they were a little confused. And honestly, so were we. Like – I wanted to trust that banana ketchup would make for good pasta sauce, but I just had zero frame of reference, you know? And listen, my partner’s face when ze first tried Filipino spaghetti? Was hilarious. But we’re both hooked on it now, so Sunshine is going to have to get used to seeing our faces! I’m super glad that we trusted Abi, because my partner and I have had a wild delicious week trying out all of the food that we got from that order – and trying Abi’s recipes!

In the spirit of the project that Abi and I will be working on together, my partner and I wanted to pick something that was nostalgic for us, and that was decidedly Filipinx, to test bake from Abi’s blog to welcome her to my author list! I had grown up eating ginger crinkle cookies at Christmastime, and my partner, sen, had grown up with a chocolate version, so we thought that Abi’s ube crinkle cookies would be the perfect place to start.

I can take no credit for the baking this time around – that was all sen – but this recipe was a simple, beautiful adventure… even though we veganized the recipe, and made it in our postage stamp sized kitchen. The cookies were completely irresistible, even though I have never tried ube in my life before this past week, and I can’t wait to try more of Abi’s recipes. Horchata bibingka is next on our list!

I am SO excited to welcome Abi to the #SpineSquad, and I’m so happy to get to learn about all this delicious food! It’s going to be so much fun.

In celebration of all of these delicious flavours that Abi has introduced me to, my partner and I also donated this week to one of the relief efforts in the Philippines following the recent typhoon. If you can donate, please do. There is a Twitter thread linked below of places that are easy and worthwhile to donate to. If you aren’t sure what the situation is in the Philippines right now, and you would like to know more, there are threads linked that summarize recent events as well.

Review of Megan Hunter’s THE HARPY, by CeCe Lyra

Married couple Lucy and Jake each have a role to play. His: reliable and successful breadwinner. Hers: loving wife and mother. It is a familiar set-up—his life is his; hers is theirs. Jake’s career takes center stage. Lucy’s part-time freelance work is barely worth noting, even to herself. They are a family. Never mind that Lucy is bored, that her sharp intellect is wasting away against a backdrop of bourgeois domesticity.

Then one day Lucy gets a call. A man is on the other end of the line. He has news: his wife, Vanessa, has been having an affair with Jake. Lucy has met Vanessa—Vanessa and Jake work together. The two couples have socialized. The betrayal cuts Lucy. Jake does not deny the adultery. He begs Lucy for forgiveness. Lucy wants to hurt Jake. (I wanted to hurt Jake, too.) And she does—a brush of her fingernail against his skin. An accident. But it is satisfying, comforting. To keep their family together, they come up with an arrangement: Lucy will hurt Jake three times, and then they will be even.

What unfolds is a dance of reckoning and retribution, one that leads Lucy down a dark path. Slowly, quietly, she succumbs to her violent impulses. Through it all, Lucy feels the push and pull of guilt (how can she unravel when she is the mother of two children?) and desire (Jake deserves this—he hurt her first). And we feel for her. After all, it is a familiar urge—inside every woman lives a question: what would happen I didn’t behave? By bearing witness to Lucy’s yielding we allow ourselves to do more than wonder.

Written in a musical prose that is both delicate and sharp, THE HARPY examines the darkness that inhabits all love stories. It reads like a fairy tale, but not of the Disney variety. It is a story about a woman succumbing to primal urges: shredding her societal self, eschewing domesticity, and allowing destructiveness to take over. It is a meditation on metamorphosis. It is a story about a woman’s unravelling. But—strangely enough—is it also the opposite. It is the story of a woman coming home to herself.


PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

Miss Meteor Blog Tour

I know I’m shaking up the schedule a bit this week, but it’s a big week over here, so I hope that it’s worth the wait! I’ll be back to my regular schedule next Monday at noon ET like usual! For now, I have a few exciting announcements to share, and then a review and (what I think is) a cool creative, quarantine-friendly project in honour of the release of Miss Meteor, a new contemporary YA with speculative elements from incredible non-binary author Anna-Maria McLemore, in collaboration with Tehlor Kay Mejia.

Cemetery Boys Makes History

First, I want to take a quick minute to shout out trans author Aiden Thomas, his agent Jennifer March Soloway, and the editorial team at Swoon Reads, for the breakout success of the paranormal romance novel Cemetery Boys. Not only did it hit the NYT Bestsellers list, but it also made the National Book Award long list!

Thomas is in good company on the National Book Award long list – Black non-binary author Kacen Callender also made the list with their newest offering, King and the Dragonflies.

New Non-Binary Author: The Girl of Hawthorn and Glass

In my corner of the world, we’re also celebrating the debut YA from #SpineSquad author Adan Jerreat-Poole, The Girl of Hawthorn and Glass. Adan is a non-binary author, and their YA fantasy officially released this week from Dundurn, after quietly sneaking onto some shelves in advance earlier this summer. This is the first in a duology, and Adan’s working on some amazing new LGBTQ2S+ SFF projects for the future – so watch this space.

reddietoread

I couldn’t be more thrilled to introduce all of you to a new non-binary content creator who is now supported by Books Beyond Binaries: reddietoread! The human behind this account is Eddie, a college student studying literature, creative writing, and art history. They are currently fulfilling their middle school dream of being a booktuber, and they are working on their other childhood dream of becoming a published author. In their spare time they can be found reading YA and middle grade fiction, learning how to use power tools, and obsessing over anything dark academia-related.

Check out their channel for all kinds of rad content, including a playlist of non-binary book reviews and recommendations! The video below is the first in that series. Welcome to the team, Eddie! So glad to have you!!

Last But Not Least…

I just want to take this opportunity to wish an INCREDIBLE book birthday to my friend and author Cecilia Lyra on her sophomore novel, The Faithfuls, which comes out TODAY!!! CeCe is a badass Brazilian feminist woman living in Canada, and I was thrilled when my pre-order landed in my inbox this morning! Pick this one up, and when you do, if you can guess the twist ending? Make sure to let CeCe know… so far, no one has!

#MissMeteorOnTour

I jumped at the chance to be an official stop on the blog tour for this book (thanks, Caffeine!) for a lot of reasons, not the least of which is because the level of hype Miss Meteor is seeing leading up to its release is truly not on par with the level of excitement I felt when I discovered this title. Also – I want to interrupt myself for a second here to give a special shoutout to @MeteorReadathon on Twitter, because their Meteor Shower Readathon is such a great idea. If you haven’t had a chance to pick up some of these authors’ other works, check out their feed for great inspiration.

Tehlor Kay Mejia

I’ve gushed about Tehlor Kay Mejia’s incredible YA duology We Set the Dark on Fire and We Unleash the Merciless Storm in this space before. What I have never written about is how Anna-Marie McLemore’s Wild Beauty is one of the first books that brought me back to reading YA fiction after a long time away from the category. I picked it up when I first began working at Another Story, during my many years in academia, and had to reintroduce myself to YA after being exclusively immersed in scholarly non-fiction for way too long. Wild Beauty was one of the first queer YA books I ever read, and it is still one of few books that I see dimensions of myself reflected in that don’t really show up anywhere else. Later, when McLemore celebrated their non-binary identity publicly, it was super heartwarming for me, and their books hold a special place in my heart for all of that.

