Author: Nicole Luttrell

I'm a speculative fiction writer. That means I write about dragons, ghosts and spaceships. Sometimes I write about the ghosts of dragons on spaceships.

Nova, Chapter One

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To begin at the start of Station 86, click here to get book one for free.

Sennett

Station 86, six years before our story takes place.

Sennett expected Lo to be annoyed with her, but instead, he laughed. “I thought you said you wanted frozen yogurt. Isn’t that the whole reason we came down here?” He was holding two dishes in his hands, his lovely crystal-like hands. She didn’t take one.

The overhead lights on the station were dimming, it must be after six. Some people who’d been to Earth said it looked like something they called twilight. The colors shifted from yellow-white to blues and purples. Lo looked so beautiful in that light. His broad, strong shoulders shook as he laughed at her disdain. His rose-pink complexion was somehow a richer hue when he laughed. His wide nose wrinkled, and he seemed to almost glow.

“Yeah, but I wanted it from Harlequin’s frozen yogurt,” she said. “They’re the only ones that don’t have that weird aftertaste.”

Lo’s face fell. “Harlequin’s is on the other side of the level,” he said. “It’s the farthest one from the transit station.”

Sennett put a hand on her growing belly. “I cannot control these cravings,” she said. “Your child has a discerning pallet already.”

“Honey, it’s been such a long day,” he said.

She sighed and took one of the paper bowls from him. “Alright, maybe this will hold them over.”

Lo put his arm over her shoulder, and they started walking toward the transit. The market level was as busy as it ever was in the evening. People stopped by after work for things that just couldn’t wait. Shops were closing down, and the people who worked in them were heading in the same direction as Lo and Sennett. People were coming the opposite way to start evening shifts at overnight shops.

Sennett ate a spoonful of her yogurt, then leaned against Lo. “What do Khloe crave when they’re pregnant?”

“That’s not how things work with Khloe,” he said. “We don’t really do the whole pregnancy thing.”

“Guess that’s why you were so confused when I was trying to explain it to you,” Sennett said.

He laughed again, and it made her smile. His laugh was another reason to love him. It was deep and loud and vibrated through his whole body.

“That was a surprise. But, you are always full of surprises,” he said.

The crowd around them thinned as they drew closer to the transit station. A train was just pulling away, taking those who had already been waiting. So the two of them had the platform to themselves.

Sennett sat down on a bench and applied herself to her yogurt. Lo stood just at the safety line, watching down the tube for the train to arrive. “You in a rush to get home?” Sennett asked.

He turned towards her, about to answer.

Then there was a sound that didn’t belong on the platform. Didn’t belong anywhere anymore. It was a sound from another time. Sennett didn’t recognize it, had never heard anything like it before. It was loud, so immensely loud, and sharp. Sennett’s ears rang. She dropped the paper cup on the ground to cover them. Then she looked back at Lo.

He didn’t have part of his face anymore. What remained was ragged, bloody, almost as though something had reached out and ripped half of it away. He fell backward, onto the transit track.

Someone was running away. Sennett saw a woman in a denim jacket with brown hair. She didn’t have time to do anything about that. Instead, she went to the edge of the platform. There wasn’t any way for her to get down to where Lo was lying. He wasn’t moving. His glow was gone. “Help!” she screamed. “Someone, help!”

Sennett didn’t find out until later that the sound she’d heard was a gunshot.

Now

The brown hair Sennett remembered was longer. It was pulled back in a dirty bun. The denim jacket had been replaced with an oversized grey sweater that looked like she’d slept in. The woman standing in front of her was a mess. Of course that wasn’t enough for her to mistake Candace sitting on her front step, with a beat-up backpack next to her.

Candace stood up when she saw Sennett, eyes downcast. “Um,” she said.

Sennett froze, still as glass. If she’d been alone, maybe she’d have killed the woman who had no business being here, not at her house and not on this station. But she wasn’t alone. Her family, the people she cared about were around her. Her brothers were there, Mason and Russell. She and Russell share the same dark complexion, though his hair was lighter than her black braids. Mason, her adopted brother, was paler than normal. Godfrey was there, almost as good as a brother, his dark brown curls completely unmanaged after their escape from Station Central. Liam was there. He was tall enough to see above all of them, with reddish-blond hair. And Sennett didn’t want Candace anywhere near this man she was only starting to love.

Finally, April was there. April, the baby who’d been nestled under Sennett’s heart while this woman killed her father in cold blood. For no other reason but that he was a Khloe and she, Candace, had been ordered to do it. April, who had the same pink complexion as her father, with wild hair that she got from Sennett.

