Bloodstone will be released on Amazon on March 2nd. It’s available for pre-order right now. The cover is about the same as the one I posted below. I will change the pink tinge of the title slightly in the next few weeks. Too pink for me.
Darkstone | An Evil Reborn is still scheduled for release during the first week of April.
After hundreds of Moonstone | Magic That Binds sales in six weeks, it has gotten a 4.4 rating out of 5.0 stars on Goodreads. A couple of one-star reviews have dragged down the Amazon rating a bit. I’ll not comment on those…
Sunstone | Dishonor’s Bane is also selling at a good clip.
What I’m somewhat gratified to see is that readers are picking up my other books. Not as many are buying the others, but I’m grateful that the other stories are getting a read.
Thanks if you’ve picked up any of my books.
The final covers for Bloodstone and Darkstone, books 3 and 4 of the Warstone Quartet are finished.
Bloodstone, which is primarily about a princess and a wizard, has a velvet background and crossed swords in the stone. One of the swords is bright and polished that represents youth and the other is worn and dented representing a lot of experience.
Darkstone, a coming of age story for the antagonist and the rousing conclusion has a skull (evil reborn) in the darkstone which lays on top of a Ropponi sword blade. The background is rocky dirt that represents Ayrtan, the dead continent, where the final confrontation takes place.
My next series is called the Mechanisms of Magic. It isn’t a medieval fantasy, but not quite steampunk. Anyway, I got about 40,000 words into the draft and the story just didn’t jell. I thought I might be suffering a bit of writer’s block.
I did a bit of surfing on writing and came across a YouTube video on the Seven Point Story Structure presented by Dan Wells, a paranormal/horror author. Eureka! I found that my story had run out of structure and had lost its way. I fiddled with all three of the stories planned in the series, using the technique, and found that I had a better handle on where the story headed.
As it turned out, there was a similar presentation on a variant of that structure at LTUE last week. So, I get to tweak the storylines yet again, since the variant offers a bit more latitude and I got a better understanding of how to use the technique to outline the stories. I can still do the scene outlines that I have been using to get my stories going, but those now have more purpose. The key element that I missed was the basic relationship of the main character to the story. The first part of the book should be about the main character reacting to the book’s primary issue. The midpoint is the event that converts the main character from being reactive to proactive. Along with the proactivity, the stakes in the try/fail cycles go up all the way to the end (Resolution).
My plots have generally been a bit more organic. I have the elements in the plots, but they aren’t as clear cut. Now with the structure, the primary plotting should be more crisp. It’s not a formula, but a structure. Where the plot twists and turns is still up to the author and the try/fail cycles are all created to match the particular story you are working on.