As some of you may or may not know, the REUTS blog is tended by many of our staff, which is why we usually stick to the royal “we,” writing on topics from the stance of a company rather than an individual. Today, I’m breaking that mold. Hi! **waves** I’m Kisa Whipkey. Most of you will know me as the Editorial Director, but what you may not know is that I was the company’s first hire. Which means I’ve had the privilege of seeing REUTS Publications grow from the seed of inception to the spry young sapling we all know and love.

Founder and Creative Director Ashley Ruggirello will say that the tree metaphor wasn’t her intention when she selected our name, but I think it’s the perfect metaphor for our little company. Born of inspiration and watered with love, REUTS Publications has seen a lot of growth over just these few years, continuing to evolve and branch and bloom. And the time has come for it to happen again. Which brings us to the point of today’s post.

In an effort to streamline and improve the experience authors can expect when working with us, we’re restructuring our acquisitions department. My job as Editorial Director has undergone some slight modifications, merging with that of the Acquisitions Director and resulting in my new title: Acquisitions & Editorial Director. No, I’m not superwoman (though some of you may try to claim otherwise), but this post also isn’t about me. As part of my new position, I’ll be working with Ashley and the third member of our acquisitions panel, Marketing Director Summer Wier, to address one of the problem areas in our process — submission response times.

To do that, we have to temporarily close our doors to new submissions. This is important, so pay attention:

Between July 1st and September 1st, 2015 REUTS Publications will be closed to unsolicited submissions.

Our submission form will disappear from our website while we work behind the scenes to implement a new submission process. Details on this shiny new system will be revealed later. For now, here’s what you need to know:

• Wait times for queries (and hopefully full manuscripts) will be significantly shorter
• We will still respond with a personalized response to each and every query (A lack of response does NOT equal “no”)
• We will still accept manuscripts without agent representation

We’re all very excited about this new system and look forward to unveiling it in a few months. But don’t worry, there will still be ways to catch our eye during our submission hiatus. Several of us will be attending various Twitter Pitch Parties over the next few months, and I will be attending the Willamette Writers Conference here in Portland OR for face-to-face pitch sessions. And of course, we are always open to agented submissions.

So that’s it! Thank you for your patience as we go through our latest evolution. We wouldn’t be able to do this without all of you, and your support means everything to us. Here’s to bigger and better things in the coming months. And remember, you still have a few more days to sneak your query in before the window of opportunity closes.

The post Excuse Our Dust; We’re Evolving appeared first on REUTS | Boutique Book Publisher |.

Surprisingly, I’ve actually seen the statement (more than once) that writers don’t need to worry about things like grammar and spelling. That’s the editor’s job; they’ll clean it up. (Every time someone says this, another editing muse disintegrates into ash from the horror.) No, actually, that’s not our job. It’s yours. Yes, editors (especially freelance editors) are more forgiving of the occasional typo and drunk-sounding sentence than your average reader, but that doesn’t mean they want to sludge through something that isn’t even as legible as your 4th grade history paper. And if your 4th grade teacher made you proofread, what makes you think an editor standing between you and publication, between you and being paid for your work, wouldn’t expect the same thing?

Exactly. They do.

But that doesn’t mean editing has to be as painful as a self-lobotomy. In fact, I’ve given tips to get you through the revision process before. (Divorce Your Words; Save Your Story) It’s a topic that bears repeating though, so today, I’m going to give you another set of helpful insights, not from the perspective of a writer (like that previous post was) but from that of an editor. (Hold on a moment while I swap my writer hat for my editor one . . . Okay. Ready.)

1. Step Back

 
No, I’m not bastardizing “step off” so don’t get your panties in a bunch. Step back is a concept from the art world. In fact, it’s one of the first things you learn at art school. (Yes, you learn stuff at art school. Shocking, I know.) The idea is that an artist can’t clearly see the entirety of their work when they’re hunched over it and it’s about 6 inches from their face, so they have to “step back” to change their perspective and see their work the way the world does. Now it makes sense, huh?

The first step in self-editing is finding a way to create that shift in perspective, to see the work you’ve poured your heart into for the past year in a different way. We’re too close to it during the creation phase, viewing it like an overprotective mother turning a blind eye to their kid’s flaws. You have to break that connection before you can even begin to analyze your work objectively. You need to step back.

The easiest way to do that is simply to shove your manuscript in a drawer for a few days and avoid it like a note from a debt collector trying to repo your car. I recommend a bare minimum of 48 hours, but a week to a month would be better. That allows the warm, fuzzy glow of creation to fade away and stark reality to set in. If you can’t afford to take the time off, then simply changing the mode of viewing can help. Download it onto an eReader or print it out. Even just move to the Starbucks two blocks away instead of the one next to your house. The change of venue will automatically clear your perspective of any lingering rosy tint and allow you to see more clearly.

2. Ignore the Details

 
Editing is synonymous with comma hunting, spell-check, and word choice, right? Wrong. So many writers (and more than a few editors) dive right into the detail work, thinking all they have to do is clean up the grammar, completely skipping over a very crucial step — structural editing. Bypassing this is like trying to repair a broken bone with makeup. All you end up with is a mangled limb painted like a hooker. Offensive, maybe, but it gets the point across, no?

At this stage in the process, no one cares if you spelled “definitely” wrong, or have a bazillion commas in all the wrong places. Ignore all that. Look deeper, at the story itself. If the structure isn’t working, there’s no point in polishing. That lump of coal’s not turning into a diamond. The only way to fix it is to become a story surgeon, diagnosing and repairing things that are otherwise fatal to your chances of publication. How? Like this:

Take that fresh perspective you earned in step 1 and read through your manuscript from an aerial view, glossing over all the details. You’ll fix them later. Right now, you want to focus on things like pacing, character motivations, world development, scene transitions and narrative sequence. What’s the message of your book? Is that coming through clearly? Do the characters feel like fully-fleshed out people, or cardboard cut-outs? Are the scenes in the right order or does shuffling a few around improve the plot’s progression? These are the kinds of questions you should be asking. Trust your instincts as a reader. We’ve all been programmed to know when a story works and when it doesn’t. And don’t be afraid to make a giant mess; you can stitch it all back together afterward.

3. Murder Your Habit Words

 
Habit words are insidious, riddling your manuscript like a cancer, so before you send your book off to the cosmetic surgeon (aka, your editor) for that much-needed facelift, you need to eradicate them. (Don’t ask why my favorite analogy for editing is medical. I don’t know.) Don’t feel bad, everyone has them. They’re like comfort food, something we turn to without even realizing. My habit words are “was” and “so.” I’m sure I have others, but that’s all I’m admitting to.

Other common ones are “that,” “had,” and “actually.” It can also be a phrase like “for a moment” or “roll his/her/their eyes.” Pretty much anything you find repeating over and over again qualifies as a habit word. Ideally, you should try to avoid repeating words on the same page or even the same chapter! The English vocabulary is huge; use it to your advantage. But without being pretentious about it. Rarely will you find a word that doesn’t have at least one synonym. So before you go to the next step, arm that delete button with a hefty dose of radiation and go hunting for your habit words. You can’t kill them all, but you’ll be surprised at how even just this small tweak can drastically improve the smoothness of your prose.

4. Rhythm’s in the Details

 
Now you get to go through your manuscript with a fine-toothed comb, copyediting line by line until it’s as perfect as you can make it on your own. This includes things like fixing rocky sentences, condensing wordy parts, simplifying convoluted phrasing, fixing grammar mistakes and just general tweaking for rhythm and smoothness. This is what people picture when they hear “editing.” It’s the tedious part that will make you want to poke your own eyes out just so you never have to read that chapter ever again. It’s repetitive and monotonous, but it’s like sending your book to the gym. Each pass will trim a little more of the fat until your manuscript is a lean, efficient piece of storytelling. At which point you send it to an editor and the whole process starts over.

That’s right. I just outlined what a professional editor does. (With the exception of #1.)

So, why, if these are all steps you can do yourself, do editors exist? Because they provide objectivity. Even a self-editing master won’t be able to catch everything. Writers can never truly disconnect from their work, can never view it with complete objectivity, because they know the story and what they were trying to convey. An editor provides clarity, finding things that are confusing or missing just like a reader would. But since they’re also literary doctors, they’ll help you fix it, saving you from the embarrassing backlash of reader criticism and scorn. Besides, two heads are better than one. Right?

**Syndicated from Nightwolf’s Corner, the personal blog of Senior Editor, Kisa Whipkey.**

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So, what exactly is a hybrid of self-publishing and traditional publishing methods? Let’s elaborate.

Self-Publishing

There are articles upon articles discussing the pros and cons of going the self-publishing route with your novel. The pro which typically heads up the list is control. As a self-publisher, you make all the milestone decisions when producing and publishing your manuscript; from how you want your book printed–double spaced lines, or 1.5 spaced lines? It does make a difference!–to cover art designed exactly the way you dictate, to the release date, etc. All the control falls within your hands. But, as we all know, “with great power, comes great responsibility.” So, as a self-publisher, you bear the brunt of the work (or must find experts to contract the work out to) and the stress that comes with publishing sans publisher. You get the good (control) with the bad (work, problems, decisions, responsibility, all of the consequences, etc.).

REUTS is interested in the “good” that comes with self-publishing, and that’s where the first part of our hybrid nature comes in. We give authors the control over how their novel is produced during every aspect of production. While editing, we don’t dictate changes or rewrite for you. We suggest alternatives and options we feel would make your story stronger. When discussing cover art, the first question we ask is: “What is your ideal cover to represent your story?” And we do our best to make that ideal a reality. If you have any problems with any aspect of your book’s production, we work with you to find the route that makes you happy.

Our team is comprised of experts, but we use that expertise to guide your vision, not strip you of control.

^{AND PLEASE NOTE: Even though REUTS utilizes self-publishing’s philosophies, we are not a self-publishing service. We have a standard submission process, and manuscripts are turned away if they don’t meet the criteria we’re looking for in our collection. We do not charge the author a penny. Ever. Period. No ifs, ands or buts.}

Traditional Publishers (Big NY Presses)

On the opposite side of the spectrum, we have the “big press” publications everyone’s familiar with: Simon & Schuster, HarperCollins, Penguin, etc. Those companies sport rigorously high submission standards, and sometimes only seem to seek immediate bestsellers. What does REUTS borrow from their methodology? The experts.

