Rapping with the Dead

Emma Jane Holloway
February 7, 2021  •  No Comments

Who doesn’t love a good coincidence, especially when it involves ghosts?

Recently I was blathering with a friend about contacting the dead (as one does while folding laundry). I’m stocking up on ideas for a new story, and it was an unplanned but fruitful topic. Literally minutes later, I got an email for a virtual event.

Cue Weird Homes Tour and Atlas Obscura featuring Brandon Hodge. Hodge owns an Austin, Texas residence stuffed with Spiritualism-related objects. For one very fun hour, Hodge took viewers through his collection of antique planchettes, Ouija boards, and other paraphernalia.

It was like a gift-wrapped package falling through the monitor and into my lap. Spiritualism fascinates me, and Hodge’s enthusiasm and fab website are an ideal introduction to the subject.

A Victorian Obsession

The Spiritualist movement gained traction in the mid-1800s. It gave us mediums, automatic writing, ectoplasm, spirit photography, and table-rapping.

Essentially, it’s summoning the dead for a chat. Believers included the rich and famous, from Lucy Maud Montgomery to Arthur Conan Doyle.

For a buttoned-up society focused on industry, cataloguing, and petticoats for the piano legs, it’s interesting how Victorians embraced the paranormal. Their enthusiasm can be seen by the many, many periodicals dedicated to the topic, such as The British Spiritual Telegraph.

Celebrity

Mediums achieved a kind of celebrity, like the Fox sisters in America. Some grew rich. Others were ingloriously debunked for coughing up gauze

“ectoplasm” or manipulating the seance props with wires.

The majority of mediums were women. This was one place she could take center stage without question. And, since the bereaved were willing to pay, she  could also make a good living.

Spiritualism carried on—unsurprisingly—through the disasters of WWI and the Spanish flu epidemic until fading in the 1930s.

Stories

I’ve used the highlights of Spiritualism before. In A Study in Ashes, Evelina and Tobias attend a séance. At the time, I’d wanted to delve more deeply into the subject, but that wasn’t part of Evelina’s story. She simply paved the way for more.

Now—thanks to a chance lockdown presentation—I’m anxious to do more research. After all, what’s more perfect than something that is Victorian, paranormal, and involves intriguing devices? I’m positive there is a role for a planchette or two in my Hellion House series.

 


It’s all in the cards!

Emma Jane Holloway
August 20, 2020  •  No Comments

The ScorpionWould you like me to tell your fortune? For a silver coin, I will consult my tarot cards. Ah, yes, I foresee you’re about to encounter a large to-be-read pile…

I imagined a unique set of tarot cards while planning the Hellion House series. The images in the deck came to me very strongly while I was first making notes about the books.  Scorpion Dawn, Leopard Ascending, Chariot Moon—these are all airships, but those vessels got their names from the cards. Fortune’s Eve recounts the first time that tarot comes into play. For those who like to follow story breadcrumbs, pay attention to that scene.

Of course, it had to be a deck I’d never seen before, which meant recording the entire thing as it appeared in the story a bit at a time. Here’s what I know so far…

Suites

The deck has five suites (sky, fire, earth, water, spirit) of thirteen cards each. Each suite relates to an aspect of being. For instance, earth rules the material plane.

Images

Most of the images on the cards are single animals, plants, or other straightforward objects.

Readings

To cast a reading, lay out the cards in a triangle. They naturally fall into the rising, descending, or hidden positions on the three sides. Therefore, the leopard in an ascending position means that its influence is on the rise and all that fiery animal passion is going a-prowling. The closer it is to the apex of the triangle, the more pronounced its energy will be. If the leopard is on the other side of the triangle, it would indicate the hunt was waning or going awry. If the card was at the bottom of the triangle, it would mean kitty’s energy was turned inward, either asleep or rebuilding for a future time. A fulsome reading would involve a dozen or so cards.

Scorpion Dawn refers to the first awakening of the protective scorpion. The legend has it that when the mighty hunter Orion slaughtered far too many animals, the goddess sent the lowly scorpion to protect her creatures. Too small to be noticed, the scorpion nonetheless poisoned Orion with a sting to the heel. Never underestimate the little guy—or girl—especially if she gets this card.

The main function of the cards in the story is as a means of exploring the characters and their drives. Like all such elements in fiction, it’s a seasoning and not a main dish. Too much and it gets awkward, but it’s a useful way to highlight a moment here and there.