Anna-Marie McLemore

When I heard that these two incredible queer Latinx powerhouses were teaming up on a project, I was over the moon – and Miss Meteor does not disappoint. My preface to this glowing review is this: I didn’t bother to read much about the book before I picked it up, because I was so excited to see what Mejia and McLemore would come up with together. I had skimmed the jacket copy and seen the cover, and that was it. This book was not at all what I expected.

The best way I can think of to pitch Miss Meteor is if Dumplin’ were super queer, and had a little touch of magic. I was a kid who grew up closeted in a small town that’s truly supportive and sweet as long as you abide by don’t ask, don’t tell… and there there were a lot of moments of searing truth in this story. There aren’t enough queer books that take place outside of the sprawl of metropolis, and we need them. I don’t think that LGBTQ2S+ folks think enough about how different it is experiencing queerness and gender non-conformity outside of urban centres. McLemore and Mejia paint a picture of a small town that’s believable and quaint and chilling, and there is skillful, diverse representation in every direction in this narrative.

Miss Meteor has so many things to love, including food descriptions that left me drooling onto my eReader. It has Wild Beauty‘s fingerprints all over it in the character of Lita – after reading this, I want to go to a cactus birthday party so badly! The only criticism that I really have of the book overall is that I could have used just a touch more of the magic that we get a hint of through this main character. It had everything else – the thrust of a powerful friendship story to keep to keep the plot momentum in forward motion, touches of romance and truthfulness, and the spectacular, voicey writing that I’ve come to expect from the authors’ other works. I just fell a little bit in love with the girl who was made of stardust, and I wanted to know more.

Miss Meteor Stitch Project

For those of you who don’t know, when I’m not reading, I’m usually stitching. I discovered embroidery a few years ago when I was adjusting to a new psychiatric medication, and I still love it. It’s cheap, it’s not super difficult, and I love the outcome. For my creative project for #MissMeteorOnTour, I decided to make a sheet of stitchable (or colour-able, if you’re not a stitcher!) Miss Meteor Merit Badges!

What’s your favourite part of this book? The pageant, the cactus birthday parties, the delicious diner food, or the awesome space rocks and star dust? The choice is yours.

Project materials:

  • large wooden or plastic embroidery hoop – nothing fancy required
  • scissors
  • fabric! You can use an old T-shirt (or bedazzle a new one), a swatch of cotton, or really anything you have lying around. Choose something with a fun pattern for a decorative background.
  • medium-sized embroidery needles. I would suggest DMC Size 5, if you’re a beginner!
  • graphite transfer paper to trace the pattern onto the fabric
  • embroidery floss. Use any colours you want! I would suggest DMC six-strand embroidery floss. It’s inexpensive, you can get it at lots of craft stores, and it comes in LOTS of colours. Sometimes, less expensive floss can tangle more easily, but you can also dig into your childhood friendship bracelet supplies for this project!
  • basic felt sheets
  • Mod Podge matte – you can use the spray version, or use a sponge to apply the regular version

Resources used to create the merit badges:

Instructions

All you need to do is print the pattern above, use the graphite paper to trace it onto fabric (be careful, these lines won’t wash off), and then get started! Before you thread your needle, you’ll want to cut off a few feet of embroidery thread, and separate it into 3 strands. Only use 3 strands at a time to thread your needle. Once you’ve threaded your needle, and tied it off at the end, you’re ready to get stitching. You can use a simple straight stitch or back stitch for any of these designs, or get creative and choose something more complicated! There are loads of Youtube tutorials for learning embroidery stitches.

Once you’re done, and you love your badge, you can iron it flat, or leave it under a stack of books for a few days to flatten out. Then, cut the felt sheet to make a backing, and glue it to the back of the badge, and you’re done! If any of you decide to stitch (or colour!) a Miss Meteor merit badge from these patterns – PLEASE send me a note through the contact form! I would love to feature it on the site.

Happy stitching!

Trans (P)review and FOLD Kids

Books Beyond Binaries Editorial Services

A little shameless self-promotion to start off this post, before I get to the good stuff!

As most of you know, as well as being a full time student, I am also a fledgling literary agent and a bookseller. I make most of my living in my student life, taking on freelance research projects, and I’ve usually had the comfort of a small but reliable paycheque from the bookshop where I work part time to fall back on. Unfortunately, because of COVID, both of these sources of income have all but disappeared from my life these days. As such, I’ve decided to start offering book doctor services to writers alongside my agenting career. I’m putting my experience of 3 years as a bookseller, nearly a decade in academic publishing, and my first year in traditional publishing to work with competitive rates to support writers at all stages of their careers. You can check out my Fiverr page here if you’re interested. While I am available for bigger contracts, I love offering thorough first pages critiques to strengthen longer projects and pitch packages.

FOLD Kids

Before I jump in to this week’s feature, I want to highlight an amazing event coming up TOMORROW for educators, supported by The Festival of Literary Diversity’s Kids Book Fest. Details for Decolonizing Education and the Role of Restorative Justice in Schools is a free webinar, and details can be found below. While you’re looking, registration opens on September 2nd for the Kids Book Fest being held in October that is not to be missed if you’re a supporter of diverse literature for young readers, a parent, an educator, or a young reader yourself!

Kit Mayquist’s Review of FIRST, BECOME ASHES, by K. M. Szpara

I cannot say enough how excited I am to host this review, written by up and coming #SpineSquad author, Kit Mayquist, who recently celebrated the sale of his debut novel, Tripping Arcadia, to Dutton, an imprint of Penguin Random House.

There is nothing I love more than trans stories being reviewed by trans readers. While Kit is just beginning a promising literary career of his own, K. M. Szpara made waves with his debut Docile, and his sophmore release First, Become Ashes is expected in April of 2021 and is available for pre-order now.

To readers of First, Become Ashes, Kit would also like to recommend one of my favourite haunted house books of all time, The Good House, by Tananarive Due. Tananarive Due is an epic horror author who I didn’t learn about until way too recently. If you’ve been sleeping on her work, definitely check it out. It will give you chills, no matter how hot this summer is getting.


There is magic in the world, though it depends on who you ask.

Being raised in a cult of Baltimore-based, monster-hunting wizards, the main character Lark is awaiting his 25th birthday where he will undertake his mission as one of The Anointed, and fulfill his oath to rid the corrupted world of monsters. When we begin, he is bidding his partner and lover Kane goodbye, watching him leave the guarded gates of Druid Hill and venture into the world to complete his own mission, but for Lark, this ending is the largest beginning he could imagine, as Kane betrays them and reports the Fellowship of the Anointed to the FBI, resulting in a sting operation and their arrest.