Aspiring authors seek traditional publishers because of what the publisher has to offer: professional editing, professional marketing/design and professional promotion. REUTS offers all of that as well as full control over the production of your manuscript, blending the best of both worlds into one progressive service.

Each of our team members hails from a specific discipline. We love what we do, and coming together with REUTS has allowed all of us to blend our previous work experience with our passion: books.

Still not convinced? Here’s a quick look at what you can expect when working with us:

• REUTS offers two rounds of editing, which both involve the author from start to finish. Instead of working “offline” in Microsoft Word for the editorial phase, our editors work with an author in Google Docs, collaborating on edits together, and avoiding the dreaded “red wall of text” that comes with tracking changes in Microsoft Word. A manuscript goes through the First Round of editorial with a lead editor, to tighten up the story structurally and clean up the mechanics. The second phase (dubbed “Second Look Editorial”) pulls in a second editor to pore through the manuscript with a fine-tooth comb, looking for would-be errors, ensuring the document sparkles for publication.

• Cover art is another important phase in the creation of a novel. “You can’t judge a book by the cover,” they say… yet we all know that a great/poor cover can make or break a book. REUTS understands this, and has a team dedicated to creating superb cover art, and extending that branding across different promotional platforms (social media skins, poster/swag products, advertisements, etc.). Some of our team members have over ten years of design experience. Collectively, we’ve got a lifetime of knowledge!

• Some would argue that the most important phase in the production and success of a book is promotion. As the Creative Director, I come from a background of professional advertising in a nationally recognized advertising agency (with clients such as CITGO, Southwest Airlines, and Loyola University). What benefits stem from an advertising agency background? Advertising tips, tricks and experience. How do we apply this to the promotion of a REUTS title? We cover things from digital book/blog tours (reveals, interviews, reviews, events, etc.), sending out press releases, providing authors with swag, traditional advertisement banners on GoodReads or applicable book websites/blogs, book trailers and more! We utilize every outlet, every shred of knowledge our team has gained over the years, toward the benefit our titles. We’re not successful unless you’re successful, so we work hard to put your book in reader hands (or digital shelves… we embrace the eBook readers, too!)

• Last but not least: royalties. REUTS offers above industry standard royalties. We believe the profits should go back to the author, which is why REUTS pays the author their cut first, before any money reaches the production team. Our team doesn’t get paid unless the author gets paid, because we are all compensated based on the same sales royalties! We all have a vested interest in the success of your novel, which creates a mutually beneficial relationship that promotes trust and productivity.

So there you have it! Just a little bit of insight into REUTS, our process, and what being a hybrid company truly means. We’ve taken the best from both worlds, and are combining those benefits into an experience authors can look back on and see as fun, enriching and worthwhile. At REUTS, we endeavor to bring both aspiring and veteran authors an unparalleled feeling of confidence and clarity when publishing their work. That’s what makes us stand out in an industry where transparency is often a tradeoff of prestige.

We realize information can often be misconstrued across the Internet, and urge anyone with even a shred of confusion to contact us with any specific questions you might have about REUTS, how we operate, what we offer, etc. We’re here to serve, and want to make sure you have the most accurate information out there.

You can also check out our FAQs page, to see if your question has already been answered.

Finally, here’s a picture of a cat… in space… because we like to offer a little something for everyone.

^{*You’ll see we prefer to refer to ourselves as a “publishing agency,” because– in addition to providing the actual publication of a book via editing and typesetting– we have the expertise to focus on the aesthetic and brand of a book and author, together. Again, this goes along with our hybrid mentality.}

The post The Hybrid: What Makes REUTS Different? appeared first on REUTS | Boutique Book Publisher |.

Sci-fi is most often synonymous with spaceships, aliens, technology, robots, and to some, Star Trek or Star Wars. But there’s more to it than that. Just like Fantasy sports a whopping 31 subgenres, Science Fiction contains a plethora of subtle variations, each deserving of its own subcategory. A shocking 37 subcategories, to be exact. (And I thought Fantasy was bad!) Now you know why I had to keep deferring this one. That’s a lot of research! Ready to find out what these 37 subcategories are? Then let’s get to it.

Hard Science Fiction

This is the subgenre most people think of when they hear “Science Fiction.” Drawing from the “hard” sciences — physics, astronomy, chemistry– Hard Science Fiction is not for those easily lost by conceptual details. Scientific realism trumps the more mundane aspects of character or plot development, placing this subgenre’s focus on things like exploration and discovery instead. Expect a lot of attention to be paid to process explanations and technology, and if this is a genre you want to write, expect to put in hefty amounts of research. Plausibility is king in this field. If it’s not believable, that ship’s not gonna fly. (Pun intended.)

Star Trek is the most notable example of Hard Sci-fi. There is character development across the series, but that’s not the main focus. I mean, they say it right in the opening sequence. The mission is to “boldly go where no man has gone before.” That same slogan applies to pretty much everything in this category.

Soft Science Fiction

The exact opposite of Hard Sci-fi, Soft Sci-fi puts the emphasis on character and plot, with the scientific aspects taking a backseat. This subgenre focuses on what are considered the “soft” sciences– anthropology, political science, sociology, psychology, etc. Anne McCaffrey’s Dragon Riders of Pern series would fall in this category. Deceptively starting off as a Fantasy with just a light hint of Sci-fi, later books in the series reveal a heavier Sci-fi slant. But the focus is largely on the characters and cultures, with very clear influence from the disciplines of anthropology and political science.

Military Science Fiction

The name says it all on this one. Military Science Fiction revolves around a distinctly militaristic theme. Usually, the characters are part of the military and the plot involves some kind of war. For those fans of the video game world, Bioware’s Mass Effect trilogy and Bungie’s Halo series are prime examples of this type of story.

Robot Fiction

Another one where the name is pretty self-explanatory. Works in this category place heavy focus on the science of robotics. Isaac Asimov is one of the most prominent pioneers of this subgenre, but you’ll see this theme a lot in films. 2004’s I, Robot springs to mind as a popular example of these kinds of stories.

Social Science Fiction

Social Science Fiction is an interesting creature. It relies heavily on the influence of Social Science to extrapolate and then criticize future societies. So at its heart, it’s a genre bent on satire, on delivering criticisms and moral messages about our own society through the filter of a fictional, future one. This subgenre shares a lot of similarities with Dystopian Fiction in that sense. Notable, and probably familiar, examples include Brave New World by Aldous Huxley and The Giver by Lois Lowry.

Space Opera

For those of you who pictured the operatic blue alien from The Fifth Element, I’m sorry to say, you’re wrong. This subgenre has nothing to do with music. It does, however, bear a slight resemblance to its more earthly counterpart — the Soap Opera.

Space Operas are adventure stories. Romanticized and melodramatic sometimes, but still. They usually center around a sympathetic hero going up against insane odds in an epic battle to save the universe. Good always wins in a Space Opera, and if you can’t guess the notable work I’m alluding to yet, here’s a hint: it features light-sabers, Wookies, and a princess in a slave outfit.

That’s right, Star Wars was, and is, considered a Space Opera. (Alternatively, it’s also known as a Science Fantasy, for the same thematic reasons.)

So although this subgenre may have some intrinsic ties to the much-ridiculed Soap Opera, don’t let that color your feelings. Star Wars is one of the most successful Science Fiction franchises of all time, and if it can survive being called a Space Opera, your work probably can too.

Steampunk

Steampunk is an strange one, spawning an entire subculture as well as a subgenre. It’s often set in an industrialized not-so-distant, alternate future, with heavy influences from 19th century Victorian England and the American Wild West. Strange combo, no? It may also contain elements of Fantasy, Horror, or Historical Fiction. The main requirement, though, is that a story in this category must include steam-technology and a 19th century perspective on everything from machinery to fashion. Examples include the work of H. G. Wells and Jules Verne as well as more contemporary author, Phillip Pullman. But with the rapidly growing popularity of this cultural movement, Steampunk will likely have several more notable titles soon.

Cyberpunk

Cyberpunk is Sci-Fi’s answer to the Detective/Crime Novel. Its settings are typically dark and gritty, with a heavy emphasis placed on advanced technology. Plots often revolve around the degradation of society and the abuse of technology. Hackers, Artificial Intelligence and Megacorporations spying on the world are all elements seen in these high-intensity thrill rides. The work of Phillip K. Dick falls largely under this category, making him one of the most well-known authors in this field.

Biopunk

Biopunk is pretty much the same as Cyberpunk, but instead of an emphasis on technology, it focuses on the biological. Genetic modification and DNA engineering are common in this subgenre, providing a cautionary look at the downside to messing with biology. The Island of Dr Moreau by H. G. Wells would be a prime example, although it technically predates the creation of this category.

Nanopunk

Another cousin of the previous “punk” categories, Nanopunk focuses on a specific set of technology — nanotechnology. Michael Chricton’s Prey, as well as NBC’s recent hit show, Revolution, are both examples.

Superhero Fiction

Ah yes, a subgenre full of dudes in tights and capes, and women wearing barely-there spandex and magic-powered accessories. I don’t think there’s a person alive who isn’t familiar with this category, (don’t lie, you know you went through the towel-turned-cape wearing phase when you were a kid) although it’s much more popular in the visual mediums– TV, film, video games, and comic books.

The basic idea is exactly what you’d expect, a “good” protagonist dressed in an elaborate costume faces off against a supervillain. Often, both hero and villain have superhuman abilities, making their battles nothing less than epic. Which is why we continue to reboot these narratives over and over and over again. I mean, seriously, what are we on, like our 8th Batman?

Scientific Romance

No, this isn’t a combination of Sci-Fi and Romance, although that does exist. (It’s considered Science Fiction Romance, in case you forgot. ) Scientific Romance is actually an archaic term that was the genre’s original name. Now, it refers specifically to works from the late 19th to early 20th centuries or ones that are purposely written to sound that way. H.G Wells, Jules Vern, and Sir Arthur Conan Doyle are considered part of this category, largely because they were writing during that time frame, pioneering the genre.

Gothic Science Fiction

I find it interesting that this isn’t lumped into Horror Sci-Fi, but rather is given its own designation. Gothic Science Fiction is what it claims– a combination of Gothic-minded elements and Sci-fi. Vampires and Zombies are frequent visitors here. The most common plot is the attempt to explain monsters through science. There’s heavy emphasis placed on the biological explanation of these more-typically mythological creatures while still maintaining that darker, Gothic edge. Think Mary Shelley’s Frankenstein, or Richard Matheson’s I Am Legend.