“Mason,” Sennett said, “take April inside through the back door.”

“Mommy, what’s going on?” April asked.

“Come on,” Mason said. He picked the child up and hurried past Candace, not even looking at her. April’s AI terrier Bailey trotted after them.

Sennett was still too frozen to speak, but her brother Russell wasn’t. “Candace, what in God’s name are you doing here?” Russell asked.

Of course, he knew her. They’d been raised in the same terrorist group, The Core. He probably knew Candace better than he knew Sennett.

“I, um,” Candace said. “I tried to message you, Sennett. I didn’t get any answer.”

“That’s because I didn’t send one,” Sennett snapped.

“Wait, this is Candace?” Godfrey asked. He put a hand on Sennett’s shoulder. Whether it was to give his best friend comfort or to hold her back was unclear.

“Sorry, who’s this?” Owen asked. It was maybe the longest sentence he’d spoken since Station Central, his home, had been destroyed.

“Someone who really shouldn’t be here,” Godfrey said.

“If you’re here to offer some sort of apology, you can shove it up your ass,” Sennett said. “I don’t want to hear it, and you don’t deserve forgiveness.”

“No,” Candace said. “I mean, you deserve an apology. You deserve a lot more than that.”

“She deserves to live the rest of her life without having to think about you,” Liam said. “So why don’t you take off now.”

“I, I will,” Candace said. “But Sennett, I have to tell you something. It’s important, or I wouldn’t be here. Everyone here in Station 86 is in danger. I came to warn you.”

“Us being in danger isn’t exactly new,” Godfrey said. “Is this about the Hollow Suits? We know about them already.”

“The what?” Candace asked. “I’m sorry, I don’t know what that is. But this is-.”

She stopped. She put a hand to her head, as her eyes glazed over. Then, she sat down again on the step, hard.

Pain engulfed Sennett’s head. She thought she might fall like Candace had, but instead, she lunged for the other woman. Liam and Godfrey together barely held her back as she reached, screaming and clawing for Candace. She needed to get her, to grab her and rip into her flesh with nails and teeth.

Russell yanked Candace up, and shook her, hard. Candace’s head flopped around until she seemed to come back to the present. When she saw Sennett reaching for her, she pulled away as though she’d seen a monster. “What’s the matter with your eyes!” she cried.

“Maybe you should get the hell out of here!” Liam yelled. “You’re making it worse, not better.”

Sennett didn’t see Russell hustle Candace off. She only saw red, until she only saw black.

Copyright © 2024 by Nicole C. Luttrell

All rights reserved.

No portion of this book may be reproduced in any form without written permission from the publisher or author, except as permitted by U.S. copyright law.

If you love the story and want to support Paper Beats World, you can do so on Ko-fi

0

Nova, Prolog

Need to go all the way to the start of Station 86? Click here to get book one for free.

There was a yellow handprint on Maven’s desk, just at the left corner. Many years ago a little hand had reached up covered in paint and made the print before Maven could prevent it. It had been a bright hour between meetings of a darker nature, finger painting with her son. Smears of rainbow-colored paint on pages that were supposed to be cats and ships. All hung up for everyone to admire when they dried. None so precious as the smile on Russell’s face also smeared with paint.

She hadn’t washed the handprint off. Even when Russell was a little boy, she’d known that moment would be something she never wanted to forget.

Maven stared at the screen in front of her. She saw a few ships, small ones, flying away from Station Central. They were too few and too small to hold everyone who’d been on the vacation station.

Was Russell on one of them? Was Sennett?

She put her hands over her eyes. Unwilling to turn the screen off, but unable to watch.

To lose Sennett was to lose a dream. She’d been stolen from Maven when she was so young, no more than a baby. By the time they’d found her on that nothing little station that no one had even heard of before it became the station of First Contact, she was nearly a grown woman. Maven never stopped hoping they could be reunited. She dreamed of placing her hands on her daughter’s face and telling her that she loved her. That she loved her from afar and prayed for her every day. Now, that was never going to happen.

To lose Russell, well that was something else.

That was losing the moments when she made him place his hand, now bigger than hers, over the yellow handprint to measure how much it had grown. It was losing dinners spent watching him argue with his father. It was losing the quiet moments when she could just quietly admire the strong, brilliant young man she’d raised. It was losing any chance of him finding happiness, and bringing children of his own into the world. To lose Russell was to lose the brightest part of her life. Maybe the only bright part she’d ever had.