It is rare to find a story where two realities can exist simultaneously and still seem rooted in our own, present day. First, Become Ashes deals with many topics that readers will find familiar, topics such as growing up and discovering your own beliefs versus those you were raised in, and the rocky path of wrestling with belief when everyone seems to have a different opinion on it. Much like in Szpara’s debut novel, Docile, First Become Ashes is a story of a man discovering who he is in the world as he undergoes a deprogramming. In fact, for many readers of Docile, the themes in First, Become Ashes will seem very familiar. Our protagonist, Lark has an inner narrative and voice that is strong-headed and yet, gives the reader full insight into the unraveling (and lack thereof) of his beliefs and of his identity as he wrestles with what it means to exist beyond life as a chosen one for a cult that the world is all too happy to condemn. Much like how Docile followed Elisha as he lost sense of himself and struggled to regain it, our protagonist takes the reader on a journey full of bravado and surety, with his fingernails clinging so hard to his beliefs that he practically bleeds. His is a story of agreement with his cult’s beliefs and a resistance to the efforts of those around him to tell him otherwise. Along his journey Lark meets a cosplayer, Calvin and in him he finds companionship as well as another soul desperate to believe there is magic in the world.

 From a meet-cute beside the dumpsters in cosplay (relatable for many of us, I’m sure), to unashamed enthusiasm for the 21st century nerd and fan culture (so many references, so many!), Calvin is just like any one of us. Eager to go on a quest, and above all else, eager to believe that the rumors about The Fellowship of the Anointed’s ability to wield magic is genuine. For Calvin, Lark’s presence in his life is a much awaited turning point, and a choice he makes to find out for once and for all if he can live the life of the characters he dresses up as, and possibly find love in the process. What he does not expect, is to go on a road trip with a bag of BDSM toys in the trunk, and to discover that for some, magic does not come from a loving, joyous space, but from something darker.

 First Become Ashes comes with a warning of sadomasochism, and it is a warning well-deserved if that is not your thing. If it is your thing, you will be well rewarded. Much like in Docile, themes surrounding consent, and what it means for our protagonist, develop through a narrative that makes such lessons poetic and extremely grounded in the story’s plot and world-building. For Lark, there is no question magic is real, he feels it in his body, becoming weak when he is drained of it. It is a very real thing. It is also something that requires a partner to hurt him in order to produce, and it is a process his scar-marked body enjoys arguably more than any other member of The Fellowship.

 As his bond with Lark develops, it is revealed Calvin is no stranger to BDSM and the world of kink, though Lark’s approach to it, and his relationship to a life where pain is a necessity and not something pleasurable, is concerning. This raises an internal debate throughout the book for Calvin and Lark’s Fellowship partner, Kane, about if Lark is even aware of his own kinks, and if he can come to understand his own enjoyment and embrace pleasure in his life aside from shoving down any positives for the sake of self-discipline. One final note on the BDSM link to magic and ritual in the book is that there are two major instances of sexual abuse and rape on the page as we learn about the actions of The Fellowship and their leader. Though not glorified, the scenes highlight the link between spiritual and sexual abuse in a way that may be extremely triggering for some readers, so please be advised.

However as serious as the themes discussed in First, Become Ashes are, it is not without humor. References to protein shakes as ‘potions’ and glow sticks from your classic convention rave being used as evidence of magic come with a nod and a wink that feels like that assignment I had once in Anthropology 101 to discuss current items as if they were being discovered 100 years from now. That being said, the humor serves a dual purpose in showing us just how isolated Lark and the other Fellowship member’s lives have been, and while some pick up the intricacies of modern day objects like hotel key cards and Google Maps with ease, for others, it is a reminder of just how much they’ve been denied, and a challenge to avoid a deep seeded fear of spiritual corruption.

It is no shock that the beliefs of First, Become Ashes feel so rooted and real, knowing that Szpara himself has a Theology degree. What was perhaps most refreshing to me was seeing a classic ‘Doomsday cult’ without the Christian lens. Instead the Fellowship reminded me most of my own childhood spent in metaphysical circles and having soul paintings done and being taught to bend spoons with my mind when all I wanted to do was play Pokémon. I think this is why for myself especially, the experiences of the various Fellowship members in the book feel truer to life than anything else. In First, Become Ashes we see all sides of the belief debate. The one who chose to leave, the one who was abused, the one who was never chosen, the shunned Preacher’s Kid, and the outsiders who want to believe, as well as those who hate them. Seemingly every perspective on The Fellowship and their actions is explored at least briefly, and readers are likewise taken on the journey of whether the magic is real or not, bouncing between proof for both sides, and unexplainable instances that will continuously leave you guessing yourself, just how much is fact or fiction.

Last though certainly not least, as a member of the LGBTQ2S+ community myself, First, Become Ashes is full of inclusive language and gender identities (one of the best things about The Fellowship is the normalized greeting of “What are your pronouns?” ) making it as comforting a read as it is a challenging one in terms of themes. Queerness is on the page in a celebratory way, as are discussions of polyamory and different types of love; something I’d personally like to see much more of from publishing. Ultimately First, Become Ashes is an excellent, well-awaited sophomore novel to Szpara’s Docile, while treading equally in familiar territory as well as new. Szpara’s ability to connect sex and identity to the plot in an inseparable way are what make his writing memorable long beyond the last page, and what make this novel shine.

Starred Rating: 5/5


PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

BREAK OUT THE SCISSORS

Happy Monday, theydies and gentlethems. This week, I’m pleased to share with you a review of Avalon’s Last Knight, an #OwnVoices LGBTQ2S+ novel by trans author Jackson C. Garton. I’m also thrilled to host a guest post from dark fantasy author A. J. Vrana on one of my favourite editorial topics: HOW TO CUT WORDS. Thank you so much for your continued support of this space! If you want to throw a coin to your blogger, my ko-fi is linked at the end of the post.

Review: Avalon’s Last Knight, by Jackson C. Garton

I’m so pleased that author Jackson C. Garton sought me out and shared this book with me, and I owe him a public apology, because it took me forever to finally pick this up. 2020 has been a hard year, and if I had known that I would enjoy this as much as I did, I may not have waited so long. Sorry, fam!

Avalon’s Last Knight from Pride Publishing is loosely categorized as LGBTQ Urban Fantasy, but I think it is more accurately described as an LGBTQ2S+ romance with speculative elements. I’m not usually all about retellings, but Garton managed to skillfully integrate the old and the new in a way that wasn’t distracting from the thrust of the narrative. Set in the rural American south – a rare bird for LGBTQ2S+ fiction – Garton’s book follows Lance and Arthur, high school BFFs turned sweethearts, as they learn to navigate their new relationship, and all the complications that come with it.

With strikingly raw prose reminiscent of the fiction of the Trans Vanguard, Garton expertly weaves thematic aspects of the original tales of Avalon through a diverse and contemporary romance flavoured with a taste of the occult. Emotions right on the surface, this book tackles the complexity of transition, love, and the cultural tension of progressive life in a conservative setting.