Mundane Science Fiction

This subgenre very closely resembles Hard Sci-fi, except there’s no interstellar travel or alien life forms. Fascinatingly enough, part of this subgenre is a position that things like worm holes, warp drives, and multi-galaxy exploration (all things typically found in Hard Sci-fi) are speculative wish-fulfillment and could never really happen. (Which I suppose makes the choice of “mundane” in the title fairly appropriate.) Instead, this subgenre focuses on stories that could happen, and often contain scientific data that can be, or has been, corroborated by scientists. Geoff Ryman and the short story anthology he edited, When It Changed: Science Into Fiction, are the most prominent names associated with this subgenre.

Horror Science-fiction

Just like it sounds, this is a combination of Horror and Sci-fi. Pairing the adrenaline inducing gore and violence of Horror with Sci-fi’s action-based futures, this is a powerful combination. Alien invasions, mad scientists, experiments gone wrong, there’s really no end to the number of ways Sci-fi can terrify us. Resident Evil, The Body-snatchers, The Alien Franchise, even The Terminator, are all examples of just how lucrative this category can be.

Comic Sci-fi

Again, pretty straight-forward. In fact, so straight-forward that all I should have to say is this: Douglas Adam’s Hitchhiker’s Guide to the Galaxy. See? Enough said, right?

But seriously, this is a combination of Comedy and Sci-fi. It exploits the elements of Science Fiction for comic relief, often leaning toward satire, as in our example above.

Science Fantasy

This is a blend of Science Fiction and Fantasy (Duh, right?) that lends a sheen of scientific realism to things that could never really exist. This is a squishy subgenre at best, and has never been truly solidified with a description. Surprisingly, one of my all-time favorite series, Shannara, by Terry Brooks, is considered this. I never knew that. See? Even I learn something doing these posts.

Apocalyptic Science Fiction

These next two subcategories are very tightly linked. Apocalyptic Science Fiction is all about the end of days, the downfall of civilization. The whole story leads up to some cataclysmic event that destroys life as we know it. Sometimes we survive, sometimes we don’t. But once disaster strikes, the story’s over. Otherwise, it becomes part of the next subgenre.

Post-Apocalyptic Science Fiction

If Apocalyptic is about the disaster itself, Post-apocalyptic naturally features what happens next, after the crisis. Often it includes desolate landscapes, a much smaller population, and sometimes even a return to medieval, or non-technology-enhanced ways of life. Apocalyptic fiction is often depressing, but Post-apocalyptic brings a sense of hope with it, revolving around themes like survival and rebirth/rebuild.

Zombie Fiction

I know what you’re thinking: Doesn’t this belong in Horror? Well, that depends entirely on the storytelling approach. When the emphasis is placed on the fear created by a Zombie Apocalypse, and violence and gore play a major role, then yes, I would tend to agree that it’s more fitting in Horror. But when the focus of the story is on an infectious contagion sweeping through the world, turning everyone to mindless, flesh-craving mutants, that’s Sci-fi’s realm. So it really just depends.

Alien Invasion

There seems to be a lot of these self-explanatory subgenres in Sci-fi, doesn’t there? Alien Invasion is exactly what you’d expect: Aliens invading Earth for the nefarious reasons of either destroying or enslaving mankind. This has been one of the most common storylines in Sci-fi; it’s right up there with Hard Sci-fi’s exploration and discovery. From War of the Worlds, to Independance Day, to Avatar, Alien Invasions have fascinated audiences. I wonder if we’ll find it so fascinating if it ever really happens?

Alien Conspiracy

Unlike Alien Invasion, where all hell breaks loose as massive ships descend from the sky, Alien Conspiracy takes a more subtle stance on the whole Alien thing. UFO sightings and abductions are fair game in this category and stories usually center on the conspiracy itself, on the journey to truth. Perhaps the most well-known example of this subgenre is The X-Files.

Time Travel

First popularized as a Sci-fi subgenre by H.G. Wells and The Time Machine, Time Travel is one of those things, like Historical, that crosses several genres. And, like Zombies, the designation between each is subtle and based on the approach. Time Travel without an explicit, scientific explanation would fall more in the realm of Fantasy, but when it’s based in science, like The Time Machine, it’s most definitely Sci-Fi. Other than that distinction, the idea is the same– traveling through time. End of story.

Alternate History

We’ve seen this header elsewhere. And just like its Fantasy counterpart, Sci-fi’s version is pretty straightforward. It’s a story rooted in history, but then deviates from that to create an alternate timeline. Pretty simple, no?

Parallel Worlds

This is the only subgenre that allows for pure speculation, more akin to Fantasy in many ways than its Sci-fi brothers. The idea is that there is a parallel universe to our own, where the world is either recognizable or very much not. Often including elements of Time Travel, Parallel Worlds is rife with endless possibilities for imaginative new twists. The most prominent and recent example I can think of is Fox’s cult hit, Fringe.

Lost Worlds

This subgenre features tales of adventure, discovering lost locations (islands, continents, planets, etc.) that tend to feature dinosaurs or other extinct creatures and cultures. Jules Verne’s A Journey to the Center of the Earth is a prime example of this type of fiction.

Dystopian Fiction

Just like Dystopian Fantasy (which isn’t an official subgenre yet), Dystopian Sci-fi is all about the opposite of Uptopia. Generally set in a near-future heavy with social unrest, Dystopian Fiction explores things like police states, repression, and dictatorship. They also commonly feature rebellions. This subgenre has seen a recent boost in popularity, especially with the YA audience, claiming such heavy-hitters as Suzanne Collins’s Hunger Games Trilogy and Marie Lu’s Legend Series.

Space Western

Yep, space cowboys. (Oh, come on, you know you were thinking it.) Combining the ideology of frontier America with intergalactic travel may sound like a ridiculous concept, but it’s actually a pretty potent combination. How many of you have heard of a little show by the name of Firefly? **Waits for the fanboy/girl squealing to die down.** Yeah, exactly. That’s a Space Western. Enough said, right?

Retro Futurism

This subgenre can boiled down to a phrase: “The future as seen from the past.” It has to conform to a vision of the future presented by artists pre-1960, creating a nostalgic blend of elements to showcase a timeline that could have been but never was. Sky Captain and the World of Tomorrow, The Rocketeer, and even The Phantom all qualify for this category.

Recursive Science Fiction

How’s this for a convoluted subgenre? Recursive Science Fiction is Science Fiction about Science Fiction. The best way I can describe it is that it’s a framed narrative often featuring a protagonist writing a science fiction story. Fortunately, it’s rare, so I wouldn’t dwell on this one if I were you.

Slipstream

Landing somewhere between Literary and Speculative Fiction, Slipstream is just plain weird. It’s actually known as the “fiction of strangeness.” It actively tries to break the conventions of genre, crossing between the various styles with ease. A good Slipstream will leave you feeling confused and uncomfortable, and is often accompanied by a resounding, “WTF?” But hey, to each their own!

Anthropological Science Fiction

This subgenre is rooted entirely in the discipline of Anthropology. It seeks to portray races and cultures to the same scientific degree that anthropologists do, even if those races and cultures are entirely fictitious. Notable names under this header include Ursula K. Le Guin, Chad Oliver, and Michael Bishop.

And that concludes our long, sometimes arduous, journey through the many literary subgenres. I hope it’s been as enlightening for you as it has been for me. Creating these quick reference sheets, I learned quite a bit about my own personal reading tastes, from the order of my genre preferences to the things I find most appealing in a story. But most importantly, I learned exactly how to categorize my work. How about you, though? Did you learn anything valuable from reading all these?

**Another post syndicated from Nightwolf’s Corner, the personal blog of Senior Editor, Kisa Whipkey.**

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This week, it’s Mystery’s turn. Mysteries are literary puzzles, challenging the reader to unravel the story and put all the pieces in place before the big reveal. They rely heavily on suspense and foreshadowing, carefully withholding pertinent information about the antagonist’s motivation, and even identity, until the very end. When done well, the clues are so subtle the reader only fully understands in a glorious “Oh! Now I get it!” burst of clarity once everything’s been revealed. These narratives are twisty, brilliantly convoluted, and written to keep you on your toes. Which is why they’re one of my favorite genres, both as a reader and an editor.

But just like every genre, Mystery is broken into subcategories — 20 to be exact. You know what happens next.

Detective

I’m pretty sure there’s one prominent name that comes to mind for this subgenre — Sherlock Holmes. Yep, Sir Arthur Conan Doyle’s famously eccentric sleuth is a prime example of this Mystery staple. But he’s certainly not alone. Detective stories can feature professional private investigators, as in David Baldacci’s Sean King and Michelle Maxwell books, or they can be amateurs, like Jessica Fletcher in Murder, She Wrote. The point is that each book follows an investigation from the POV of the detective, creating a kind of follow-along for readers as they try to, ideally, solve the crime first.  Detectives with winning personalities, such as Mr. Holmes, are prime candidates for long-running series, making the central character as important to this subgenre as the mysterious crimes themselves.

Child/Woman in Peril

These stories typically feature kidnappings; the mystery lies not only in why the victim has been taken, but whether or not they will be saved. High intensity and heavy on action, this is a favored storyline for film as well as literature. Most recent examples include Taken, starring Liam Neeson, as well as ABC’s failed show, Zero Hour (although there was a lot more to that than just the kidnapping). Agatha Christie’s Murder on the Orient Express also falls under this heading.

Classic Whodunit

(You can’t have Mystery without a Whodunit reference.)

These also usually feature a professional investigator, but they’re different from Detective stories because the situation is more prominent than the characters. Think more like Clue, where the crime is the most important element and figuring out the puzzle is the main point. These are usually stand-alone books, where the detective just conveniently happens to be included, rather than character-driven series like Detective fiction.

The best example of this subgenre is Agatha Christie’s And Then There Was None.

Comic (Bumbling Detective)

Fusing Humor with Mystery, these are light-hearted tales meant to elicit laughs. Often, they feature a detective who is less-than-qualified but who still manages to fumble their way into solving the crime. Examples include Inspector Clouseau from The Pink Panther, as well as USA’s former hit, Monk. Those are extreme examples though. Really, it can be any Mystery that puts emphasis on the humorous elements, diffusing what can sometimes be rather dark material with laughter. A & E’s recently cancelled show, The Glades, would fit here with its wise-cracking lead character, as does ABC’s Castle.

