self publishing - Sacha T. Y. Fortuné

Fear, Noise & the Apocalyptic Now

Sooooo it’s been really quiet here lately.

I made a baby. Then, the world imploded.

Of course, that’s not exactly how it happened — or rather, it is, but it’s not a cause-and-effect type of sentence but just a factual one.

It’s been a whole lot of crazy in my head, and I’ve abandoned social media for the most part of the last few months. Well, the last year or so, if we’re being brutally honest — save for a few posts scattered here and there.

I’ve never been the overly outgoing type, but pregnancy and the early trenches of motherhood drove me into a deep funk of silence. Then, just when I was ready to emerge… coronavirus knocked me back into my hole.

Now, to be fair, no time is a good time for a pandemic, but still… yowza!

Nowadays is already history

I never thought I would live through a moment in history like I am now. I’ve always been aware of critical global events with a kind of fascinated detachment:

Interested enough, affected somehow, but not viscerally touched.

While I’ve been largely privileged to not have this pandemic devastate my entire world, there were some harsh realities that it brought into focus as it mercilessly touched others around me and altered the course of my life plans for the short-term and long-term.

So that’s the real world, and then there’s the fantasy world of my books.

Being a writer can sometimes be a wonderful way to escape reality and live in “book world” with your characters, getting away from it all as you occupy your mind with the innermost needs of the nonexistent.

And, here’s the problem: I haven’t been writing.

Hello Silence, my old friend

Part of it is that as a new mom, I’ve been struggling to get time to do the basic human tasks like eating, sleeping, and showering (exercising is a bonus!) and then to combine it all with working from home with a baby.

But the even bigger part of is, if I’m being brutally honest with myself, is that I’m afraid to write.

When the world is spinning crazily on its axis into God alone knows, and the future looks scary at best, I don’t trust the noise in my head to be productive.

Instead, I add to it even more noise — engaging in endless discourse and speculation with anyone who will listen, and staying up late interminably scrolling through Facebook, halfway teetering to news-heavy threads to stay informed and then careening into the peak of silliness with the black hole that is memes, viral videos and animal gifs.

…Gotta keep that noggin busy, so it doesn’t focus on the financial instability of my little family, the crushing fears of the future — not to mention the ever-present, incessant paranoia of doing everything wrong as a new mama.

Writing the noise away…

It’s not a comfortable head space to be in. No one’s is, these days, I’m sure. I’m privy to the problems of friends around the world with whom I check in, as the days crawl by — everything from sudden joblessness, home-schooling horrors, high-risk paranoia, lockdown discomfort and boredom, and general unease.

I know I’m fortunate, I know the entire world is suffering and most of them are far worse off than me. It doesn’t stop the noise in my own head, though.

Usually, writing helps clear that noise — but getting to that space where I’m comfortable enough to write again seems insurmountable, at times.

Writing can break your spirit. Certainly, the post-writing process is agonising at best. I’ve been largely distant from it lately, and every so often I check in and I’m surprised to see that little bump of page reads or sales: the waxing and waning of that yellow bar of validity.

It’s heartening to know my books are out there, and devastating to worry if I will ever finish any more books. My characters’ stories aren’t finished. I owe them so much, and I’ve failed them.

But writing has saved me before, and I have faith it will again.

I just have to hang in there and wait for its magic to find me.

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Happy Birthday to my first Book Baby!

This past year has been a wild ride with a lot of ups and downs, but thankfully no regrets.

I’ve learnt so much since I first published, and grown so much as a writer AND as a person. I’ve learnt to rejoice in the triumphs of praise, and also to take criticism to heart to improve my craft.

In fact, I’d hoped to launch the revised, slimmer version of this book today, but that self-imposed deadline had to be pushed back. I’m not going to stress about it, though. I’ve got some personal battles going on lately, and right now I need to put “Sacha-the-person” ahead of “Sacha-the-writer”… and that’s okay.

I know that once I’m back to full steam, I’ll write something AMAZING again. Until then, I’m satisfied with what I’ve accomplished so far.

3 books in 8 months was a huge feat, and I’m thrilled to have actually made money from my writing… and so humbled that I have fans that appreciate my books, and are looking forward to reading more.

And this book is where it all started. So I’m SUPER proud of this first book baby.

She was my first. She made me a published writer.

So happy birthday, book baby! ??????????


Haven’t read “Climbing the Walls” yet? The “Hart & Cole” series is available on Amazon — hop over and get started!

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Shock Value Writing and “Trigger Warnings”

I gave out ARCs (Advanced Reader Copies), and a user took both Books 1 & 2 — then sent me a message saying she preferred not to review.