My only criticism of this book is that, to my knowledge, the racial representation is not based on lived experience. For me as a reader, it felt as though the diversity aspects were handled sensitively, and this remains a book that I would recommend. As a white reader, I would be interested to see reviews of this title from POC.

When I asked Garton what book he would recommend by a Black author, he suggested Kacen Callendar’s Felix Ever After, which was featured on Santana Reads! I’m thrilled to have been introduced to Avalon’s Last Knight, and I look forward to seeing what Garton comes up with next.


The Baldwin quote above is the banner that I use on my editorial reports for my lit agent clients. It feels appropriate here, because today, I am completely stoked to be hosting one of those clients with a guest post on one of my FAVOURITE editorial topics: how to make deep cuts. There is nothing more satisfying than a manuscript with good economy of language, and no one knows how to achieve that better than A. J. Vrana. Her method is just… *chef’s kiss*. I asked her to write this as much for my nerdy brain as for anyone else’s benefit. I hope you’ll all enjoy as much as I did.

In the meantime, if I haven’t shouted about it enough, A. J. Vrana’s beautiful debut dark fantasy novel is also now available for purchase, if you’d like a book-length example of the kind of results you can get with her editorial methods.

How to Cut Words: Guest Post by A. J. Vrana

There is no shortage of jokes about writers. Whether you are a hobbyist or a professional, you’re bound to encounter a quip or two about creative types and their stubborn dedication to their artistic vision. Creative people are sometimes incorrectly stereotyped as being spacey, unmoored, and impractical, much to my personal chagrin. Of course, if that were true, none of us would have succeeded in making a living with our creative work, least of all in a business that is primarily concerned with one thing: making money.

There is no separating creative writing from the publishing industry if, well, you want to be published. While there are many talented, visionary writers out there, navigating the business side of publishing can prove frustrating and alienating for many people. However, if we want our work read, we need to come to terms with the fact that publishing is a business, and businesses will always be concerned with how to maximize their profits. One of the ways they do this is by becoming intimately acquainted with the market. For a book to be publishable, it needs to have commercial potential. It doesn’t matter how breath-taking, eloquent, or poetic your writing is; if it isn’t something a publisher feels they can sell to a market they themselves have carved out through a long history of curated publication and advertisement, there is little hope the manuscript will be acquired by an agent or an editor.

Photo by Matt Artz on Unsplash

One of the often understated facets of marketability is word count. See, when I say, “markets that have been carved out through a history of curated publication,” I’m talking about genre conventions that have slowly but surely become cemented in readers’ understanding of literature, and subsequently inform their expectations. Word count is one of the many markers of how well a work fits within its intended genre. It has implications not only for a publisher’s production costs and returns, but for how the market will actually receive the work.

So, what is an acceptable word count for your next best seller? Well, it depends on the genre. Here are some general figures for popular genres; these can be easily found on the interwebs:

  • Mainstream Romance: 70,000–100,000 words
  • Subgenre Romance: 40,000–100,000 words
  • Science Fiction / Fantasy: 90,000–120,000
  • Historical Fiction: 80,000–100,000
  • Thrillers / Horror / Mysteries / Crime: 70,000–90,000 words
  • Young Adult: 50,000–80,000
  • Middle Grade: 25,000–40,000 words
Photo by Jude Beck on Unsplash

With the exception of kidlit and SFF, you’ll notice immediately that the upper end of the word count bracket for most genres is 100k. However, I would argue that if you’re a debut author, your SFF should also be around or under 100k. Once you go over this mark, the work becomes an increasingly difficult sell for both agents and publishers.

I myself am a verbose gal. When I wrote the first draft of my debut, a contemporary dark fantasy, it was 135,000 words! I justified this massive word count by convincing myself it was what I needed to tell the story, but I was a DIRTY LIAR. In truth, the long word count reflected several of my weaknesses as a writer: I sucked at pacing. My first 50 pages were way too slow in getting to the action. I overwrote emotions. I spent too much time on scenes that didn’t move the plot forward, and I did so under the guise of ‘character development’. I underestimated how few words I needed to get my point across. After several rounds of substantive edits and several more of line edits, I parred the beast down to 97,000 words. The final manuscript upon publication? 98,300 words. The best part? The major plot beats and structure hadn’t even changed.

But how the heck do you chop a novel’s worth of words out of your manuscript to appease your agent or editor’s pragmatic bones? Well, let me tell you. Here’s how to murder your beloved in three, excruciating steps.

Photo by Angèle Kamp on Unsplash

STEP ONE: Reverse Outline Your Book

The first step to chop-chop-chopping is to get rid of any large chunks of text that are unnecessary to the plot. But how do you know what’s unnecessary to the plot? That three-page meditation on the movement of celestial bodies and their implications for the fate of the family cat provide the reader with such a keen glimpse into your character’s psyche.

To figure out whether your reader will give a rat’s ass about the family cat’s natal chart, try a reverse outline. To do this, make a note of your book’s conclusion, then work your way backwards. What event prompted the ending? What then triggered the event that prompted the ending? Keep working your way backwards until you reach the beginning of your book. The catch? Don’t look at your manuscript when you do it. You, as the author, should be able to backtrack through your entire manuscript and communicate the book’s major inciting events without analyzing the text.

Once you’ve done this, take a look at your manuscript and make note of everything that falls outside of those core events, then ask yourself if those scenes are truly necessary. After reverse outlining your book, you should have a little more distance to judge whether these outliers are really needed. If you aren’t sure, cut and paste them in a separate document and see if the story still works without them. If the answer is ‘yes,’ DELETE DELETE DELETE. I don’t care how much you like it; GET RID OF IT. You won’t notice it after it’s gone, I promise.

One other option is to consolidate chapters that deal with similar events or circumstances. Are there two chapters where your protagonist visits a creepy old man in the woods to get information about a certain mystery? Slap ’em together, delete all the dialogue and prose that isn’t vital for your reader, and maintain the core purpose of both chapters—but in one!

Photo by Alex Gruber on Unsplash

STEP TWO: Economy of Words

This is the more detail-oriented and pain-staking method of cutting words, but people grossly underestimate just how much can be excised with careful line edits. The goal here is to make sure that not a single word is wasted. There is no one method of doing this, but I’ve learned a few tricks that can go a long way.

Contractions. This one took me a while to get used to because I got my start in academic writing, where contractions are a big no-no. However, using contractions in non-academic writing, especially creative writing, can reduce word count significantly. Use Ctrl+F to find common phrases that can be replaced with contractions.

That. Many a time, the word ‘that’ is not really necessary. I was told that I’d have to cut at least 10,000 words from my book. See what I did there?

Sentence Structure. Sometimes, switching up syntax and playing with verb conjugation can spare a word or two per sentence. It may not seem like a lot, but when you have thousands of sentences, it adds up.

For example: He stared at the maskless buffoon and then wondered if humanity was done for.

Alternative: He stared at the maskless buffoon, then wondered if humanity was done for.