Cozy

Cozy mysteries occur in small towns or even single homes. The characters, except the detective, who’s conveniently an outsider, all know each other and the tension is laced with the possibility of betrayal. Though primarily Horror, since it’s based on the work of Stephen King, I would categorize CBS’s Under the Dome here as well. It contains many of the required elements — a small town trapped under a mysterious dome, with one convenient outsider trying to understand the many layers of intrigue. But technically, Murder, She Wrote is a better known example. (What? It can fall into more than one category.)

Legal Thriller

Legal Thrillers are similar to Detective, but feature lawyers instead of investigators. They takes place entirely in the legal system, whether that be an attorney trying to convict/acquit a client, unraveling the clues of the case as they go, or simply set against a backdrop of law-wielding firms. John Grisham’s famous novel, The Firm, is a prime example.

Dark Thriller

This one has a slightly misleading name. It’s actually a combination of Horror and Mystery, pulling the fear and graphic violence from Horror and mixing it up with the suspenseful puzzles of Mystery. Sharp Objects by Gillian Flynn is an example of this kind of story.

Espionage

More commonly thought of as Thrillers, Espionage books are actually part of Mystery (because technically Thriller is part of Mystery). These titles revolve around the international spy game, as blatantly referenced by the subgenre’s name. The most recent resurgence of this category features spies facing off against terrorists, racing to find and stop planned attacks and tracking down leaders hiding in the shadows. They’re exciting in the way only spy stories can be. (Who doesn’t love to say stuff like, “Bond. James Bond”?) Espionage lets readers step into a glamorous (and fictional) life of adventure and subterfuge, making the focus of these plotlines plain ole action.

Forensic

Like most of the Mystery subgenres, Forensic once again revolves around solving crimes, this time through the highly detailed and scientific lens of the forensics lab. Popularized by shows like Bones and CSI, this subgenre is dominated by a small niche of authors — Kathy Reichs (the real-life inspiration behind Bones), Patricia Cornwell and Tess Gerritsen (behind TNT’s popular hit, Rizzoli & Isles) are just a few.

Heists & Capers

Who doesn’t love a good heist? Face it, there’s something inherently appealing about the elaborate schemes to steal priceless items, the thrill of the con, and the ever-present question of “can they really pull this off?” This subgenre glorifies the “anti-hero,” meaning that it’s told from the criminal or “bad guy’s” POV. The rules of the category actually say that the criminals aren’t supposed to win, that their plans are foiled at the last minute and everything goes wrong, but more recent variations like Ocean’s Eleven and TNT’s now-deceased show, Leverage, give the audience a different end — a criminal’s happy ever after, as it were.

Historical

See? Here it is again! I’m telling you, Historical should become its own genre.

Anyway, just like all the other variations, a Historical Mystery is set against a recognizable period of time and may or may not include famous historical personas. Fascinatingly enough, this particular subcategory of Historical features a niche market of Chinese Mysteries (stories set in ancient China and Japan) as well as the standard Elizabethan, etc. The Sano Ichiro series by Laura Joh Rowland is a great example.

Inverted

This could almost be described as an omniscient mystery, wherein the reader witnesses the murder up front, knowing full well who the killer is, and the suspense is created around figuring out “how” they will be caught. So the reader knows more than the detective and watches from the sidelines while they struggle to figure it out. The most fantastic use of this technique I’ve encountered is actually in ABC’s most recent drama, Motive, but the subgenre has been around since 1912.

Locked Room

If you’re like me, then you instantly thought of panic rooms. But, like me, you’d be wrong. Locked Room is a strange niche of a subgenre that seems to have fallen out of favor. The idea is that the central crime is committed under seemingly impossible circumstances but is later explained rationally. The most notable example is Edgar Allan Poe’s short story, The Murders in the Rue Morgue, which apparently spawned the whole thing.

Medical

From unknown viral epidemics to the diagnostic marvels seen in Fox’s House, Medical mysteries are pretty straight-forward. Obviously, they contain something medical that, for whatever reason, is unexplained. Figure out what the disease is, where it came from, or how to cure/stop it, and the story’s over. It’s as easy as that.

Police Procedural

Ah, yes, everyone’s favorite Mystery subgenre. Without it, we wouldn’t have such iconic shows as Law and Order, (all 15 versions of it), or half of TV’s current offerings. Police Procedural is such a well-known category, I almost feel like it’s a waste for me to define it. But just in case you’ve somehow managed to avoid exposure to this type of story, here’s the deal:

It features police detectives (with their assorted teams of bad-ass forensics people) unraveling often brutal crimes and eventually catching the perps.

See? Didn’t I just describe about 80% of prime-time, scripted TV?

Psychological Suspense

I think I missed my calling as a psychologist, because once again, these stories fascinate me. Most of the other subgenres focus on who committed the crime, or how, but Psychological Suspense focuses on why. It explores the dark and twisty pathways of the human psyche and the motivation behind a crime. Also called Psychological Thrillers, the story rides not on an external threat, but on an internal one, focusing on the character’s emotional state, mental abilities or instability. TNT’s current hit (and one of my favorite shows), Perception, would fit nicely under this header.

Romantic

Another cross-breed, Romantic mysteries combine, you guessed it — Romance and Mystery. A relatively new subgenre, Romantic features strong, compassionate heriones prone to falling in love with their crime-solving partners. But while the romance is a strong element in these tales, it takes a backseat to the puzzle, making this melding of genres a different one for Romance. Usually, when Romance is involved, it’s the dominating story arc, but here, it plays second fiddle to the standard plotlines of Mystery.

TechnoThriller

This subgenre has two requirements:

• A high level of action
• Heavy emphasis on technology

Scientific detail is imperative in these and often plays a crucial role in the plot’s progression. Espionage, conspiracy theories and military action are also cornerstones of this category, with quite a few heavy-hitting names gracing the lists: Michael Crichton, Tom Clancy and Dan Brown (for his work prior to The Da Vinci Code) are some you may have heard of.

Thriller

This is such a broad category that some consider it a genre unto itself. But technically, it does fall under the parameters of Mystery. Thrillers deal with pretty much every topic under the sun. The criteria, therefore, has less to do with certain plotlines or characters and more to do with the storytelling techniques themselves.

Thrillers use suspense, tension and excitement to create adrenaline-inducing thrill rides that are action-packed and gripping. Red herrings, plot twists and cliff-hangers run rampant through this subgenre, making them some of the most exciting tales on the market. It also makes them prime fodder for Hollywood to cherry pick, as they are an almost sure hit with audiences.

Woman in Jeopardy

Similar to Child/Woman in Peril, this also focuses on a damsel in distress. The difference is that, here, she’s also the heroine. So instead of having to be rescued like in a Child/Woman in Peril, Woman in Jeopardy focuses on the protagonist’s ability to outwit, outmaneuver and ultimately escape from her dangerous adversary. Lisa Jackson and Heather Graham, though both technically considered Romance authors, tend to write stories that qualify for this category as well.

And there you have it — a breakdown of the various mysteries of Mystery. As you can see, this genre plays a dominant role in many mediums. We’re surrounded by it on a daily basis, to the point that it almost becomes synonymous with storytelling. Humans are curious creatures, and Mystery plays right into that, capturing our attention in ways the other genres don’t. I mean, don’t get me wrong, we all know I’m a Fantasy girl at heart. But I can’t deny that Fantasy allows more of a passive approach to enjoyment, while Mystery makes your brain work for it. If you want to be a couch-potato, soaking your entertainment in from the sidelines, Mystery’s definitely not the genre you should go to.

Next week will be the grand finale to this post series; the epic conclusion to our journey — the behemoth that is Science Fiction. Better polish up those reading glasses, it’s going to be a long one. Don’t say I didn’t warn you!

**Another post brought to you by Senior Editor Kisa Whipkey’s personal blog, Nightwolf’s Corner.**

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A good Horror should unnerve, freak out and otherwise haunt you long after you finish it. Featuring ghosts and vampires, psychopaths and serial killers, Horror preys on our fears, exploring the darker side of humanity.  But unlike some of the other genres, Horror’s true focus isn’t on the content, so much as the delivery. Horror would be nothing more than General Fiction, Fantasy or Sci-Fi without one very key ingredient — suspense. The creepy, atmospheric use of this storytelling technique (different from the way it’s used in a Thriller) has one goal — to elicit fear from the reader. It feeds on the adrenaline rush we get when our fight or flight response kicks in, spinning tales that leave us uncomfortable and scared stiff.

But even though books in this genre have to conform to this universal requirement, they can vary widely in their approach. (No surprise there, otherwise it wouldn’t be part of my series on subgenres, right?) My research shows 15 different subgenres in Horror.  So let’s check them out.

Comic Horror

Gallows humor and black comedy are staples of this subgenre, which strives to mix comedy with the elements of Horror.  Sarcasm and satire run rampant, pairing things meant to terrify with the ridiculous. Stories in this genre are often predictable, placing characters in laughable situations the audience sees coming a mile away. The Scary Movie franchise is a prime example, as are The Ghostbusters, Buffy the Vampire Slayer, Shaun of the Dead, and the novels of Christopher Moore.

Creepy Kids

This may seem like a weird name for a subgenre, but if you think about it, how many times have you seen creepy children featured in a Horror film? It doesn’t always have to be children, though; it can be anything that represents innocence gone twisted. Possessed toys (Chucky) and pets (Stephen King’s Cujo) also qualify. I think there’s something inherently horrifying about the combination of innocence and pure evil that makes this genre guaranteed to give you the heebie-jeebies.

Dark Mystery/Noir

This subgenre pulls from sister genre Mystery to create gritty, dark, crime-driven stories. Typically set against an urban backdrop rife with moral ambiguity, a Dark Mystery/Noir will feel oppressive, paranoid and dirty. Plots often contain themes of corruption, obsession, and revenge.  Examples include The Midnight Road by Tom Piccirilli and  Procession of the Dead by Darren Shan.

