Novels

in which the author shares previews and status on his works

Works in Progress

Servant of a Dark God (Tor, September 2009)

Talen lives in a world where the days of a person’s life can be harvested, bought, and stolen. Few know the secrets of this power: only the great Divines and the hidden societies of soul-eaters, dark ones who steal from man and beast and become twisted by their polluted draws.

The problem is that soul-eaters are found among Talen’s people. The kingdom musters a massive hunt, and Talen finds himself caught between the hunters and something far worse.

Finished, awaiting editorial revisions

In the next few months, I hope to post the first few chapters here as well as some of the preliminary artwork.

Curse of a Dark God (Tor)

Pre-draft work: 100%

Preliminary Outline: 100%

Draft 1: 15%

Dark God’s Glory (Tor)

Pre-draft work: 10%

Lord of Bones

Pre-draft work: 90%

Lucius and the Bee Man

Pre-draft work: 10%

Completed, Awaiting Publication

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Published Books

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How My Books Get Written

Here’s how I write my books.

1. Pre-draft work: Zing’s the goal here. When I have enough zing crackling about my brain focused on the main parts of story (setting, characters, problem, and plot) the story will, of its own accord, open its eyes and look up at me.The zing takes many forms, including summaries, maps, lists, scenes, musings, and outlines. I usually need a sketch of the main characters, setting, magic (if I’m writing fantasy), problem, and plot. Each of these sketches requires me to answer some key questions about its subject.It’s odd, but I usually can’t get out of this stage unless I do some preliminary drafts. For whatever reason, until I write in scene my characters lack blood and vitamins. Perhaps it’s because only when writing in scene do the characters actually speak and think. Whatever the cause, I need preliminary drafts to give my people a voice and life.Eventually, I’ll get to the point where I can outline the first bit of the story. This is when I move to the next stage.
2. Preliminary outline: This states the core problems of the story along with a summary of as many scenes as I can see (usually the first 100 pages or so) and general ideas about other events, including the ending.This outline might change any number of things. But once I feel good about the initial setup and direction described here, it’s time to start to write.
3. Draft 1: This is the developmental draft, and it always ends up different from the preliminary outline.
4. Draft 2: Draft 1 revised for feedback from first readers.
5. Draft 3: Draft 2 revised for editorial feedback.

Of course, I may write more drafts, but this is generally what happens.

Draft 1 takes me the longest since I’m actually building the story as I go, outlining as much of the story as I can see, writing those events, outlining the next bit of the path I see, writing those events, repeating that process until I reach the end. 

However, the outlines always change as I go. As do things about characters, setting, and problem. And sometimes I have to go back and start over. So because I never can see everything from beginning to end when I start, what I hold in my hands at the end of draft 1 is usually different from what I’d expected when I began. And that’s not a problem; it’s just part of following the zing.

Usually by the end of draft 1 I will have finally made enough decisions (always following the zing, even though the current might be weaker in some spots and greater in others) that the story is fairly stable. Drafts 2 and 3, while sometimes featuring big revisions of specific scenes or sequences, are usually not radically different.