Slogans—sluglines—little crystalline bits of the story. Whatever you’d like to call them, I have some of them ready for you! So I won’t keep you waiting, if you haven’t checked out the website’s cool new content yet. I’ve been working on these for a while and I’m finally letting out bits of the story’s framework—I guess that’s what it is. It’s like holding up a photograph of the story’s ideas.

• Beneath the shade of the pecan tree, the Harrison’s home is welcoming. But you might find there's more to them than meets the eye --A Year with the Harrisons​
• Jenny must fight for what she believes in--and to protect herself from her father's mistakes--The Test of Devotion
• Is Consuela really to be trusted? There are a lot of scoundrels in Belaria and she might know about some of them—Consuela
• For generations Victoria's family has lived in the shadow of the monarchy. A monarchy that has far too much interest in them--Victoria: A Tale of Spain
• Outside Jurant's imposing military school stands a forest and a garden. A garden with a power beyond imagination—Jurant
• Boating, playing tennis, and navigating wild swamps. Unlikely friendships can lead to unwelcome surprises--Bellevere House
• The beautiful city of Niferna. The medieval mansion of Vailsgabel. The pristine court of Millhaven Castle--Facets of Fantasy
• In dying mansions and towers filled with flowers and magic, two girls must make the decision to leave--Everwood and Renari combo
• A planet humans have seen before. 7 jeweled castles that hold their doom--Ryan and Essie
• Amethyst will get tangled up in more than she expected--Temmark Osteraith

See anything you like? :D
And there will be more updates. 

There are still a few loose ends that need to be tied up with my other books (Victoria’s rewrite was so total that it will need a completely new cover.) But I’m starting to look ahead to next year and to working on Temmark Osteraith. I wanted to do that months ago, but things can get set back. It’s important to lay a solid foundation and getting all my books in order was an essential part of that. It’s actually building a house to last instead of throwing some sticks together because you need shelter in the moment.

The world of Temmark Osteraith used to be the “Milland” world and appeared in a couple of stories about a girl named “Alyce” who got into all kinds of trouble. So it feels long ago—but also moving forward in an important way. I finished most of the story of what will now be Temmark Osteraith fifteen years ago and I’m such a different person now, in a lot of ways, that I think the audience attitude to the book now will be quite different from what it would have had at that time. Or even from the attitude towards some of my other books published more recently.

Temmark Osteraith has maybe a bit of a wilder aspect than the old world of Alyce’s Milland. It was this very off-beat, funny, kind of adventure in a period-historical type of world. Whereas in Temmark Osteraith we have a futuristic world, characters that aren’t even human, and a house that still a bit resembles an old mansion, but with an unpredictable personality of its own. A lot is different now from that original draft—setting, character names, some of the plot, you name it—but it still has things that are similar too. A bridge between the past and where my writing is today, to the extent I think it actually brings out the story that was always underlying Milland instead of replacing it.
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And there will be more updates.

In Bellevere House, there are a number of women characters and the first two that jump to mind are Faye Powell and Helene Carter. Faye is the main protagonist of the story and we spend a lot of time in her mind, her perspective on things. Helene, on the other hand, is a newcomer who’s just arrived in this pleasant little place called Parkdale. She’s come with her brother and there are several things that he does while he’s in Parkdale. But Helene immediately sort of attaches herself to Faye and never lets go, in a sense.

The two end up being really good friends and I wanted this to be a positive message and an alteration from the original book. When I was going through it, I noticed these areas with a lot of tension and undercurrents—a falsity, if you want to call it that—between the original counterparts to Faye and Helene, Fanny Price and Mary Crawford. There’s all this jealousy that Faye feels on account of Edmund, her cousin, and there’s an insensitivity to that in Mary, to the point where she just doesn’t get a good feel for Fanny’s personality at all. And the friendship, of course, is like a cracked glass from the beginning.

The negativity that comes from this threads its way through the whole book. It’s a wonderful book and just amazingly realistic at times. But I didn’t care for this particular relationship between the two women at all, frankly. Also, if we take away the conflict, we get to see a lot more of Faye’s relationship with Ed and how their dynamic really springs from each other and not from an outer irritant like this girl swooping in to maybe interfere with their romance. And Fanny and Edmund are one of the things people remember from the book, so diminishing all this quiet sort of catfighting between the girls made me able to bring Ed and Faye to the forefront and clarify what’s going on in a way I really liked. I went through several drafts before I quite pinned down what that relationship was, but not viewing Helene as a problem was a big first step.

And there will be more updates.

When dealing with anything set in modern times—today for instance—you have to start taking computers and phones and medical equipment and transportation and all that sort of thing into account. It’s going to impact the character’s lives in a personal way, and in a way it wouldn’t if you were writing, say, historical or fantasy.

This is even more true for a futuristic world.

As I worked on Palladia—and as I’m still working on it, since there’s going to be a third book you don’t know anything about yet—what was foremost in my mind was creating a sense of realness, of normal daily life, to this very advanced kind of society. It’s several hundred years in the future, so you’ve got lots of devices these young people and their families have around them that we don’t have to deal with or think about at all. I want Palladia to feel like a real place you could live. That instead of being an expansion of all kinds of technology for the future, from our point of view, this is just ordinary life for these kids. They have to make schedules, fill out paperwork—wouldn’t it be fun if a societal collapse could get rid of that by bringing on a simpler time? But I doubt it will happen.

And in the midst of all this abundance of what is slick and gadgety and high-powered, they’re jumping off of little starships to go into an old church and practice plays based on moldy classics. They have this symbiotic relationship with the past too. They aren’t self-conscious about what surrounds them and that’s important to me to show about the characters because they wouldn’t be. Self-consciousness shows our minds poking into the story and going, “oh wow, look at their weird world!” But they wouldn’t feel that way. It’s daily life in a fantastic world, so it feels daily as if you were living there yourself. 

And there will be more updates.