Gothic

This is what people think of when they think about “classic” Horror. Before Horror became a recognized genre, Gothic was used to describe this style of literature. But once other variations of the horrifying came into existence, the genre name changed and Gothic became merely a subgenre. (Note: This is not the same thing as “Goth,” which is a subculture and not a literary genre.)

Thematically, novels in this subgenre contain characters who feel trapped. It doesn’t matter if that’s internally or externally. The settings are often desolate, ruined places (like castles and graveyards) and there’s a heavy emphasis on the supernatural. Bram Stoker’s Dracula, Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde and everything by Edgar Allan Poe are classic examples everyone knows. But Anne Rice’s The Vampire Chronicles, The Crow movies, and even Batman, also fall under this heading.

Hauntings

This is an easy one. Hauntings = ghosts, spirits, demons, poltergeists and other supernatural, scary phenomena. There really isn’t any more to it than that. If your book features any of these things, it’s likely to fall here.

Historical

We seem to see one of these subgenres in every genre. I wonder why they haven’t just dubbed it an official genre all on its own yet?

Anyway, a Historical Horror is exactly like it sounds — a Horror set in a recognizable, historical setting. That’s the only requirement, so there’s not much point elaborating, except to say that I happen to know REUTS Publications will be releasing an excellent novel under this category in the near future. So if you’re a fan of this subgenre, keep an eye out for the official announcement!

Psychological

These are some of the most terrifying stories out there. Where the other subgenres usually focus on an external, alien form of evil, Psychological Horror illuminates the shadowy corners of our own minds, relying on the character’s emotions, fears and mental instability to create tension. These are often uncomfortable tales that prey on emotional vulnerabilities and insecurities we all harbor but choose to deny. Plot twists are common here, as are unreliable narrators, and heavy use of confusion, leaving the reader wondering what’s happening as much as the character is. Because of this attention to subtlety, this subgenre is the closest cousin to Thriller. Notable examples include The Others, The Ring, and Stephen King’s The Shining.

Quiet Horror

If Psychological Horror takes the cake for highest use of suspense, Quiet Horror wins for subtlety. This is a subgenre I don’t think I’ve ever encountered. It’s a light form of Horror, where only the atmosphere and tone provoke fear, rather than gore, violence or explicit descriptions. If I understand it correctly, the main emotion conveyed is one of dread or anxiety rather than outright terror. Unfortunately, I can’t seem to find any well-known examples of this subgenre, so if someone knows of a few, please feel free to share in the comments below.

Extreme Horror

At the complete opposite end of the spectrum from Quiet Horror is Extreme Horror — aka Splatter, Slasher, Grindhouse, and Visceral. All of these variations focus on one thing — gore. If you want your Horror bloody and violent with a huge body count, this is your subgenre. I think we’re all familiar with Slasher films, but what are some literary examples? American Psycho by Bret Easton Ellis and the work of Edward Lee comes to mind.

Supernatural Menace

I’m pretty sure we can all guess what this subgenre is about. That’s right — creatures. Whether it be the Swamp Thing, Dracula, The Wolf-Man, It, or some other creepy non-human, this is where you’ll find them. I don’t think we need more explanation than that, do you?

Weird Tales

Believe it or not, this subgenre was birthed from a magazine bearing the same name. You don’t see that every day, huh? These stories defy any other classification except strange. Usually melding concepts from Fantasy, Sci-Fi and Horror into a slipstream blend, Weird Tales are just that — weird. Notable examples include the work of Clive Barker and H. P. Lovecraft, as well as The Twilight Zone.

Lovecraftian

Yep, as in the H. P. Lovecraft I just listed under Weird Tales. A pioneer of the Horror genre, Mr. Lovecraft has inspired an almost cult-like fanaticism around his work, warranting his own special subgenre. Work featured here has to bear obvious influences from Lovecraft’s work, mimicking his distinct stylistic flare and pessimism and usually piggy-backing on one of his creations.

Dark Fantasy

Well, look at that, it’s my favored subgenre again! Since this is a cross-breeding of Fantasy and Horror, it’s only right it should be featured here as well. (No, I didn’t make that executive decision. The internet did. )

Dark Fantasy is grittier than its more traditional Fantasy brethren, dealing with the nastier bits of humanity’s psyche. There can be (and often is) a significant amount of violence and gore and it usually contains themes meant to make a reader slightly uncomfortable. So even if there are no vampires, werewolves, demons, etc, a novel can still be classed Dark Fantasy, simply by its voice and subtext. How is this different than say, Gothic, Hauntings or Supernatural Menace? It’s not really. Except here the fantastical elements lean more towards the lighter stance of Fantasy, meaning that the creatures don’t have to be as purely evil as typically seen in Horror. Dark Fantasy pulls most from Psychological Horror, infusing the heightened tension and uncomfortable emotional vulnerabilities into a traditional Fantasy setting.

Occult

This subgenre is similar to Supernatural Menace in that it often involves a supernatural element. But here, that supernatural element has to be based on a real religious belief system or folklore. Witchcraft, Voodoo and frightening mythological creatures like the Onryo (a Japanese “vengeful ghosts” legend and featured in The Ring) are all typically found here.

Religious Horror

Religious Horror really should be called Christian Horror, as everything non-Christian falls under the Occult subgenre. Religious Horror centers on the very specific ideology of Christianity, so think devils, demons, Satan, etc. Stories in this subgenre will have heavy religious overtones, with the plot often boiling down to the supernatural battle between good and evil (God vs. the Devil). The Exorcist is a prime example of this kind of fiction.

And there you have it; 15 ways to completely freak yourself out and bring on nightmares. Personally, I never really thought I was a fan of Horror, but reading through these, I realize I’m a bigger fan of it than I thought. I always knew Dark Fantasy was on the fence between Fantasy and Horror, I just never realized I had one foot on either side. Now that I know, I may have to meander down the Horror aisle in Barnes & Noble more often. How about you? Are more of your favorite literary reads falling under Horror than you expected?

**Another post syndicated from Senior Editor Kisa Whipkey’s personal blog, Nightwolf’s Corner**

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General Fiction is that strange catch-all genre where titles no one really knows how to classify find themselves, and it typically takes up about half a bookstore’s inventory. But even though it’s kind of a vague term, there’s nothing general about it. In fact, my research has shown that there are actually 12 categories you’ll be guaranteed to find in this section. Notice I called them categories, not subgenres. General Fiction doesn’t really have subgenres. Each of these is considered its own thing and are umbrella-ed beneath the header of General Fiction solely so they can be shelved together in a bookstore. Curious what they are? Let’s have a look.

Literary Fiction

Ah, the most pretentious category of fiction. Admit it, a lot of you instantly pictured snooty English Majors in tweed jackets declaring themselves too good to write something as trashy as “commercial” genre fiction and actually, you know, make money. Don’t lie, now. I know I’m not the only one to harbor that opinion.

But despite it’s bad rap, Literary Fiction does stand above other genres in terms of technical quality, garnering critical acclaim for its “serious” approach to literature. In fact, to even be considered part of this genre, a work has to meet a strict criteria of traits, including:

• Interesting, complicated characters who are often introverted and introspective.
• A Plot that focuses more on the inner-story of the character than external action, creating a complex and multi-layered emotional involvement between the reader and characters.
• Prose that is elegant, lyrical and layered. (It’s this emphasis on style that earns the genre its pretentious label.)
• A dark and serious tone that wrestles with universal themes and dilemmas.
• Slower pacing than more mainstream, commercial works.

A lot of those elements can and are included in other genres as well, (my own WIP is bordering dangerously close to qualifying), so there’s one other crucial piece that distinguishes a work as Literary Fiction — the audience. Unlike the other, “commercial” genres, who survive solely on the whims of fans, Literary Fiction targets critics. Its main reason for existing is to gain critical acclaim from other literary authors and reviewers, catapulting the author to stardom not by the number of books sold, but by how highly praised their work is. Which, I dare say, is even harder than finding success through book sales.

Drama

This category is more about tone than anything else. Like Literary Fiction, Drama is serious, but without the added emphasis on style. Technically, Drama is a term thrown around more in film and theater, but it exists in literature too. There’s only one requirement to be considered a Drama — it must be a story centered around the conflict or contrast of characters. Which, let’s face it, is 99% of what makes up most stories. That’s why the 5 Act Dramatic Structure originally created for plays — exposition, rising action, climax, falling action, denouement — became the basis of literature as well. Drama is a fundamental storytelling technique and it’s found in every genre, subgenre, or category.

So what makes a stand-alone Drama? I would say when the dramatic elements of the story overshadow those of another genre, it could be considered a Drama. For example, you’ve heard the term Crime Drama, I’m sure. In these (usually televised) stories, the drama surrounding the crime overshadows any other plotline, including character development. Family Drama, where the entire story centers on the conflict between the generations of characters, is another example. There are obviously shades of other genres in both of these, making pure Drama a rare creature. Therefore, it’s my opinion that while Drama is considered a category, it’s really a hybrid, combining its core principles with something else 9 times out of 10.

Humor

Humor is similar to Drama in that it is most often found as a hybrid, crossing-breeding with other genres in a symbiotic masterpiece. Unlike Drama, it’s much easier to identify. A humorous work has one goal — to provide amusement and make the reader laugh. That’s it. Really. If your main mission as a writer is to make people laugh, then regardless of whichever other genre you choose to add in, your book is considered part of the Humor category.

Realistic Fiction

I would hazard that the majority of books categorized by bookstores as General Fiction actually fall into this. Similar to Literary Fiction, Realistic Fiction has a set of guidelines for its identification, namely:

• A conflict or problem that could actually happen in the real world.
• A setting that actually exists or could actually exist.
• Characters that are fully realized, complicated individuals.
• A plot that centers on everyday problems and personal relationships readers could easily relate to their own lives.

This category is one of the few that transcends audience as well, crossing into all ages and backgrounds. The recent success of The Perks of Being a Wallflower by Stephen Chbosky being a prime example.

Satire

Satire is a cousin of Humor. In fact, it’s technically considered a type of humor, encompassing things like irony, sarcasm, and parody. But unlike Humor, whose goal is simply to entertain, Satire has more of a malicious edge. Its intent is to act as a social critic, drawing attention to problems and societal issues through wit. It always contains some kind of message, and because of its often sharply-edged delivery, is not everyone’s cup of tea. I wrote a post about that very thing a while back — Sarcasm; It’s Not for Everyone. Satire is no different.