Custom illustration by Leah Friesen


The World of Hellion House

Emma Jane Holloway
April 27, 2020  •  2 Comments

I started planning the series some time ago, as good worldbuilding (at least for me) needs time to mature. I wanted something that was a little more fantasy and less strictly Victorian than my previous steampunk books, mostly to provide scope for adventure.

I have a fascination with how people live under threat, whether that’s in gated cities or under strict social regulation. Crime doesn’t take a holiday just because everything else is turned on its head. Even dire circumstances, we still manage to form hierarchies, establish ceremonies, build a system and then cheat it. It’s the phenomenon that launched much of reality TV.

When I wrote the Baskerville Affair, I found inspiration in a map that marked the boundaries of various utility companies. This time, I went back to a 1572 map of London and then took a left turn. What if history had gone on as per normal until the Elizabethans, and then…well, science was in a different place back then. What we now regard as fact was mixed up with alchemy, astrology, and theoretical systems we don’t use in the lab these days. Burning witches at the stake was fine entertainment. What better time to unleash something that transmogrified the world?

Fast forward to my characters’ era, in what would have been Victorian London. Cities everywhere are fortified physically and by magic to protect the populace from the wilderness—now occupied by monsters. Airships and river boats are a necessary means of travel, because going by land is suicide. Agriculture is a harrowing endeavour, with private armies and mages on tap. There are dragons, huge wildcats, and the ever-hungry Unseen. Probably Nessie. Undoubtedly trolls. (Please note, there are no zombies, as they are smelly and prone to leaving their body parts in inconvenient places.)

However, because people are people, there are also Society events, fashion, slums, politics, crime, detectives, murder, whorehouses, gentleman’s clubs and newspapers. But civilization comes at a terrible price, as our protagonists discover.

And then there’s the River Rats, and astronomy, and the tarot, but more on that later.

 

Image by Comfreak on Pixabay


Five editing tips to save a sinking story


October 7, 2019  •  No Comments

Editing advice is depressingly easy to come by, especially when our work in progress is circling the drain. That’s when the armchair editors come out to play, usually with a sympathetic shrug and sad eyes. Then they gingerly toe our story as if it were a roadkill raccoon.

Once we get past the impulse to bash those know-it-alls over the head, we are at the point of autopsy. That’s when we survey the wreckage with an ache in our chests, wondering whether to draw the sheet over our darling, or make one last heroic attempt at rescue.

I’ve had my fair share of emergency room moments. Deciding whether or not a book is salvageable is tough, but I’ve come up with a diagnostic test I use when I get to about the five-chapter mark, then half way, and then again at the end. This doesn’t cover every possible scenario (I’m always finding new ways to make a mess) but it does hit the probable pitfalls.

Consider these issues before you pronounce time of deletion. Everything here can be fixed in a thorough edit.

One: Are your characters acting like real people?

I’ve read books where characters seem to experience a story in isolated episodes, as if they’ve had a brain wipe between page turns. It’s hard for the reader to engage with a protagonist in this detached state. Characters should come across as individuals with complete interior lives.

Take a moment and think about what it would be like to be your protagonist, an ordinary person, shoved into an exciting adventure. Imagine going through events as the chapter progresses as if it were happening to you. What does your character feel? Where in your body does that emotion show up? A clenched jaw? An aching stomach? How does your protagonist continue to function despite those emotions? Now put those Coffee cupfeelings on top of the feelings from the last chapter, and the one before that. A writer needs the cumulative impact of all those layers to make character change realistic. It’s okay (and probably useful) for your protagonist to cope badly from time to time.

This is one of many reasons that it’s useful to construct a plot timeline. If your character’s parent is hit by a truck on Monday, they will still be reacting to the incident on Tuesday. It doesn’t hurt, when starting a fresh chapter, to make a few notes about the character’s state of mind going in. This is especially helpful if there are breaks between writing sessions and the material isn’t fresh in your mind.

Two:  Are you keeping secrets?

This is related to the point above. I have occasionally questioned one writer or another about why a character does XYZ and been given a long monologue about the character’s thoughts, feelings, family dynamics, ambitions, grade school experience, etc. Note to author: it doesn’t count if I can’t read it on the page.

Check when you are revealing information, especially where it reinforces motivation. I know we’re all afraid of the infodump, but being coy is just as harmful. It annoys and confuses readers and frequently makes the characters appear to require strong psychiatric medication.

The Ubiquitous Plot Bunny

Three:  Do you have the right amount of story for the length of your work?

A well-written story can come in any length, but sometimes that short story we think we’re writing turns out to be a surprise novel. That’s okay, as long as we don’t try to squish it back into a short story-sized container.