…Not that she didn’t like my writing. She was explicit about this. But it seems she didn’t want the book on her record of having reviewed on her accounts, since it contains a particular scene that she wasn’t 100% comfortable with.

I respect her decision, and thanked her for letting me know.

But now I’m wondering — should I have had a trigger warning? Or any “warning” at all?

 

Setting expectations for the reader

I’ve seen loads of writers literally stating in the blurb:

  • This has a brutal rape with a minor
  • This has a graphic suicide
  • This has a sexual scene with dubious consent

There’s also the other side of the spectrum, where the blurb gives a reassurance:

  • This has no cheating!”
  • “Guaranteed HEA!” (Happily Ever After)

…So other writers are doing it.

This is a totally brand new concept to the world of self-publishing and online sales.

To date, to my knowledge at least (fellow writers & readers, correct me if I’m wrong), I’ve never picked up a traditionally published book that gives a massive warning like that right on the cover.

And I understand that some readers prefer not to read certain things.

But I think I’ve been fair in creating the final book product. I’ve selected 18+ (mature audiences only), in the Amazon KDP back-end settings.

And I think I’ve been fair in packaging my series — the covers are NOT happy-go-lucky. It’s clearly NOT a romantic comedy. I’ve used grayscale for a reason.

I’ve set the expectation of adult content.

And I think I’ve been fair in my blurbs:

Book 1: Climbing The Walls

“…damaged bitch who became his power-woman sex-goddess wife” and “…the earth-shattering sex that will not be denied.”

Book 2: Pandora’s Poison

“…a dangerous attraction for a less complicated man than the granite bastard she married” and “the question faced in one’s darkest hour: Can you trust yourself?”

Not to mention the overall series statement:

“A marriage is not a happy ending; it’s a beginning of so much more to come.”

And, within the first few pages (which can be read via the Look Inside” preview on Amazon for “Climbing The Walls), there’s sex and cursing. Enough sex and cursing to make the reader think — “Okay, maybe this isn’t for me…” and move on, if necessary.

In fact, something that someone *might* consider a “trigger warning required” moment is actually close to the front of Pandora’s Poison” and can be read in the “Look Inside” preview!

So it’s clear (at least to me), with all of THAT I outlined, that this is the darker side of “romance”, and as a reader I would bear all of this in mind before I click to purchase.

 

Should a writer spoil the shock?

I did think about the “trigger warning” issue, and I did shop around for examples on writer groups before making my decision to NOT use any… so I did do my homework.

You see, the whole point of my entire Hart & Cole series is to get 100% invested in the characters, to LIVE their lives as if it’s happening to you.

That’s my writing style. It’s the FUNDAMENTAL part of my writing style.

Some readers have appreciated it. REALLY appreciated it.

My favourite Book 2 review (to date) even said:

Everything felt so so real.

It isn’t a storybook; it is a real life book where no matter what you have experienced in your life, you can actually feel the emotions seeping in, and that is what I’ve come to realize with this author.

When I pick her books up, I need to be prepared to face reality and feel the emotions because that’s what she gives me.

So when something shocking happens in the plot, I want the reader to be JUST as shocked as the character was.

For that to happen… I can’t have a trigger warning. I just can’t.

 

My muse doesn’t come with a trigger warning…

I’m sorry that my reviewer didn’t have a warning, and I appreciate that she shared her reasons with me instead of giving me a terrible review, or explicitly detailing the “shock” moment in the review and spoiling it for other readers.

That was AWESOME of her, and I do appreciate that.

And please note, I do carefully consider the plots of my novels, as I write.

My characters are not performing anything “shocking” for gratuitous purposes. It’s all essential to the plot, and even so I’m still ensuring that anything “shocking” has consequences.

I’ve read a LOT of books where there’s ZERO warning and ZERO retribution for deplorable acts.

I’ve had my own personal experiences, so now as a writer, I am as careful as I can be, about the “shock value” moments.

…But they still exist.

That’s the whole point.

You see… my muse doesn’t come with a trigger warning.

The “shock” moment, in my mind, was just as painful for me to write as it was for the reader to read.

Sometimes, I feel like I’m just the conduit to share my characters’ stories.

And, as that conduit… as that middle-man between the story and the reader… I’m sorry. I just can’t censor my characters. I’ve made it clear to expect adult content, but readers… I just can’t give you a giant, neon-sign heads-up as to the details on this content.

My goal as a writer is to make you feel.

…Even if, sometimes, what you feel is pain.