Tragedy

Tragedy. One of the longest-standing storytelling devices. And why not? Sorrow is one of the most powerful emotions we can feel. And clearly, it sells. I’m pretty sure Nicholas Sparks figured out ages ago that his blending of Romance w/ Tragedy led to his legions of Kleenex-armed, female fans and his insanely prolific career. Hence the plethora of titles he’s released under that formula.

Similar to Drama, Tragedy is usually found as a hybrid with something else. Its most simple definition is that it describes the horrible events derived from the actions of the hero/heroine, whether that be self-destruction or calamity for those around them. A happy ending isn’t required in any category except Romance, but it’s definitely not going to appear here. If you pick up a tragedy, expect to bawl your eyes out and walk away feeling burdened. That emotional impact is what makes Tragedies some of the most remembered and powerful stories out there.

Tragicomedy

All subgenres can be combined to create a new one, but few deserve their own designation as stand-alone category, making Tragicomedy even stranger than its name implies. Clearly, it’s a combination of Tragedy and Humor, but oddly, there is no formal definition for it. The closest I found was that it’s a tragedy containing enough comedic elements to lighten the mood, or a serious story with a happy ending. If I understand it correctly, it’s meant to be a lighter form of tragedy, so rather than a reader walking away feeling depressed, they end feeling slightly uplifted in the way Lifetime movies are uplifting — feel-good endings with a heavy undertone. By that definition, I suppose books like Kate Jacobs’s The Friday Night Knitting Club & Comfort Food, as well as everything by Mr. Sparks could almost fall into this category?

I’m not at all familiar with this category, though, so if I got it wrong, someone please feel free to correct me.

Chick Lit (Women’s Fiction)

Speaking of Lifetime, this is the literary equivalent. A newer category that saw its popularity skyrocket in the late 1990’s, Chick Lit is aimed at the modern woman, addressing everything from career, to relationships (including family and friends), to shopping and red-soled, uber-expensive high heels. Though it usually contains elements of romance, it’s not actually considered part of the Romance genre. It’s light-hearted and fun; the literary equivalent to a Rom-Com with your girlfriends. And thanks to books like Candace Bushnell’s Sex and the City, Chick Lit has become a staple in the publishing industry, spawning dedicated imprints like Harlequin’s Red Dress Ink and flooding the market with sassy, confident heroines in expensive shoes.

Inspirational Fiction

This category actually earns its own shelf in some bookstores, but since its formal definition is vague at best, I’m lumping it in with General Fiction.

Inspirational Fiction has one goal — to inspire. It features characters overcoming adversity in inspiring and uplifting ways. It often draws heavily on religious belief systems and for many, has become synonymous with Christian Literature. But that’s not completely accurate. Yes, the majority of this category does pull from the ideals of Christianity, but that isn’t actually a requirement. All that’s required is that a work of Inspirational Fiction somehow address the idea of faith and impart a positive message that inspires.

Historical Fiction

Historical Fiction is easy to spot when you’re browsing the General Fiction aisles. These are books set in the past, featuring realistic, historical settings and maybe even figures from actual history. The main characters, however, are always fictitious. There are three requirements of Historical Fiction:

• The events need to be believable enough that they could have happened.
• It has to have authentic settings and characters, including behavior appropriate to the time period.
• It has to have an accurate timeline for events that matches the reality of the time period being portrayed.

The point here is to showcase the past in an enlightening way, helping readers understand customs and cultures that have vanished or painting significant historical events through different POV’s. When you start deviating from the path history took, you’re wandering into the realm of Historical Fantasy, a different creature altogether.

Classic Literature

I’ve always thought that books falling in this category deserved their own shelf, but for whatever reason, they’re usually just lumped into General Fiction. Possibly because the term “classic” is somewhat arbitrary. We’re all familiar with titles in this grouping, having been force-fed them throughout school. But how do we actually define what makes something classic? By looking for these markers:

• A Classic usually comes out of Literary Fiction, sporting some kind of stylistic achievement that’s earned renown for decades.
• It should be representative of the time period it was written in, but transcends time, becoming as relevant to current generations as those it was written for.
• It must contain some kind of universal appeal, touching on themes that resonate sometimes hundreds of years later.

The exact list of Classic Literature changes depending on who you talk to, but it’s pretty safe to assume that if you’ve heard of it and it isn’t popular in the grocery store checkout, it’s probably a classic.

Western Fiction

This is another category that usually has its own aisle. But I’m including it here because it doesn’t appear to have any subgenres. A Western is a Western is a Western, if you get my drift. I’m sure the plots have varying nuances, but the overarching style never does. A Western is a book set in the Wild West of usually America between the late 18th century and the late 19th. And yes, it features exactly what you’d expect — cowboys, Native Americans, covered wagons, and women in aprons with shotguns.

So there you have it — 12 categories of literature you’re probably going to find in the General Fiction section. Thank God for alphabetization, eh? Otherwise we’d never be able to find anything in this genre! Wandering the aisles of General Fiction is definitely a daunting task, but it’s also one of the most interesting because you never know exactly what you’ll find. It’s kind of like flipping through the channels of a TV, there are as many variations as there are titles, and occasionally, you may even come across one of those amazingly brilliant, strange gems that defies all classification. And that is exactly what General Fiction is all about.

As with my previous posts, if you feel I’ve miscategorized or misrepresented any of these subgenres, feel free to speak up!

**Another post syndicated from Senior Editor Kisa Whipkey’s personal blog, Nightwolf’s Corner**

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When I say “Romance,” I bet three-quarters of you instantly picture Harlequin and a ripped, shirtless dude who’s apparently never heard of a hair cut fawning over a buxom girl who tried to squeeze unsuccessfully into a corset three sizes too small for her chest. It’s okay. I did too. Because that’s the image we’ve been told embodies Romance. But as classic as that bodice-ripping image is, it’s not the whole picture.

Romance actually encompasses 10 separate subgenres, and as Romance fans can attest, each is distinctly different from the others. In fact, of all the popular genres of mainstream fiction, I’d hazard Romance is the only one where fans stubbornly refuse to read anything other than their favored subgenre. And that’s because of the dramatic difference between them. They’re almost so different as to not really belong under the same genre header. If it weren’t for the consistent narrative structure revolving around a love story with an emotionally satisfying end, these subgenres would have very little in common.

What are they? Let’s find out.

Contemporary Romance

Set after 1945, Contemporary Romance is the largest subgenre, cornering well over half of all Romance titles sold. It generally takes place in the time it was written and will reflect social behaviors of that time. For example, a Contemporary Romance set in 1950 would likely feature a heroine who’s primary goal is to get married, raise a family and be a good housewife, while one set in 2000 would probably feature a feistier, career-driven female with more progressive views on love. This subgenre shares a lot of similarities with Women’s Fiction (a subgenre of General Fiction), but a Contemporary Romance always focuses on the romance while Women’s Fiction can focus on any life change relevant to women.

Historical Romance

This is the only subgenre to have subgenres of its own. The only stipulation is that it be set prior to 1945 and, of course, the plot must be centered on romance. Other than that, it can fall into any of these subcategories:

• Viking: Obviously features Vikings in the Dark or Middle Ages.
• Medieval: Your typical Knight and Damsel in Distress situation.
• Tudor: Set in the English time period of the same name — 1485 to 1558.
• Elizabethan: Yep, more England. This time between the dates of 1558 and 1603, when the first Elizabeth ruled.
• Georgian: Hey, look! More England! These take place between 1714 and 1810, during the historical period of the same name.
• Regency: A super short time period in English history (yep, still England) — 1810 to 1820.
• Victorian: Yet another moment in English history (Man! This subgenre really should be called English History Romance!) — 1832 to 1901.
• Pirate: (Did anyone else just laugh over the fact this is considered its own thing?) I think the name speaks for itself, don’t you? Think Johnny Depp and Pirates of the Caribbean and you’re golden.
• Colonial United States: Ah yes, now we get to the American-centric portion of history. This takes place between 1630 and 1798. So if Elizabethan or Georgian England isn’t your thing, cross the ocean and explore America instead.
• Civil War: Typically, these are set on the Confederacy side (since everyone knows the Confederate South was a sexy place to be), but they don’t have to be. They just have to be set during the Civil War.
• Western: I’m sure all of us just pictured cowboys. But those cowboys actually can be American, Canadian or Australian. These books actually focus on the experiences of the female though, rather than the male-centric version found in the Western genre itself.
• Native American: These books explore Native American cultures as much as they tell a love story. They also usually contain some element of fighting against prejudice and paint a picture of cultural acceptance.
• Americana: A simple subcategory, Americana takes place between 1880 and 1920 in Small Town USA.
• Celtic: This is apparently not recognized as a thing, but I’m including it because I’ve personally read at least a hundred Romance books featuring Scottish or Irish backdrops, cultures and beliefs. That qualifies as a subcategory in my book.

Romantic Suspense:

Combining elements of the Mystery genre with Romance, this subgenre is a hybrid. It still features a relationship at the heart of the story, but is more plot-driven than its character-driven subgenre brethren.

The most common set-up is a woman who’s become a victim falling for a man who’s in a position of authority/protection — police officer, FBI agent, Firefighter, Navy SEAL etc. Solving the mystery around the crime brings them closer together and helps them fall in love.  The elements of suspense — mystery, thriller, etc. — become integral to the storyline, affecting the decisions the characters make and driving the plot forward. At the same time, the romance remains the focus, so those same suspenseful elements have a direct impact on the way the love story unfolds. All in all, this is one of the more complicated Romance subgenres to write, but it’s also one of the more fun to read.

Paranormal Romance:

Another hybrid, Paranormal Romance draws heavily from Fantasy. In fact, it’s considered a subgenre of Fantasy as well.

“Paranormal” simply means anything not normal, so the staple of this subgenre is weaving fantastical elements into contemporary settings. Vampires, Werewolves, Witches, Demons, Psychics — all are fair game in this subgenre. The most common settings pull from Urban Fantasy or Dark Fantasy, but there are even some Historical settings out there. Sometimes the larger culture is aware of the paranormal happenings in their midst (à la Charlaine Harris’s Sookie Stackhouse novels) and other times they’re not (à la Stephenie Meyer’s Twilight Saga). But almost always, a Paranormal Romance blooms between a human, and something not-quite-human.