To figure out if your story is too short or too long for your chosen format, here are some questions to ask:

  • Does every section (chapter, scene, or whatever unit you’re using) relate to the main conflict in terms of action, character, or theme?
  • Does every section contain enough of its own conflict to be interesting?
  • If you left the section out, would it matter to the overall story?
  • Are any important events happening off stage? Does the event take more than two sentences to explain? If so, cut it out or …
  • Would it raise the tension in the story to show those events on stage in real time?
  • Can any other exposition be turned into action or at least a conversation?
  • Is there enough rising action and setbacks to make us doubt the outcome of the story?
  • Are all important character traits/relationships demonstrated on screen?

Four:  Is your climax in the right place? Are the right people participating in it?

Go ahead, think about the sexual double entendre. It fits.

We all know the big finale should happen close to the end of the book. Romance has a climax for the exterior action (the villain is stopped) and then one for the interior conflict

High points need to come in the right place

(the romance receives its final test). I would argue that most character-driven work has this double climax in which the action resolves and then the protagonist(s) gain final insight. It’s the best way to iron in a satisfying character arc. Although there are always exceptions, to put these peaks too soon or in the wrong order can make for a less than satisfying end.

Also, please ensure the main character is a participant in the climax. Not an observer. Not hearing about it from a friend. Not using a peephole. They need to personally impact the outcome of events or the reader feels cheated for spending so much time with someone who clearly doesn’t matter.

Five:  Do you have too much beginning?

This tends to be an issue with bigger books or series, but it can happen with short ones as well. This is a good moment to consider whether the overall work is the right size (see above) because the beginning sets the expectation of how the whole story will be paced. If you whitter on at a leisurely trot and then sprint through the last half, the book feels lopsided.

If you’re already at novel length but need five chapters of exposition to get out of the gate, the best advice I can give is to start with a corner of your universe and build out as you go. Give us ONLY what we need to make it through the first scene. Show us the mud, the castle, the village cow. We don’t actually need the name of the town to know what kind of place we’re in. If you need to add a little something for scene number two, then dribble it in when we get there, and so on. Consider that your character doesn’t think about his or her environment all at once. They’re dealing with what’s in front of them, just like we do when we walk out the front door.

Think about the reader experience like vacation travel. Once we’ve checked our luggage, seen the hotel room, and had something to eat, we’re ready to see the sights. That’s when it’s okay to start giving more detail, because the reader has some way to relate it to what they already know.

Good luck!

 


Scorpion Dawn Dream Cast

Emma Jane Holloway
September 5, 2019  •  No Comments

The members of the Rogue Skies box set were asked to provide a dream cast for their books. This is always tricky because actors are by nature chameleons and they may match the character in one role but not in the next. I therefore put a disclaimer on this assembly–these folks match the characters in this photo. That being said, here we go for Scorpion Dawn and the series that follows:

Clockwise from top left:

  • Emily Blunt as Miranda Fletcher – a rebel just finding her feet
  • Natalie Dormer as Sidonie Fletcher – pretty but with a generous helping of mischief
  • Jude Law as Detective Palmer (because Jude Law appears in every movie ever)
  • Aidan Turner as Gideon Fletcher. It was the disgruntled eyebrows that sold me.


Cartes de Visites

Emma Jane Holloway
July 2, 2019  •  No Comments

The selfie craze isn’t exactly new.  Back in 1854, André Adolphe Eugène Disdéri, a photographer in Paris, patented a small type of photograph called the carte de visite. This was basically a piece of card with a slightly smaller photo glued to it. The card measured around 2.5 inches by 4 inches and frequently bore the photographer’s address at the bottom.  The glory of this new invention was that it was more affordable than previous techniques. Those of modest means could have their picture taken for the first time. We get an intimate view of the working people of the era that doesn’t exist in such variety prior to this period. Many cartes de visites were made for soldiers during the American Civil War.

Here’s one of Edgar Allan Poe in the 1870s. Since pets were also popular themes, he might have also had one done of his raven. A search through the internet will turn up a vast number of cats and dogs, babies, and kids in fancy dress. People really haven’t changed that much.

The popularity of the carte de visite surged when Napoleon III had his card done. Soon all the cool kids were not only getting their own portrait taken, but also collecting the cards of the rich and famous. It was common to display one’s collection of cards and–always a trendsetter–Queen Victoria had an album for photos of her extensive family.