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Editing is Massacre: The Chopping Block

“I’m so, so, so sorry, Lee…” I’m almost in tears, as I delete an entire scene with one of my favourite characters.

But I’m down 50 pages already (woohoo!), and all the nips and tucks in the world won’t get me to where I need to go. I need to edit. I need to CUT.

“Climbing The Walls” (Book 1), was already a bit longer than it needed to be (a criticism I’ve received, and taken in stride).

I felt it myself, during the million-and-one edits, but I justified it: for the first book, you need to take a little time to introduce characters and “drop in” snippets of back stories, little kernels of jewels that you can fully pop and allow to bloom in a later installment.

But enough of Book 1.

For now, my mind and heart and soul are buried deep in Book 2

…Of which, the first draft was already 200 pages longer than Book 1!!!

So… it’s chopping time!

 

What (Who?) to Cut

Lee — Alejandro Galeota — who is mentioned briefly in passing in Book 1 of Hart & Cole, and becomes a somewhat central character in Book 2 of Hart & Cole… Lee is awesome.

At 21, Lee is a big kid and brings some comic relief and support to both Darren & Luisa

He’s Luisa’s little brother, and fiercest advocate. He’s Darren’s new protégé and business partner. He’s the children’s favourite uncle; and at only 21, he’s also a big kid himself. He’s dynamic, he’s supportive, he’s sweet, he’s lovable, he’s funny, and he has some of the best one-liners.

He’s also… well, not the point.

He’s there because he needs to be; he’s the reason certain plot points can move forward, and I’ve been thrilled to build his character out as fully as I can… but now, I can’t. I just can’t.

Editing a book is similar to a film or a TV show. I remember when I watched the Behind-the-Scenes/Making Of one of my favourite teen soaps, the iconic early-2000s One Tree Hill.

There was supposed to be an entire story arc of Peyton helping a troubled young girl, and… when it came time to cut… there just wasn’t. As they explained it, in the end…

You have a certain running time, and instead of tweaking every other scene to chip off bits and pieces to string together a story that still makes sense, you go with the easier option: just CHOP one section out entirely.

And, hard luck for the poor actor/actress who was about to make their debut!

After all, I’m sure we all remember the funny scene on Friends, “Joey’s Big Scene” where Joey faked a scene for his grandma, when his character got cut entirely, after he had invited all his friends and family to watch!

 

When to Cut: White Spaces

Every writer has a process.

I write in Microsoft Word, on a regular 8″ by 11″ letter-sized layout. I do this because I want to have a concept of pages and flow, and in terms of content I know what my chapters should look like, in that layout.

I write EVERYTHING, to start. The story happens in my head in its entirety — every single word of dialogue, every pause, every action, every look between the characters.

Better to have a half-page blank than a few orphan lines of text

Then, I bring it into the template sized for publication (I’ve chosen 6″ by 9″ for Hart & Cole — you can download a sample template here). Here, I see where all the words actually fall, all the orphaned one-words dangling unnecessarily on a line by itself, or the very short page at the end of a chapter.

That’s where my cutting starts — tightening the white spaces.

Yes, you need to leave some of them, to be easy on the eyes, but it’s better to have a half-page or quarter that is blank, than a single line or maybe two on a page by itself!

So, some of the lengthy first draft, thankfully, gets tightened up naturally, once your goal is just to reduce white space.

 

How to Cut: Dialogue

I also write a lot, I repeat a LOT of dialogue. And there’s only so many times you need to write “he says/she asks”.

Yes, you need enough, so that the reader can follow who is speaking, but I focus on using their actions in between their words rather than identifying the speaker with “he/she says”.

For example, early in Pandora’s Poison (Book 2):

“I am just saying… we used to be friends, Luisianna.”

“No, Gianni.” I uncross my legs and pull my feet up, hugging my knees. “We’re just two people who used to f**k, a lot, a long time ago.”

And, a little later down, when Darren and Nicole see each other for the first time in weeks:

Nicole sighs. Her eyes drop to the box at her feet. “So I’m really fired?”

“You wanted to be fired, baby girl. Be careful what you ask for.” I smile ruefully, chucking my index finger in her direction.

Not once did I use the actual words of “speech”, but you know who’s talking. That way, you can get away with getting rid of about 50% of “he said/she said”.

So… dialogue, white spaces… woohoo! You get a few pages knocked off the top that way.

The real problem comes when you realise you’ve invested 20% into a secondary character, who really only needs 10% or less — no matter how much you love every single word you’ve written for him in every scene.

…So, I’m sorry Lee. I’ll try to do justice to you sometime later on!

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