Maven shook her head. This wasn’t helping, this mourning. It couldn’t be the face she showed her generals, and they would be arriving soon. She took a deep breath. “Put it away,” she whispered. She pictured herself taking all of her rage, all of her anger, all of her sorrow, and putting it into a box like one might shove outgrown clothes to be dealt with at a later time. She pulled out a mirror to fix her makeup. Her generals would be arriving soon, and there was much to discuss. There wasn’t any reason to hold back from attacking Station 86 now. Especially since their defenses were lowered.

She had just a few moments to start typing notes for the meeting. With steady hands and dry eyes, she typed.

We must secure the existence of our people and a future for Earth’s children.

When we last left our heroes, all hell had broken loose.

When we last left our heroes, it was the beginning of the end.

Copyright © 2024 by Nicole C. Luttrell

All rights reserved.

No portion of this book may be reproduced in any form without written permission from the publisher or author, except as permitted by U.S. copyright law.

If you love the story and want to support Paper Beats World, you can do so on Ko-fi.

32

Adding new characters so people don’t hate them

If you’re writing a series, you’re going to find that your cast changes over time. This makes sense and is realistic in real life. If your MC is learning, growing, and changing then people are going to leave and come to their lives. They might move, go to school, change jobs, or get a new neighbor. Maybe a family member needs to come stay with them for some unexplained reason.

Sometimes this is great. Some fantastic characters have been added later in a series. Using some TV examples because they’re the best known, here are some later added characters I loved.

Patrick from Schitt’s Creek.

Kimmi from Rugrats.

Ben and Chris from Parks and Rec.

Alex from Chuck.

Natalie from Monk.

Chris from 30 Rock

Jessie from Burn Notice.

All of these characters were great additions to their respective shows.

But not all characters added later in a series are great. Some are Godawful. And the examples of that are downright cringy. Think of Dill from Rugrats, Suzie from Space Cases, Scrappy Doo, and the much despised Bobby from Brady Bunch. This horrible addition trend is so well understood, that it was mocked by the Simpsons in their eighth season.

So how do we do it right? How do we add to our cast without creating a Poochie? Well to me, this involves a series of do’s and don’ts.

Do add something to the story that was missing

Most of the characters in my ‘good’ list fall under this rule. Patrick added a straight man (comedic straight) to a pretty zany cast. Kimmi gave Chucky someone who admired him in Rugrats. Alex gave Casey a softer side that he needed in Chuck.

Do you have a character that is a little too silly? Too responsible? Too damn irritating? Give them a character that has the opposite qualities to balance them out. If your story is just a little too dark, add a character that can give levity.

Do give them a believable and sensible reason to be there.

How did this new character join your cast? Did they move? Okay, why did they move?

Kimmi’s a good example of this. She and her mom joined the cast after the Rugrats went to Paris. Her mom was working for the antagonist, fell in love with Chaz, and moved back to the States with him. That makes sense. Well, not in the real world. But in the lovely fictional world in which a school teacher can afford to keep her family in a house in the suburbs.

As a bad example, we can look at Scrappy Doo. Why is he hanging out with his uncle? Why did we never meet his parents? Why doesn’t he ever go home?

It needs to

Do make sure they fit the style and overall theme of the show

We all know that fiction content tends to have a certain vibe. Some shows are warm and cozy, some are more dark. For this example, let’s consider The Good Place with The Boys. In The Good Place, everyone seems to be a little messed up, but essentially decent people.

Compare that to The Boys, where no one seems like an essentially decent person except the two main characters, Hughie and Annie. And even they, if they were plopped into The Good Place, would seem far too dark and messed up to belong there.

So, as much as you’re trying to bring something new and different to your universe, you don’t want them to be so different as to feel like they don’t fit into the world you’ve already created.

Don’t force this character to take up too much space

Now, we’ve reached the don’ts. And this first one is a doozy.

If you’re adding a new character, you don’t want them to necessarily take over as the main character. So they shouldn’t be treated as such. Yes, they should have some storylines. Yes, they should take up space in the world. Yes, they should be important to the plot. But they shouldn’t be the new focus, to the detriment of other characters.

A great example of this done wrong was Rugrats. Dill took over too many of the storylines. Now that there was a baby who needed looked after and cared for by the rest of the cast, every story had to be about him in some way. Before, each episode told a story of one baby, or the assembled cast facing a problem. Now all the problems were about dealing with Dill. Or they were exacerbated by his presence.