Even better alternative: He stared at the maskless buffoon, wondering if humanity was done for.

Now, you don’t want to use the same sentence structure over and over again. Don’t get too nitpicky with this, because sentence variety is more important than cutting a single word per sentence. Don’t forget that you can also change what order your clauses are in. Be conscious of modifiers and subordinate clause placement, as sometimes these can needlessly lengthen sentences.

Example from this very verbose blog: When I wrote the first draft of my debut, a contemporary dark fantasy, it was 135,000 words!

Alternative: The first draft of my contemporary dark fantasy debut was 135,000 words.

Photo by Wajih Ghali on Unsplash

Starting sentences with ‘And’ or ‘But’. This is probably the thing I struggled with most. I loooove starting sentences with ‘and’ and ‘but,’ especially when establishing a character’s voice. Sadly, it’s not necessary most of the time. Occasionally it’s fine if used for emphasis or in dialogue, but try to minimize this as much as possible.

Adjectives and adverbs. Remember when I said I overwrite emotions? Yeah, this. Listen, there is NOTHING wrong with a good adjective or adverb, but when you find yourself piling them on like a grocery list comprised entirely of snack foods, reign yourself in. Pick ONE snack food. Even better—ask yourself if there is a more accurate noun or verb that can replace the adjective + noun or adverb + verb you’re using.

Don’t repeat yourself. Sometimes when we try to communicate something, we spend too many sentences expressing the same sentiment. This is natural, as overwriting is how we explore the best way to get a point across. However, once we’ve done this, it’s a good idea to go back and pick one sentence that best communicates the intended point.

Metaphors > Literal Description. This can be a tough one as it forces you to exercise your poetic brain, but I promise it pays off and makes your writing more interesting. Literal descriptions of settings or a character’s emotional state tend to be quite lengthy, and if you have the attention span of a kitten like I do, they can be kind of boring too. Sometimes, an apt, pithy metaphor can convey all that needs to be conveyed in far fewer words than a very literal description. Don’t be afraid to experiment with similes and metaphors; if it doesn’t work, someone will let you know with their confusion! As with the suggestion about sentence structure, you shouldn’t turn every description into a metaphor, but it can help add some variety!

Example: On the weekends, the sidewalks were crowded with people pushing past one another.

Metaphor: On the weekends, the sidewalks [crowded] like an ant colony.

Photo by Dani Rendina on Unsplash

Don’t start sentences with ‘There was’.  This is best illustrated with an example.

Example: There was a child napping in the shade.

Alternative: A child napped in the shade.

Eliminate the obvious. This is another trick best illustrated with an example:

Example: The sky was grey. The clouds hung low, heavy with unfallen rain.

Alternative: The grey clouds hung low, heavy with unfallen rain.

Since clouds are inherently in the sky, we don’t have to mention the sky and the clouds.

Eliminate absences. One trick to using precise language is to eliminate any mention of things being absent, and instead focusing on what is present instead of the absence. Here’s what I mean:

Example: She stared at her estranged mother and felt nothing. The love was gone.

Alternative: She stared at her estranged mother. The love was gone.

Here, it’s redundant for us to say that someone felt nothing; instead, we can infer that there is an absence by noting that ‘the love was gone’.

Photo by Dani Rendina on Unsplash

STEP THREE: Repeat Step 2.

Seriously. You need to do the line edits like three times, because as you progress through your manuscript, you will grow lazy and let things slip. The first time I finished cutting on a line level, I’d eliminated 3000 words. After my second round, I’d eliminated 6000 words. By my third round, I’d cut a total of 8000 words.

And it was great.


Alex’s recommendation for a book by a Black author to check out is the Binti trilogy, by Nnedi Okorafor. I had the pleasure of hearing Okorafor speak in Denver a couple of years back, and she blew my mind. This book is definitely worth the read!

PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

Neglected Favourites of 2019

Currently Reading: You’re Next, by Kylie Schachte

LGBTQ2S+ POC Authors Are #CanLit

A handful of rad authors, many of whom are LGBTQ2S+ POC, have been announced as part of the delegation representing Canada at the Frankfurt Book Fair this year! So happy to see so many authors who have been celebrated in this space before (and who will continue to be!) get the public recognition they deserve. Special congrats to Billy-Ray Belcourt, Canisia Lubrin, Catherine Hernandez, Farzana Doctor, Joshua Whitehead, Tanya Tagaq, Tanya Talaga, Téa Mutonji, and Vivek Shraya!

Looking for 2020 Reads?

I love being able to shout out other trans and/or non-binary content creators! Recently, Books Beyond Binaries has extended support to Santana Reads, a book blog by a rad content creator. Carolina is a bi, genderfluid, Puerto Rican 16-year old teen book blogger who is very passionate about diverse literature. When they’re not reading a good book, they can be found snacking on gingerbread cookies, napping, playing with their dog, and marathoning TV shows on Netflix. They are one of the co-hosts of the Latinx Book Club, and their latest post is a review of Don’t Ask Me Where I’m From, which comes out later this year. Thank you so much for this insightful review, Carolina!

If you are a non-binary content creator, and you can think of ways that this blog can support you, feel free to reach out through the contact form!

Genderqueer blogger and author Corey Alexander has put together another bang-up list of new release books with trans and/or non-binary authors for early 2020. So many rad titles on this list, but the ones I want to shout about are: Blood Sport, by the indelible Tash McAdam, which is a perfect pick for educators or those who want a more accessible reading level; Common Bonds, an anthology which has hella incredible rep across the aromantic spectrum; The Subtweet, by Vivek Shraya, who has never once disappointed me with anything she’s created; and The Thirty Names of Night, by Zeyn Joukhader, an #OV Syrian trans novel with an almost entirely QTPOC cast.

A mood board for Tundras, Travelers, and Other Travesties, featuring mostly a lot of mist and snow.

One of the other options on this list is Tundras, Travelers, and Other Travesties, by the fabulous enby author and online community builder who likely none of us could do without, Amara Lynn. It is a prescient solarpunk post-apocalyptic sci-fi short with a queer protagonist that is available now. I am thrilled to be able to share a preview of Amara’s newest offering in this space. Buckle in.


Excerpt: Tundras, Travelers, and Other Travesties

“I don’t understand. You live outside of Earth?”

“Yeah. In space. On an artificial planet, made for people to live on instead of Earth when it became too polluted and unlivable. Why don’t you know any of this?”

I shrug. I’m having trouble taking this in, confused by what it all means. I know that our outpost and greenhouse is built into the side of a hill of landfill waste, and the solar panels were built atop the highest landfill peaks to take in maximum sun exposure. All I know is this tundra, this landfill outpost. Zaza and Nana never told me anything about why there were so few people, why we never received travelers. Is it because they all live on this artificial planet Earth?

I clutch my knees to my chest, which aches along with my ribs. I don’t even realize I’m rocking until the traveler’s hands touch my shoulders.

“Hey, it’s okay. I’m sorry; I didn’t mean to shock you.”

