Aquae excerpt #3

I haven’t been doing these lately, and I should have been, because it’s really the best way to keep myself accountable. So here’s a snippet from the third chapter of my work-in-progress, Aquae. Positive feedback is always welcome! (For more about the story itself, check out this page.)

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Julius’ voice broke suddenly through my thoughts. He was speaking in a way I knew to be dangerous: half smiling, but with a cool steel edge underlying his words, wielded precisely as a weapon.

“Keep your ledger straight, Gaius, and you’ve nothing to fear. I’m sure that’ll prove no difficulty for you.”

“He doesn’t want men who keep straight ledgers, Gallio,” said Gaius, who was an old man with a wreath of white hair circling his eggish head like a nest. There was a broad purple stripe running along the edge of his toga. He was facing me across the vast expanse of tables, but his beady eyes were turned to Julius, and I supposed Julius was the recipient of his scowl, too. His voice was surprisingly strong. “What does it matter if the ledgers are straight, so long as the men who keep them are loyal to him?”

“Are you not?” said Julius, swiftly as a lash, still smiling his knife-blade smile.

“I should hope,” said Gaius, undaunted, “that my loyalty entails more than my ledger-keeping.”

“I should hope so, too,” said Julius.

For a moment they looked at each other in silence over their dishes, and the talk running round the rest of the room seemed to draw back from them like a wave from shore, leaving everything cold and bare in its wake. Gaius lifted his chin a little. Julius was still. He wasn’t smiling now.

Beside me, my father stirred himself as though he’d just woken from sleep. He reached with his right hand for a nearby bowl of olives. The lamp-light flashed on the gold round his wrist as he reached. I saw the first part of the inscription: To Marius Cassius Viator, for displaying the highest degree of valor in action . . .

His movement shattered the icy stillness. Gaius turned his face away and coughed politely into his napkin. Julius slid his fingers round his wine bowl. He looked to my father as he drank. He smiled again over the rim of the bowl, and in the lamp-glow one would have had to look quite closely, as I did, to see the lingering coldness in his eyes.

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Crunching numbers

A big thank-you to all who downloaded a Kindle copy of His Own Good Sword last week! The promotion was an enormous success; as I tweeted on Tuesday, I gave away more copies of the book in the first nine hours than I sold all last year. Still more exciting, the book slipped several times into the top five of all historical-fantasy downloads on both the US and UK sites (and into the top ten action/adventure downloads on the German site). Here’s a breakdown of the final numbers, for those of you who are interested:

  • United States/India: 342 copies
  • United Kingdom: 150 copies
  • Germany: 34 copies
  • Japan: 6 copies
  • Canada: 2 copies
  • Italy: 2 copies
  • France: 1 copy
  • Total: 537 copies

Which means that, on average, more than one-hundred copies were downloaded each day of the promotion. Which is awesome. So thanks again to all who participated and devoted their reading time, and also to those who helped spread the word through retweets and Facebook shares! I hope everyone enjoys the book. (If you didn’t get the chance to download a copy, and are now feeling a bit guilty, it’s still only $0.99 in the US Kindle store; the paperback version is currently $7.19.)

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Thoughts on Luhrmann’s Gatsby

I haven’t seen The Great Gatsby yet, but I’m aware of the polarizing effect it’s been having on critics. Its detractors are quick to point out that there’s very little jazz in this Jazz-Age story, and entirely too much 3D. Its defenders—this Huffington Post writer as prime example—are just as quick to point out that if one dislikes 3D then one may just as easily watch the film in 2D. Besides, the rather anachronistic involvement of Jay-Z, Beyoncé, and others on the soundtrack complements the film’s mood quite well. One does not simply walk into Mordor a Baz Luhrmann film expecting historical accuracy, after all.

It’s a decent defense: this is Baz Luhrmann’s film, he can do as he likes with it. But I think another can be made. I feel the critics bashing the film for its lack of attention to historical detail are missing the point. The Great Gatsby isn’t a timeless piece of literature—possibly the Great American Novel—because it’s a window into the lives of New York’s urban elite during the Roaring Twenties. The Great Gatsby (photo: IMDb)That’s one valuable aspect of the novel, to be sure, but—at the risk of arguing authorial intent—it’s not the point. The Great Gatsby endures because it’s a window into our lives, particularly ours as Americans—the transience and meaninglessness of material culture, of misguided ambition, of faulty idealism. It’s not specific to one time or place. I don’t think our understanding of The Great Gatsby needs to be confined within the bounds of 1920s New York. Certainly the Twenties gave F. Scott Fitzgerald a ready canvas to work from, but the story of Gatsby’s tragic love for Daisy is just as relevant today as then, just as searing.