Science Fiction Romance:

Science Fiction Romance is to Science Fiction what Paranormal Romance is to Fantasy. Meaning it pulls heavily from the Science Fiction genre, weaving in futuristic, alien or technological elements. The only difference between a regular Science Fiction tale and a Science Fiction Romance is the focus of the plot. Just like all Romance, the heart of a Science Fiction Romance is the blossoming love between two main characters. Now, whether those are both human characters on some outer-space road trip, or a human and an alien on some exotic, distant planet is up to you.

Time Travel Romance:

I’m honestly not quite sure why this gets its own dedicated subgenre. Depending on the set-up of the time travel, whether it’s magical or scientific, it could easily fall within the requirements of either Paranormal Romance or Science Fiction Romance.  But, apparently I’m wrong, because this is listed on multiple sources as a Romance subgenre.

A Time Travel Romance obviously has to contain an element of time travel. Whether you have a character traveling back in time to find their soul mate or have someone travel forward in time for the same thing doesn’t really matter. What does matter is that while you create the usual romantic plotline, you also pay attention to the clash of cultures. Time Travel Romances offer a unique way to filter viewpoints on current and past society through the lens of a character outside of it. In that sense, they can also contain aspects of morality or satire.

Inspirational Romance:

Inspirational Romance is a subgenre aimed at a specific niche of readers. It combines strong Christian elements with the more traditional aspects of Romance. However, because it does conform to the Christian belief system, it typically doesn’t include things like gratuitous violence or swearing, and sex, if it’s shown, only happens after marriage. The entire thing has a chaste, traditional courtship feel that appeals to readers wanting the warm and fuzzy experience of true love conquering all without the grit or vulgarity.

Erotic Romance:

I think there may be something intrinsically wrong with listing this directly under Inspirational Romance, but oh well. Just like Inspirational Romance targets a specific group of readers, so does Erotic Romance. And they’re at complete opposite ends of the spectrum! Where Inspirational is clean and innocent, Erotic Romance is dirty and explicit. It contains strong sexual content and frank language. But despite the heavier emphasis on sex and frequency of the sexual scenes, Erotic Romance stills contains developed characters and plots that could stand on their own without the steamier bits.  Technically, I would say E.L. James’s 50 Shades of Grey is an Erotic Romance. If you strip out the many sex scenes, you’re actually left with a semi-decent story of two people learning to love.

One thing to note: Erotic Romance is not the same as Erotica, which is its own genre. In Erotica, the sex scenes are all that matter, taking up three-quarters of the book at the expense of well developed characters or story.

YA (Young Adult) Romance:

This is a newer subgenre, and may not even be fully recognized as such yet. But I’m choosing to list it as its own thing because it has a distinct set of requirements just like the others do.

YA Romance targets readers between the ages of 15 and 18. It deals with things like first loves, first kisses, and losing one’s virginity — themes appropriate for the target audience. The romances are passionate in the way that only teenagers can pull off, and the prose is typically kept at a PG-13 rating. So while there are some steamy parts, they’re not as explicit as those contained in books intended for adults. Why is this worthy of a subgenre designation? Because more and more titles are being released that would fit; titles where the primary plot focuses on the romantic relationship between the characters and not something more external and grand, like saving the world. They can fall within any of the previous subgenres, but due to the specific age range of the target audience, I feel they should be set apart.

NA (New Adult) Romance:

The newest subgenre on the block, New Adult is quickly gaining popularity. Like Young Adult, it targets a specific age range — 18 to 25 — and deals with themes like discovering one’s self, leaving home for the first time, finding a career, etc. It also incorporates things like overcoming that first heartbreak, committing to a serious relationship, starting a family, and other things that resonate with readers in that stage of life. It lifts the PG-13 rating of YA, including more explicit sexual content and stronger language. How is it different from other adult romances? It’s not, really. Aside from the specific thematic elements and the target audience, it’s much the same as what you’d find in more mature titles. Why did I give it its own designation then? Because it’s the cool thing to do. Duh! Just kidding. It’s because it does have stipulations, requirements that dictate the path of the story. That’s what defines all the other subgenres, so why shouldn’t it come into play here?

And there you have it. As you can see, these subgenres vary widely, crossing over into the other mainstream fiction genres and back again. The main thing to remember is that while romantic subplots can and are included in nearly all genres of fiction, only plots where romance is the driving force can be considered true Romance. Regardless of which subgenre they are, they all must boil down to one simple thing — a story of two people falling in love who eventually end up together. If that sums up the core of your story, congratulations! You’re a Romance writer. And with Romance remaining among the most popular genres, there’s definitely no shame in that.

Next week, we’ll continue our exploration of subgenres by meandering through the intimidating number Science Fiction sports. In the meantime, if you feel I’ve miscategorized, misrepresented or just plain missed a Romance subgenre, feel free to add/correct in the comments below. As always, thanks for reading!

**Another post syndicated from Senior Editor Kisa Whipkey’s personal blog, Nightwolf’s Corner**

The post Falling in Love With the Subgenres of Romance appeared first on REUTS | Boutique Book Publisher |.

Recently, I sent a frustrated plea to the Twitterverse, begging authors to do their research before including the martial arts in their fights. Believe it or not, it wasn’t until after I sent that plea that the light bulb appeared and I realized I’m in a unique position to help my fellow authors. As both a martial artist and a writer, I have insight that could help authors overcome the hurdle of fight scenes. So today, I’m going to use that background to dissect a written fight scene and hopefully illustrate how to effectively incorporate martial arts techniques. About time, right?

First, let’s take a look at what you don’t want to do.

_________

Charlie grunted as his back slammed into the wall, his opponent’s hands wrapped thoroughly around his throat. He struggled, trying to kick his opponent in the groin but only managing to connect with the man’s shin. The attacker snarled, loosening his hold on Charlie’s neck. Without pausing, Charlie threw his left arm between them, turning to the side and trapping the attacker’s arm against his own chest before elbowing the man in the face.

The attacker stumbled backwards, grasping at his bleeding nose. Charlie didn’t wait. He had the upper-hand. He advanced toward his opponent, his hands raised to guard his face, his body relaxed into a sparring stance. The attacker glared up at him, straightening into a matching stance.

With a yell, Charlie threw a round-kick at the attacker’s head. His opponent ducked, sliding between Charlie’s legs on his knees and jumping to his feet with a swift kick to Charlie’s back. Charlie stumbled forward, turning to face his attacker before he was struck again and instantly ducked the knife hand strike aimed at his head. Charlie responded with a flurry of punches, varying his target from the man’s head to his torso and back again. The man blocked most, but a few landed, knocking the attacker from his feet.

Charlie stood over him for a split second before finishing him off with a well-placed axe kick to the sternum. As the attacker rolled on the ground, sputtering, Charlie ran for the safety of a nearby cafe.

_________

Now, that’s shockingly not as bad as some I’ve seen, although it’s sure not going to win me a Pulitzer either. Some of you may even think this is an alright fight scene, aside from the obvious grammatical flaws that could be fixed with a few more drafts. But this is the example of what not to do, remember? So let’s figure out why.

Did you notice that I gave you very little about why this fight is happening, or where? I didn’t even give you the attacker’s name! But I did tell you in agonizing detail the techniques they’re using and where the blows land, placing all the emphasis on the choreography, and none at all on the characters or motivation behind this moment. The result? A laundry list of steps you could re-enact, but that you feel not at all.

That’s because this approach is all telling. That’s right, the infamous telling vs. showing debate. I tell you exactly what’s happening, but I don’t show it at all. You don’t feel invested in Charlie’s situation. You don’t feel the emotions. You feel excited, sure, because it’s action, and even poorly written action is exciting. But it has no lasting impact on you, does it? This scene is about as forgettable as they come.

It’s also unrealistic. Who out there noticed the completely implausible choreography I threw in? I know the martial artists in the audience did, because it screams “cool factor,” it’s entire existence a nod to something awesome and badass, but that in reality is actually physically impossible.

If you guessed the knee slide under Charlie’s legs, you’d be correct. Bravo! You get a cookie.

This is why it’s important to understand the dynamics of a fight, not just the choreography. Those who have done a round kick know that while performing it, you balance on one leg, your body positioned so that your center of gravity is entirely over that back leg. If someone were to try and go through your legs the way I described, they would take out your supporting leg and you’d both end up in a flailing pile of limbs.

And then there’s the knee slide itself. If you read it closely, you realized the attacker is standing still. Where’d he get the momentum for a knee slide? Unless they’re fighting on a slick, hardwood floor that’s just been mopped, he would need a running start. I don’t know about you, but if I tried to drop to my knees to slide anywhere, I’d be sitting on the floor looking like an idiot asking to get kicked in the face. It’s just not believable.

So let’s try that scene again, this time, fixing all those things I called out.

_________

Charlie grunted as his back slammed into the wall, Eric’s hands wrapped around his throat. Hate emanated from his friend’s eyes, judgement and accusation burning them into a sinister shade of blue. Charlie gasped, choking as Eric’s fingers cut off his air like a tourniquet.

His mind screamed at him, desperate to know why it was being punished. His lungs burned, his mouth working like a fish on dry land, sucking in nothing but fear. The edges of his vision started to grow fuzzy, black dots appearing over Eric’s shoulder, distorting the red glow of the club’s EXIT sign like reverse chickenpox. Panic flooded his veins with adrenaline. He struggled, clawing at the fingers sealed around his throat. He tried to kick Eric in the groin but only managed to connect with his shin, the impact ricocheting painfully through his foot.

Eric snarled, loosening his hold, giving Charlie the opening he needed. He threw his left arm between them, turning to the side and trapping Eric’s arm against his own chest before elbowing his best friend in the face.

Eric stumbled backward, grasping at his bleeding nose. Charlie didn’t wait. He advanced toward his opponent, his hands raised to guard his face, his body relaxing into the sparring stance he’d practiced for years– knees bent, weight forward on the balls of his feet, head lowered. Eric glared up at him, straightening into a matching stance. Their eyes locked. It was just like old times, only now there was no one to referee the match, to stop it before it went too far.

All this for a girl. Charlie knew it was ridiculous, that he should walk away, but fury mixed with adrenaline, coursing through him like a pulsing heat. If Eric wanted a fight, that’s what he’d get.