I look up, staring at those bright pools. “Who are you?” I blurt the question without thinking about it.

“The name’s Ignis. I use he, his, and him pronouns.”

“Eis. What are pronouns?” I am unfamiliar with this concept.

Ignis seems confused that I don’t know. “They’re used to refer to a person when you’re not using their name. They vary based on a person’s gender. I’m a man and I use he, him, and his pronouns. Someone who is a woman might use she, her, and hers. There are also people who don’t have any particular gender or who fluctuate and use neutral pronouns like they and them, ze and zir, or ze and hir. Those are just a few.”

“Oh…” I have never known anyone else besides my parents. Now, thinking about it, I recall Nana used ze and zir when referring to Zaza, and Zaza had used they and them for Nana.

“Why don’t you know that?”

“I…I’m not sure. My parents did use some of those for each other, but I’ve never been asked about myself. I’m not sure I know what gender I would be.”

“That’s okay. Would you like me to use neutral pronouns for you? They and them, or ze and zir? I can list some others if you like.”

“Oh…maybe ze and zir?” That’s what Zaza used.

“Okay.” Ignis smiles. “And if you change your mind later after learning more about it, that’s totally okay, too.”

“Okay.”

If you want to read the rest of this story, it is available on B&N, Universal, Gumroad, and (if all else fails) Amazon, or it can be added on Goodreads! You can find Amara Lynn on Twitter!


Unsung Favourites of 2019

This post comes at a time when we are experiencing the fullness of a complicated world. I didn’t have a collaborator or special theme of this week, so I thought that I’d write about some of the best books that I read in 2019 that I didn’t get to talk about in this space. Hopefully, these recommendations will serve everyone who is new to social distance well! If you can, order these titles from your local indie, since many of them are suffering right now, and lots of them can take online orders and provide delivery.

There’s nothing that’s a better distraction, in my opinion, than a good thriller, and these two were page-turners. A Madness of Sunshine is the first crime book from NYT bestselling contemporary fantasy romance author Nalini Singh. This atmospheric story set in a vividly imagined small coastal town in New Zealand features a diverse cast including many Indigenous characters and a slow-burn romantic subplot. It’s a clever twist on a formulaic crime novel from a WOC that features enough predictable elements to feel recognizable, while still hinting at searing political commentary in the best of ways. Despite a few loose ends at the conclusion of the book, I would recommend this to anyone seeking a great mystery. CWs for domestic violence, substance use, murder, violence against women, some ableist language, police protagonist, violence against animals (one scene, with warning indicators before violence occurs).

I am a huge fan of UK-based author Fran Doricott, and I ate up her twisty abduction mystery thriller After the Eclipse. It’s a complex mystery with a badass femme journalist protagonist, and it’s hella queer. This one requires all the CWs, in particular for violence, child abduction, confinement, imprisonment, sexual assault, rape, pregnancy, and stalking, off the top of my head. However, I loved about this book that it had a positive, satisfying outcome, despite its grim themes.

The Collected Schizophrenias by LGBTQ2S+ author Esmé Weijun Wang, and Consent by Donna Freitas, were two of my favourite non-fiction books from last year. I bought Wang’s collection of essays at the Tattered Cover in the Denver airport, (unsuccessfully) holding back tears, in the middle of a mental health crisis. I could not have made a more perfect choice. Not only did the author respond with such generosity and care when I reached out to let her know that her book was in an airport display – a long-standing wish of hers – but the collection is moving, relatable, and insightful. It is the book about psychiatric disability that I have always needed. In contrast, Consent is a timely, chilling, and all-too-familiar story of an academic relationship gone awry for Freitas, a student at the time, who ultimately gets stalked by her mentor. Freitas’ story is an unflinching tale that every femme will be able to see themself in, and a searing social commentary.

I struggle to describe what I loved so much about the fever dream that is Gingerbread, by Helen Oyeyemi. It’s one of the few books in my life that I have finished, and then immediately felt the urge to flip back to the first page and read again. I had never read any of Oyeyemi’s work before Gingerbread, and I am delighted that she has such an extensive backlist for me to discover. This book is a strange and wonderful delight.

By contrast, Kiley Reid’s Such a Fun Age is a quick, engaging, millennial fiction, that I found instantly relatable in so many ways. You know that white girl who got rich off Instagram? Yeah, her. This book is both about her, and so not about her. With aspects of political commentary, a twisty romantic subplot, and the best-written child character I have ever read, I would recommend this one to anyone. It is a perfect book conversation starter or club pick, and it’s a great gift for the college freshman who loved The Hate U Give.

I don’t read a tonne of MG, as is probably evident from what I tend to review on this blog, but I picked up a few last year that I loved. I listened to The Lost Girl, by Anne Ursu, on audio, and it was fantastic. I love twin books to begin with, and this one was a love story to weird junk shops, featuring adolescent social awkwardness (hard relate) and an unpredictable, fairy-tale-inspired plotline. If you liked the Hazel Wood, you’ll like this, too.

I loved Jinxed so much that although its sequel hasn’t been released in Canada yet, I actually begged a UK-based friend to mail me a copy. Canadian-born Amy McCulloch’s book is set in a near future Toronto, and I picked up the ARC on a whim while I was bored between bookselling at an event. I read it in one sitting, and I loved every minute. Jinxed is about a realistic electronics tinkerer protag, in a world where smart phones have been replaced with personalized robotic animal companions, and features one of my favourite things: a school for the elite! It’s an engaging mystery, and ultimately our fair protagonist is left facing off against the corporate overlords. Jinxed has been released in North America now, and the sequel, Unleashed, is available across the pond. Also, look out for McCulloch’s forthcoming YA Gothic thriller, co-written with Zoe Sugg (aka Zoella), The Magpie Society (!!!).

I feel like there was literally no way I was going to miss these last two books. I think I’m physically incapable of passing on cheerleader intrigue or witchy 90’s throwbacks – and I stan. Squad is a short but impactful YA contemporary by non-binary author Rae (Mariah) McCarthy about a cheerleader who gets dumped by her friends, has to navigate newly-discovered mental health struggles, and figure out who she really is. All I can say about this book is that it’s charming AF, and I hard relate. It’s well-written, and it’s a story that I think any teenaged femme (or formerly teenaged femme) will see themselves in. It also has a well-crafted transgender secondary character, and a tough-to-navigate romantic subplot with aspects of “what does transition mean anyway?”… without spoiling the entire book – if you are a fan of Complicated Friendship Stories, this one’s for you.

As for The Babysitters Coven, by Kate Williams, I’m delighted to report that this book is exactly what it says on the label. 90’s throwback. Magic. Baddies. Femmes save the day. Babysitters. It’s brain candy, and it’s great. My bookshop sales rep from PRH Canada tossed me a copy of this when I told them that I basically wouldn’t be able to wait for its release date, so shout out to them for always humouring me with such good will. Especially at a time when the world feels heavy, this is a kitschy delight to spend an afternoon on.

PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

Never Have I Ever

Currently Reading: Darling Rose Gold, by Stephanie Wrobel

Non-Binary New Release

Just a quick heads up before I jump into the theme of today’s post: non-binary poet Danez Smith’s newest title dropped on January 21st, and although I haven’t gotten my hands on it yet, I hope that all of you will! It’s called Homie, and it’s a mixtape-styled collection that celebrates Black love, while lamenting the harm done to Black people.

Arospec Awareness Week!

Happy Aromantic Spectrum Awareness week! Over the past few months, I’ve been embracing my arospec identity for the first time. This is my first Arospec Awareness Week, and I wanted to remind everyone about the Aromantic and Asexual Characters Database! It’s always linked in my resources page, and it’s the best way that I know of to find great books by and about arospec folks.

FOLD Reading Challenge: Caribbean Author

If yall are reading along with the FOLD 2020 Reading Challenge, then you know that we are on month two, and this month’s challenge is to read a book by a Caribbean author. Truth be told, this is an area where I have serious gaps in my knowledge, but I put together a quick list of authors to check out this February…

  • Marlon James
  • Afua Cooper
  • Jamaica Kincaid
  • Roxane Gay
  • Ben Philippe
  • Ibi Zoboi
  • Claire Adam
  • Lilliam Riviera
  • Candice Carty-Williams
  • Elizabeth Acevedo
  • Zalika Reid-Benta
  • Nicole Dennis-Benn
  • Ann Dávila Cardinal
  • Maika and Maritza Moulite

…and last, but not least, non-binary author Kacen Callendar. If you take a look at some of the works by these authors, there really should be something for everyone, and that speaks to the sheer breadth of cultural and literary diversity that bursts forth from this region of the world.

Wet’suwet’en Strong

A drawing of the hereditary chiefs, with text that says "The hereditary chiefs say NO to all pipelines".
Art by Christi Belcourt

I see part of the work of this blog is lifting up marginalized voices, including those of the Indigenous community. For that reason, I want to issue a short solidarity statement from this platform, even though it is small. I am so humbled by the Wet’suwet’en land protectors and the incredible work that they are doing. So proud of all they are achieving. If you are not doing everything you could be to support them, you should make better choices.

Today’s Post

It’s a long one, so I’m going to jump right in! I’m so excited today to be featuring two spooky titles by LGBTQ2S+ authors; one from a small indie press, and one that was crowd funded. They both also have gorgeous covers.

I wanted to do something fun and creative with this one, so rather than focusing too much on the texts themselves, I’ve asked some of the rad authors of these works to share a bit about themselves, a teaser of their writing, and play a good old fashioned round of the classic adolescent party game, Never Have I Ever. Snuggle down, and pour yourself the beverage of your choice. Never have I ever made poor choices playing this game…

In Restless Dreams, by Wren Handman

In Restless Dreams is the perfect indie book for fans of The Hazel Wood duology, by Melissa Albertalli, or Holly Black’s Cruel Prince series. Written by an openly queer author, this book has so many elements I love in an urban fairy tale… careful handling of mental health issues, a MC who finds herself suddenly wealthy, a fancy prep school, and – of course – a little trickster magic. With this beautiful cover, it’s practically impossible to resist, and I’m thrilled to feature this title in this space.

Wren Handman

About the Author

Wren Handman is a novelist, fiction writer, and screenwriter. She’s written three novels: Last Cut (Lorimer Ltd 2012), Command the Tides (Omnific 2015), and In Restless Dreams, which was originally self-published and has now been released from Parliament House Press. Wren was pleased to be part of the team that wrote The Switch, a comedy about trans life in Vancouver. Her next book, Wire Wings, comes out with Parliament House on June 23rd, 2020. Follow her blog, or on Twitter.

Never Have I Ever…

For this post, Wren and I brainstormed, and she came up with an awesome idea… to have her main characters from In Restless Dreams play a good, old fashioned game of Never Have I Ever. Please enjoy this casual preview of Wren’s charming characters from her newly released novel, and, peripherally, the first fiction that I’ve ever had the pleasure of hosting on this blog!

“Never have I ever…been in a situation like this.” It might not be in the spirit of the game, but it’s true. I’m just a normal girl from Topaz Lake, Nevada. Or I was, until I moved to New York to live with my disgustingly rich Christmas-and-birthdays Dad. Now I’m just a disgusting rich girl from New York, New York. Which, in my neighbourhood, is sadly also normal.


Then again, I’m currently sitting in Fairy, which is about as far from normal as you can get. Yup, that Fairy. Magical world just a step away from our own. There’s a campfire, sort of, but the fire burns hot blue and dancing purple, and the sparks that drift away from the wood flicker and live on like tiny stars. On the other side of the enchanting flames are two people who make my heart beat faster, and I’m not sure if it’s from fear…or something else entirely.


One of them brings his drink to his lips and takes a long, deep gulp. His eyes are dancing with light of their own, and it’s the only brightness about him. The rest of him is nothing but shadow, from the living shadow-grey mass of his hair down to the pitch shadow-black of his skin. I don’t know his name, so I’ve taken to calling him Stranger.


“You really shouldn’t have been in a situation like this before,” the third person says to Stranger, chiding. “Interacting with humans is a breach of the Accord.” Royan is the embodiment of a young girl’s fantasy of a knight on horseback. Blond wavy hair, eyes an emerald that humans just don’t have, chiselled jaw that could cut his marble abs. I mean, I can’t see his abs, I’m just imagining them. I mean, I’m not imagining them! I’m just saying. He’s hot.


Stranger just shrugs at the hostility. He’s not afraid of the Knight. “I said like this, not exactly this. It’s your turn, Knight.”


“Never have I ever…been a Commoner.”


“No targeted ones,” I object. “It has to be something that could hit both of us.”


“I didn’t take you for a cheater,” Stranger teases.


“I was not cheating. I merely misunderstood the rules,” Royan says, though I’m not sure I believe him. “Never have I ever…eaten a hamburger.”


I laugh and take a drink. They tell you not to eat or drink in Fairy, in all the stories, but Stranger promised the drink wouldn’t hurt me, and I believe him. There’s something about him that just makes you feel safe. Maybe it’s his smile.


Stranger drinks, too, and Royan looks at him with narrowed eyes but doesn’t say anything.


“Never have I ever had a threeway,” Stranger says without missing a beat.


I snort out an awkward laugh, very unladylike, and no one drinks.


“Oh, wait.” Stranger rubs his head. “Sorry, no. That’s no good. Oh! I’ve got a better one, anyway. Never have I ever fallen for a mysterious stranger.”


They both look at me as my cheeks burn red hot. I don’t care if it’s cheating, there’s no way I am drinking! “You’re both giving yourself way too much credit,” I say, knocking my cup against the log I’m sitting on to show I’m not bringing it to my lips. “Never have I ever met royalty.”


They both drink, though Stranger shakes his head at me. “I feel like that’s cheating.”