Honestly, did Stu and Didi never actually watch their kids?

Don’t take the place of existing characters

This one is a personal issue with me. And it started young. I’m likely dating myself here, but when I was a kid I loved the show Space Cases. It was kind of like Voyager, but with a younger crew. A ship was lost in way outer space, carrying two adults and a group of teens. Scifi hilarity ensued.

My favorite character was Catalina. At the end of season two, she was replaced by her best friend Suzee, who until this moment most of us thought was an imaginary friend.

And I never got over that.

Of course, if you’re writing anything that requires actors, you’re sometimes going to have to replace people. I had a few actors leave my podcast between seasons one and two.

Some of the characters I recast. Some I simply wrote out and didn’t replace. But if you’re writing for TV, you can’t always just replace an actor.

(Yes, sometimes it can be pulled off.)

Then there are examples like Space Cases, or Charmed, where an actor leaves and their position is simply taken over by a new character. And that’s a jarring situation.

If you’re writing a book series, you don’t have to worry about actors leaving. So you do not ever need to shoehorn a new character in to take the place of somebody else. So, you know, don’t do it.

Don’t add a character just because they’re cute

Alright, you all knew this was coming. That’s why I saved it for last. I have some words of revulsion for the Scrappy Doo, Dill Pickles, and Cousin Oliver sort.

We do not need a character added just for the sake of being cute young and new. We don’t need it. If you find yourself writing a new baby, a new puppy, or a new adorable pet sidekick to keep things interesting and fresh, stop right there. Your story doesn’t need it, and it won’t be the saving grace you think it would be. That stunt has worked once and only once, and that was on Sailor Moon.

I hope this post has helped you. And I hope I didn’t trash-talk a character you loved. If I did, please let me know in the comments. And if there’s a later addition character I didn’t reference that you think deserves some love, please let me know about them too.

Paper Beats World is a labor of love. If you love what we do here, please consider supporting the site on Ko-fi.

And don’t forget that Nova, book five of Station 86 starts on Monday! And yes it does have one later series addition, a survivor from Station Central. See you then.

0

Some thoughts on Tradwives

Have you ever been so obsessed with one topic that you just cannot shut up about it? Like to the point where all of your friends and family, and even your therapist are sick of you talking about it, even though they agree with you?

That’s where I am right now with tradwives.

On the off chance you don’t know what a tradwife is, let me give you a description with as little of my personal bias as I can. A tradwife is a woman who believes in and practices traditional gender roles.

To be clear, I am not talking about homemakers. I am not talking about people who enjoy home crafts, cooking, cleaning, or domestic tasks. I enjoy these things myself. I think most of us enjoy home crafting to some degree, no matter our gender.

And to be clear, I don’t care if a woman chooses to be a tradwife. If she and her family can afford for her to stay home, that’s her life. None of my business. That’s the whole point of feminism, after all. She chose to stay home, I chose to have a career and neither one of us can choose our medical care in several states.

Wait, that last one doesn’t sound right. We’ll circle back to that.

No, what I’m mostly upset about are tradwife influencers. People like Mrs. Midwest, Girl Defined, and Paul and Morgan.

I have a complicated relationship with traditional gender roles. For those of you who don’t know, I was raised in The Church of Jesus Christ of Latter-Day Saints. I wrote all about it here. I was a tradwife for years.

And I mean that in the literal sense. I believed that my place was in the home taking care of my family. I was also a pro-life conservative Mormon woman who thought I was straight and had a lot of guilt over my love of playing cards. I had a lot of guilt over a lot of things.

Maybe that’s why I put up with my first partner being mentally, physically, and sexually abusive. I thought that I deserved it because I was dumb enough to have a baby with him.

And obviously, I’m not the only woman who went through that. Hell, my mom went through it. My aunt went through it. My grandmother went through it twice.

I just do not believe that a relationship is healthy when both people don’t see each other as equal. I have lived it. I’ve seen other women live it. I’ve frequently seen women say that God calls us to be Christian wives even if our husbands are not doing their part. Even if a man is beating us, cheating on us, or abusing us, God wants us to try to make it work.

I call bullshit on that.

I crawled out of that. It was hard. I’m still healing from that. And now, I’m watching all these young women run right into the trap I escaped. Worse, they’re trying to drag other women along with them.

Now, I’m going to generalize a bit with this next part. I am not saying that all tradwives are like this. I am saying that the vast majority of tradwife influencers are like this. And again, that’s who I’m mad at.