With a yell, Charlie threw a kick at Eric’s head. Eric ducked, sliding easily into a leg-sweep, knocking Charlie’s support from under him. The ground smashed into his back, forcing the air from his lungs in a rushing wheeze. He rolled backwards to his feet, still fighting against the tightness in his chest. Eric closed in on him, pushing his advantage, arms and legs flying. Charlie blocked as many of the blows as he could, his arms jarring in their sockets every time he did, his ribs and face blossoming with pain every time he didn’t. He stumbled back through the shadows of the alley until he was once again cornered.  Cringing, he held his hands up in surrender. Eric backed off, eying him warily as he spit blood onto the darkened pavement.

Charlie’s knuckles were bleeding, his ribs bruised, and his lip split into an oozing gash. It was time to end this.

“Alright, I give,” he said,  the words gravelly and pained as he forced his battered throat to work. “I’ll never go near your sister again.”

_________

Still not the most epic writing sample, but you see the difference, I hope? Now we not only know who Charlie’s fighting, but why. I’ve also fixed the choreography so that it’s believable, and added emotional content and description, putting the focus on the characters instead of the martial arts. No one cares about the techniques, but they care a lot about how those techniques feel, the emotion behind the action. Understanding that is the difference between creating a scene from a clinical distance and creating a deeper POV that will resonate with readers.

So, how can you take your fight scenes from flat to amazing? Easy, just remember these three things:

1. Show, don’t tell. The techniques themselves are not important, the emotion is. Only use a technique name if there’s a reason we need to know the exact kick, etc.
2. Believability is king. Never throw something in just because it sounds awesome. Make sure it’s actually physically possible and makes sense with the choreography and your world.
3. When stumped, ask an expert. If you’re at a loss, find someone familiar with the martial arts and ask. Don’t just rely on Google and Youtube. They won’t give you the insight personal experience can.

That’s really all there is to it. Not so hard after all, is it? And if you ever find yourself in need of some martial arts feedback, I’m always available. Just send me a note at kisa (at) reuts (dot) com with your questions and I’ll happily provide some help.

**This post has been syndicated from Senior Editor Kisa Whipkey’s personal blog, Nightwolf’s Corner.**

The post How to Write Martial Arts Fight Scenes appeared first on REUTS | Boutique Book Publisher |.

I’m the Senior Editor here at REUTS, helping authors with everything from structural edits, to copy-edits, to proofreading. Together with my fellow editor, Gabrielle (who you’ll meet soon and who’s been behind the informative “What Editors Look For” posts), I hone manuscripts into their final, polished form. I also assist the Acquisitions Director with screening submissions and scouting new talent. And I love every second of it!

Before REUTS, I was working as a freelance editor, but actually have a degree in Video Game Art and Design. Completely random, I know. I’m also a writer, as is everyone on our staff. That’s part of what makes us awesome. We have personal experience being in the shoes of our authors. To learn the rest of what makes us awesome, you’ll have to read on and let each of us tell you ourselves.

One last thing you might need to know about me– I’m snarky. But I wield my sarcastic powers for good. Mostly.

The Rules of the Game:

1. Introduce yourself, providing a little background on your role at REUTS and any other important tidbits. (Not part of the original game. That’s what happens when you get to go first– you get to change things!)
2. Post a photo of yourself. (Seriously? Ugh, guess I better go dredge something out of the archives where I don’t have 3 extra chins and look like I’m completely high.)
3. Post eleven random facts about yourself. (Hmmm, this could get interesting.)
4. Answer the questions given to you by the tagger’s post. (Thank you, Captain Obvious. Isn’t that the whole point of participating?)
5. Create 11 new questions and tag someone to answer them. (10-4. Time to come up with some really embarrassing informative questions and a willing victim participant! ;))

Got it? Good, then let’s get to it!

The Photo:

This one seemed appropriately mischievous, and I only have two chins, so that’s a plus:

Looks like I’m about to send that poor guy (aka my husband) barreling down the side of the cliff on a spooked horse, doesn’t it? I would never do that, of course. Especially since this was taken on our honeymoon and I still rather liked him at that point. (Just kidding, I still love you, babe!) But yeah, that’s me, looking all evil and stuff. On to the next part of the game!

11 Random Factoids:

1. I’m a vegetarian who hates all things vegetable. How’s that for a difficult diet?
2. My first concert was The Backstreet Boys. (Yep, that’s not embarrassing in the least.)
3. I have a weird obsession with all things office supply.
4. I hate having stuff on my feet, but absolutely love shoes.
5. I’m a shopaholic. When I’m not broke as a joke, that is.
6. I think chocolate should be its own food group. Which explains why photos of me with 3 chins exist.
7. It drives me nuts to get stuff on my hands. Dirt, charcoal, chalk, stickiness, whatever. I don’t like it!
8. I still listen to The Backstreet Boys. (That’s even more embarrassing!)
9. I don’t think I’m funny. It amazes me when people laugh at something I meant as truth.
10. I think in pictures. Seriously. Like animated pictures. (Who wins the freak award of the day? This girl!)
11. I loathe pink but look amazing in it, so half my closet is pink.

Andrew’s Questions for Me:
(Syndicated from Nightwolf’s Corner)

1. What was the last book that you read?

Oh jeez, I’m all about embarrassing myself today! The last book I read was…wait for it…50 Shades of Grey by E.L. James. Yep, that’s right. I read it. In its entirety. I think any time a book rockets to that level of stardom it’s worth reading, if only so you can catch all the references to it that surround you for the next 6 months. But in all honesty, I kind of liked it.

2. If you could retire within the next five years, to where would you like to retire?

This is an easy one. Hawaii! Or pretty much anywhere that’s warm and near the ocean. I don’t care for the rain and have an extreme dislike for snow. So naturally, I moved to the rainy capital of the pacific northwest. Makes perfect sense, right? No one said I was the brightest crayon in the box.

3. What genre are you writing – and have you attempted any other genres in the past?

Currently, I’m writing Urban/Contemporary Fantasy. But the bulk of my work is actually in Dark Fantasy. I suppose, if you want to get technical about it, they’re both the same genre– Fantasy. I have yet to step outside that realm, but I do have a few plans for branching into Sci-Fi. Other than that, I’m pretty set in my ways. For now. Who knows, I might randomly decide to tackle Mystery, or Literary, or Hamster Romance. ( No? That’s not a thing?) That’s the beauty of creativity– you can do whatever you can imagine.

4. Fruit or chocolate?

Chocolate. Duh! See Random Factoid #6, where I declare that chocolate should constitute it’s own food group. (Seriously, who do we have to convince to make that happen?)

5. What stage is your current WIP at?

Right now, it’s languishing on the corner of part-way-done and never-getting-finished. In all seriousness though, I’d say it’s roughly a third of the way complete.

6. What colour is your hair – and your eyes?

My hair is medium brown with grey highlights, thanks to my inherited curse of premature grey. I’m still hoping for an awesome skunk stripe, but so far, it’s not that localized.

According to my driver’s license, my eyes are hazel. But they’re more toward the green end of that spectrum. With the right clothing and make-up, I can actually push them into green, which is awesome. I love green eyes.

7. Agent or self-publish? And why?

Both. I’ve spoken quite a bit about my reasons on my personal blog, so if anyone is curious, I suggest browsing the archives for the full disclosure. Basically, it came down to branding. Since my Urban Fantasy series is the anomaly among my work, I’m choosing to self-publish those, while seeking to place everything else with a traditional publisher. I find the freedom and challenge of self-publishing appealing, but there’s still part of me that can’t let go of seeing my work on the shelves of Barnes & Noble someday. Although, if they close too, I suppose I won’t have to worry about that dream anymore.

8. What was the last movie you went to see? With friends or alone?

The last movie I saw was Oz, The Great and Powerful. I saw it with my husband. I’m not brave enough to see movies alone, so he gets dragged to a lot of films I’m sure he’d be alright passing on. But I do have to say, Oz had some of the best 3D I’ve ever seen. The stunning visuals were well worth the price of the tickets.

9. How long have you been with WordPress – and what was your first post about?

I’m actually coming up on my 1 year anniversary, on May 4. I signed up a few months before that, but waited to start posting articles until I had finished setting up the rest of the site. Well, most of it, anyway. I still have to finish some of the things I had planned, like the Art Gallery. But I’ll get to them eventually. I hope.

My first post was basically my thesis statement, explaining why I was starting this blog and what I intended to write about. For the most part, I think I’ve held pretty true to that thesis. Although that first post is probably the shortest one I’ve ever written that wasn’t an announcement of some kind.

10. What can you see beyond your screen? If it’s a wall, what’s immediately behind you?

Aw, my blank white wall isn’t good enough for you? Let’s see…*turns around*

Behind me is a window, looking out on one rather large tree in the middle of the lawn. Beyond that is the road, and across that is some kind of weird church thing. I don’t know, I think I need better surroundings. That was almost as exciting as the wall.

11. Do you type head-down or head-up?

If by head-up you mean looking at the screen instead of my fingers, then yes, head-up. I’m a secretary by day and a writer/editor by night. So I pretty much type all the time. Carpal Tunnel Syndrome is most definitely in my future. Yay for impending surgery!

~

That’s it for me! Time to introduce you to the next member of our little family– Acquisitions Director and Co-Founder Jessica McQuay. But even though I’m officially tagging Jessica, I encourage the rest of the team and all of you– the readers– to answer the 11 questions in the comments below. Just for fun. It’s always interesting to find out more about the people around you. You never know what you might have in common with someone from the opposite side of the world.

Alright, Jessica, it’s all yours!

My 11 Questions to Jessica:

1. Where are you from?

2. If you’re a writer, what genres do you write? If you’re not a writer, what’s your favorite genre to read?

3. What’s your dream job and are you lucky enough to have it?

4. Name someone who inspired you and tell us why/how.

5. What’s something you’ve always wanted to do, but haven’t?

6. What’s your favorite animal? (Real or Fictitious)

7. If you could visit anywhere in the world, where would you go?

8. You’re getting shipped to the proverbial deserted island and can only bring 3 things. What are they?

9. List your top five all-time favorite songs, including the artist.

10. Where is your happy place?

11. What’s your favorite girl’s name? Boy’s?

**Parts of this post have been syndicated from Nightwolf’s Corner. To read the original post, please click here**

The post Meet the Staff: Senior Editor Kisa Whipkey appeared first on REUTS | Boutique Book Publisher |.