I grin. “Or is it just playing smart?”


“Never have I ever kissed two people in the same night,” Royan says.


Stranger and I both drink, and when our eyes meet I giggle. “New Year’s Eve,” I explain. “You?”


“Madcap love affair with a forest nymph and its estranged troll lover,” he says, and I can’t tell if he’s joking. I guess being more than a thousand years old, you’re bound to have had some pretty wild experiences. But not Royan. I look at him when he isn’t looking, watching the light play across his cheekbones. He always seems sad, when you catch him unaware like there’s something he can’t quite let go of.


“Your turn,” I remind Stranger, who drums his fingers against his lips.


“Never have I ever…ridden on an airplane.”


I drink, not calling him out even though I think that techncially counts as targeted. They don’t have airplanes in Fairy.


“Do the sky bison of the Northern Mountains count?” Royan asks.


“Oh, yes, definitely,” Stranger says, and Royan shrugs and drinks.


“Never have I ever stayed awake more than thirty hours,” I say.


Royan looks confused, and Stranger shrugs. “Time sort of…works differently here. It’s narrative.”


“Time is narrative? What does that even mean?”


“It means that it moves more quickly when you are between important moments,” Royan explains.

“So technically, we experience very little non-meaningful time.”


“So that’s a no for both of us,” Stranger says with a grin.


“I think I should get a re-ask,” I complain, but I’m smiling, and neither of them takes me seriously.


“Never have I ever lost a fight,” Royan says. Stranger and I both drink, laughing, but this time we don’t share the stories behind it. I notice we have more in common than I expected, and once again I wish I knew his story. Who is it, really, behind the laughter and the mystery?


“Never have I ever started a fight,” Stranger says, and Royan and I both quickly drink. I’m not proud of my temper, but it’s there, all right. Sometimes I make bad choices.


“Never have I ever been in love,” I blurt out, before I can stop myself. I watch them both closely.

Royan smiles, softly, and takes a drink like he’s thinking about something pleasant from a long time ago. Stranger drinks, too, but he hesitates before he does, and the drink is quick, almost angry. It’s the exact opposite reaction to what I was expecting. Stranger, with his laughter and his promises of the truth; and Royan, with his honor and his uptight attitude.


They both have such huge lives beyond me. And there’s still so much I don’t know.


It isn’t anyone’s turn, but I drink anyway. Maybe I just need a drink. Or maybe my turn wasn’t as true as I thought it was…

Unspeakable: A Queer Gothic Anthology

I could not believe it when I saw the Kickstarter for Unspeakable, a collection of creepy and transgressive queer gothic tales. Is there anything more on brand for this blog?! I’m so excited to be part of the tour of this collection of stories, and to feature a few of the authors in this space. There are four trans and/or non-binary writers who contributed to Unspeakable, and today, I’m pleased that you get to know a little bit about three of them here.

The cover of Unspeakable: A Queer Gothic Anthology, which features a skeleton wearing a flower crown and collar on a rainbow backdrop.

Meet Red!

Claire Hamilton Russell, aka Red

Claire Hamilton Russell lives in Glasgow, Scotland and is usually known as Red. They are one of life’s natural Disaster Bisexuals, hence why they are genderqueer/genderfluid/nonbinary, because choosing anything as solid as a distinct single gender identity is clearly antithetical to them. They are disabled and neurodiverse, and have a grand ambition to eventually cover all their various mobility devices in cool geeky stickers.

A former worker with disabled children and young people, refugees and torture survivors, they had to give up full time work due to chronic illness and now spend their time blogging about disability and LGBT+ rights issues, writing, embroidering, playing or running tabletop roleplay, LARPing with mobility aids and listening to podcasts. They are currently developing a podcast on Scotland’s lesser-known industrial and post-industrial history with their wonderful husband, Mark, occasionally hindered by their beloved Staffie, Jasmine.

Let Down: Teaser!

A tower, lit up at night, reaching into the clouds.
Photo by Victor Malyushev on Unsplash.

“Let Down” is a darker, nastier, and queering take on the Rapunzel faerytale. The Lady Melisandre is trapped in an isolated tower under a horrifying curse decades after rejecting a proposal from a very incel prince. She has long since given up on rescue, but it turns out the patriarchal mindset can leave some unexpected loopholes in curses.

Never Have I Ever…

Zip-lined across the River Clyde (I haven’t, sadly)
Left Europe (I haven’t, and I’ve taken the Flight Free pledge)
Gone on a rollercoaster (I haven’t – I have POTS so it would be distinctly unfun)
Petted a wolf (I have, and I’ll do it again at every possible opportunity)

Meet Avery!

Avery Kit Malone

Avery Kit Malone is a long shadow in a dark hallway. He is a researcher in psychology, as well as a writer of dark, and often weird and surreal, fiction. His work appears or is forthcoming in Aphotic Realm, The Gateway Review, Pseudopod, and other venues. You can call to him across the void: @dead_scholar

Doctor Barlowe’s Mirror: Teaser!

A person's face, partially obscured, wearing a headscarf and reflected in a mirror.
Photo by Rendiansyah Nugroho on Unsplash.

In “Doctor Barlowe’s Mirror,” an inventor creates a strange device that conjures the image of a perfect version of oneself. This vision is not, however, all that it appears to be. As the doctor’s assistant discovers, something unsettling lurks within that handsome visage the longer he looks…

Never Have I Ever…

I have never owned a pet rabbit.
I’ve never gone swimming in the sea (or anywhere else. I can’t swim).
I’ve never been bitten by a centipede. As far as I know…
I have driven across the United States alone in my car more than once. Once, I took a wrong turn during a snowstorm and ended up driving through a national forest. Road conditions were fairly poor, and I was quite alone there, but sight of the sun coming muted through the fog between these giant evergreens, snow blanketing the ground beneath them and everywhere else, was lovely, in a lonely kinda way. I’ll never forget it.

Meet Jen!

Jen Glifort

Jen Glifort (she/they) is a nonbinary writer and editor living in Connecticut. When she’s not writing, she’s usually playing trumpet, losing at Overwatch, or giving presentations about robots in media for pop culture conventions. She can be found on Twitter!

Taylor Hall: Teaser!

A manor house in a foggy evening.
Photo by Ján Jakub Naništa on Unsplash

Taylor Hall has always been a sanctuary to Kit Taylor—a place to hide away when the world felt overwhelming. But when Kit develops feelings for a new roommate, the ancient family manor is all too happy to intervene, digging up emotions Kit would rather keep hidden.

Never Have I Ever…

One thing I have done: Gotten caught trespassing on a graffiti-covered abandoned highway.
Three things I haven’t done: Taken a cruise to visit the US Virgin Islands. Sang “Bohemian Rhapsody” at karaoke. Been drunk at Disney World.

PS, if you enjoyed this post, please consider leaving me a tip! It only takes a minute, and it allows me to keep creating content just like this, buying food for my pets, and pursuing my career as a literary agent!

A book with a spine on its spine.