If there’s a problem with Baz Luhrmann’s film it won’t be because of the glittering visuals or the Brooks Brothers costume collaborations or the slick, overproduced, thoroughly modern soundtrack. None of those things compromise the power of the story—as the Huffington Post writer points out, they may even complement the story. The problem will be if the film forgets its own irony.

Rerelease party!

His Own Good Sword is being officially rereleased tomorrow, May 7, and just for tidiness’ sake I thought I’d compile a helpful list of all the celebratory goings-on so nobody misses out. There are a ton of sweet promotions (including free ebooks!)—be sure to take advantage of all of them!

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First, enter the Goodreads giveaway for a chance to win a signed paperback copy. Today’s the last day to enter, so head on over. Also, don’t forget to add the book to your shelves if you haven’t already!

Second, get a free Kindle copy of His Own Good Sword from the 7th through the 11th! Yes, you read that correctly—the book will be free in Kindle format for the first five days of its release, His Own Good Swordso you are literally without excuse if you don’t have the book on your Kindle by midnight on the 11th.

Not to denigrate those Illustrious Readers who prefer physical books to electronic ones! If you purchase the $7.99 paperback edition of His Own Good Sword from either Createspace or Amazon between the 7th and 11th, forward a copy of your confirmation email to amandamccrina AT gmail DOT com and I’ll make arrangements with you for a free piece of signed artwork by yours truly featuring any character/object/whatever-you-choose* from the book. (For an example of my art style, take a look at this. Disclaimer: Batman is not a character in His Own Good Sword. Though that would have been awesome.)

[Edit] I’ll be doing an interview on Hazel West’s blog tomorrow, talking about the changes I’ve made to the book for this release and also about which movies I’ll be going to see this summer. There’ll be a brief excerpt from the book, too, so if you’d like to get the flavor of the story before downloading, be sure to check it out.

Finally, I’m proud to say that His Own Good Sword is This Week’s Read over at Indie Books R Us. Be on the lookout for the forthcoming review and interview!

*Within, you know, reasonable limits. And I’m the determiner of “reasonable limits.”

Categories and subcategories

I try to avoid talking about social issues on this blog, not because I don’t have Strong Opinions, but 1) because I don’t want to alienate anybody with unnecessary controversy, and 2) because I’m not an expert and instead of coming off as informed I’ll probably just come off as pretentious and obnoxious. But I’m going to make an exception for this particular issue, because it has to do with authors and writing and Things of That Nature, and therefore isn’t entirely beyond this blog’s scope.

All right. I’m going to talk about Gender Issues—particularly, Gender Issues in the writing community. I’m sure a lot of you are aware of the recent big to-do over Wikipedia’s decision to remove female authors from its “American novelists” category into a separate “American women novelists” category. I haven’t followed the case closely enough to know how it was resolved. My sincere hope is that the whole separate-categories idea was scrapped and female American novelists have rejoined their male counterparts in the original category, because American novelists are American novelists whether they be male or female. Actually I wouldn’t care if the “American novelists” category were, in fact, further broken down into gender-specific subcategories. But to relegate females and only females to a subcategory—as if males are the true face of American novel-writing and females just an afterthought—is problematic.

But here’s a thing I saw today which, I think, takes the problem in the opposite direction:

It’s quite possible I’m reading too much into the tweet; 140 characters doesn’t allow you much room for context. But, honestly, I don’t understand the need for the snarkiness. I don’t know anything about Homer, Alaska, to be sure; I certainly don’t know anything about their writing conference. But I see nothing at all problematic with their specifying they’d like to host a “female fiction writer.”

Gender should have no influence on your ability to identify yourself as a novelist—that was the underlying issue with Wikipedia’s category controversy. Siphoning women off into a subcategory, while allowing men to inhabit the main category exclusively, assumes that “novelists” should, in the purist sense, be male; female writers who somehow manage to write novels require some additional label. But gender—like a plenitude of other factors—does affect the way you approach your novel-writing. A female novelist will have different things to say about her work than a male novelist will have to say about his; they each bring their own unique experiences and perspectives to the table, and some of those experiences and perspectives may have to do with the fact of their gender. There’s nothing wrong with acknowledging that—they’re both still novelists regardless. There’s nothing wrong with the Homer, Alaska writing conference acknowledging that and deciding they’d like specifically to hear what a female novelist has to say. I have to admit I went out and pulled up the schedule—there are male speakers too, so clearly the conference isn’t suggesting there’s some qualitative difference between male and female writers.

Here’s where I say something inspirational about how our differences shape our art and how Art as an Abstract Concept depends upon those differences—but seriously. If you write novels, you’re a novelist. That should be inarguable WIKIPEDIA. But I don’t think it’s somehow demeaning to acknowledge that your novel-writing experience may be informed by your gender experience.

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