Here’s one of Victoria and Albert:

http://www.metmuseum.org/art/collection/search/271509

 

“[Carte-de-Visite Album of British and European Royalty]” by F. Joubert is licensed under CC CC0 1.0

In the early 1870s, a slightly larger format called the “cabinet card” replaced the carte de visite in popularity.

 

 

 


Scorpion Dawn – Cover Copy

Emma Jane Holloway
July 1, 2019  •  No Comments

I’m still tweaking this slightly, but here is the first glimpse of Scorpion Dawn. It’s in the upcoming Rogue Skies box set and is the prequel novella to the Hellion House series.

 

When the prey becomes the hunter

Miranda Fletcher lives in a glittering world of aeronauts and artists, dance cards and dandies, but terror lurks outside the city walls. The countryside is infested with hungry abominations called the Unseen, and a single crack in the capital’s magical defenses invites disaster and death.

When Miranda witnesses a murder, she learns the gates aren’t as secure as the Conclave—the city’s protectors—claim. Despite the danger, it’s a secret the mages fiercely guard. When Miranda and her brother learn too much, the price of the family’s survival is silence.

 No one is foolhardy enough to defy the Conclave, much less battle the Unseen. But when tragedy shatters her home, breaking apart bonds of blood and affection, Miranda refuses to turn the other cheek.

Sometimes the smallest creature carries the deadliest sting.

 


State of the Workbench

Emma Jane HollowaySharon Ashwood
August 17, 2017  •  No Comments

It’s almost September and I’m evaluating my monthly progress. There are plenty of projects on the workbench, so here is the state of the lineup:

Coming Soon:

Enchanter Redeemed (Camelot Reborn book 4). This is the last of the series and the last book I will do for Nocturne since the line is closing. This is currently with the copyeditor and will be released in February of 2018. It’s up for preorder HERE.

Kiss in the Dark (Corsair’s Cove Chocolate Shop book 4). My first indie book and a novella. Is also with the copyeditor and will be released September 30. If you want a glimpse of this universe, check out the web site HERE.  If you sign up for the newsletter, you get a free prequel short story I just finished, The Brotherhood of the Rose.

Fragile Magic re-release (short story from the Dark Forgotten universe). I hope to get this up and available for sale in August. The cover is done. This is a personal favorite of mine.

Looking ahead:

Sharon’s projects have been coming thick and fast, in part because I’ve been participating in a project that will educate me about indie publishing. So far, so good. I want to be a hybrid author, so that’s one of this year’s goals achieved! In addition, there are plans for a new trad series on the drawing board. More to come on that.

Emma Jane’s projects have been ongoing, but there have been delays due to other deadlines, industry hiccups, and time spent learning how to navigate the DIY universe of indie pub. Also, anything historical takes more fact-checking. However, I feel pretty bouncy about what’s lined up here and this is my priority for new material right now.


Author Activity Roundup Spring 2017


March 30, 2017  •  No Comments

What do authors actually do with their time? Some of it involves staring at the ceiling and some playing fetch with the cat (I do most of the fetching) but there are occasions when words actually get written. I’m trying to get into the habit of giving readers a regular project roundup, so here goes:

  1. Award news—for anyone who missed my squeals of delight, ENCHANTED WARRIOR (Camelot, Book 1) received a RITA nomination for paranormal romance. The RITA contest has thousands of entries and is like the Oscars for romance fiction, so I am VERY pleased, especially since this is the second year in a row for one of my Nocturnes. Maybe this time I’ll win a friend for my golden lady!
  2. ROYAL ENCHANTMENT (Camelot, Book 3) starring Arthur and Guinevere will be available this July.
  3. ENCHANTER REDEEMED (Camelot, Book 4) is under construction. This is Merlin’s adventure.
  4. KISS IN THE DARK (Corsair’s Cove series) is part of a continuity series of indie novellas. I’m in the first round editing phase. The cover is scrumptious. Pub date October.
  5. Self-pubbing project – have covers, waiting for time to perform final edit pass. Targeting autumn.
  6. Sekrit Projects – these are Holloway products. One with agent, one awaiting revisions. These are FUN FUN FUN so I am anxious for these to move up the to-do list.

So . . . yes, I do have a few things on the go. Though it seems like a lot, this is actually fairly normal because in the writing cycle there are always four stages:

  • Ideas/research/proposal,
  • writing,
  • editing, and
  • release and publicity.

If you’re a working writer, chances are you’ll have something at each stage. I’m finding that, as I work toward being a hybrid author and have more than one author name anyway, I have multiple sets of works on the go. Scheduling has always been my friend, and now it’s my BFF!