Tradwife influencers are against every single thing that I’ve built my life around. They sure wouldn’t be working a full-time job like I do. They never seem to be big readers, so I’m guessing they’re not really into sci-fi or speculative fiction. At least, the high-profile ones I see on social media aren’t ever reading anything but the KJV Bible. They seem to be pretty sure that positive affirmations are too close to witchcraft to be trusted, so my tarot-reading self would be an affront to them. They are anti-choice, anti-birth control. Many of them are super racist and xenophobic, too. And I assume I don’t need to tell you what they think of the LGBTQ+ community.

Most of these influencers don’t even have pets.

And yet, there are two things that I do have in common with most tradwife influencers. I am married to a man and I am a Christian.

This brings me to the first reason why I am so angry at tradwives. They have taken the two things in my life that give me the most support and peace, and they’ve turned them into nightmares.

My husband and I have been married for nine years now. Our relationship is a comfort to me. I have a best friend who lives with me, and who will share the burdens that life puts on us. Having a steady long-term relationship should be part of your support system. Your partner should truly be your partner, and they should make your life easier. They should make your life better.

Likewise, I get a lot of comfort from my faith. I understand that this isn’t for everyone, and that’s fine. I know plenty of other people who have deconstructed who do not want a relationship with any religion and that is more than valid. The point is, that my faith makes my life better. My partner makes my life better.

So here is the thing that tradwives do that bothers me the most. They have taken two things that are very good for me in my personal life, and they’ve twisted them. They say first that everyone has to have those things, it’s non-negotiable. Then they say that these things shouldn’t make you happy. Your partner doesn’t have to make you happy. Your relationship with your deity shouldn’t make you happy. If you’re expecting that sort of relationship with your spouse or with God, you’re wrong for that. In the world of a tradwife, you as the wife are there to support your husband, he is not there to support you outside of financially. Your faith isn’t supposed to lead you to good things or a better understanding of yourself and the world you live in.

I reject that. I reject the thought that God doesn’t want me to be happy. I reject the notion that I am meant to be a helpmate to my husband and not expect that same help and support in return. I frankly reject anything that isn’t a net positive in my life. I reject that not just for myself, but for the next generation.

And here is the point that I want to get to. So many of these tradwife influencers are younger than me. These are younger millennials and Zoomers who were happy crying and dancing in the streets when Roe V. Wade was overturned.

So, what the hell happened here?

I am not going to claim that I’ve been leading the charge for female empowerment. I had to fight for my liberation, but I didn’t have anything to do with societal liberation.

But I think that we, as elder Millennials and Gen X, let go of something. We inherited a world that didn’t have as many barriers for women as those before us. There are still some, but not as many. I was born into a world where I could have an abortion, have a credit card, own property, have a bank account, and get a no-fault divorce. My mother was not. Any woman born before 1974 was not.

I feel like we got distracted. We didn’t get lazy, that’s not fair. But we got distracted trying to survive and we forgot about these battles. Maybe because just providing for our families has gotten so hard. Maybe because we’ve seen so much violence in our lifetimes. Maybe it’s hard to worry about whether or not we’re still treated as equals when there’s another school shooting every week and it feels like WWIII is gonna break out if one more country bats an eyelash weird. Maybe it’s because we thought we had our rights on lock, so we could keep moving forward.

Whatever the reason, we dropped the ball. And we’ve got to pick it back up again.

Now, I’m not telling you to go off on these tradwives on social. What I’m suggesting is that we don’t engage with them at all. Don’t give them attention. Understand that anyone can be a homemaker, but nobody has to be. And if you know a young woman who’s going down this road, check in on her with compassion. Don’t judge, but do give her the support she needs. And vote for politicians who will fight for gender equality. Write to your politicians, call them, and attend protests. Don’t believe that we are safe because the rise of the tradwives means that we are not.

These constricting, dehumanizing rules don’t belong in the world our mothers and grandmothers fought to give us, and they don’t belong in the world we’re giving our daughters.

In conclusion, let me leave you with this. I’m a Christian, but I’m also a witch. As such, I like the Wicca rede. As it harms none, do what you will. If tradwives weren’t harming anyone, I would not be upset about what they’re doing. But the way they prop up and romanticize these dangerous, self-hating ways of life is hurting people. And we have got to be loud enough denouncing it to drown them out.

If you want to learn more about this phenomenon, please check out Fundie Fridays on Youtube. It’s a great place to learn about dangerous fundamentalism.

Don’t forget, Nova starts on February 5th. And you can get book one of Station 86 for free right now on Smashwords.

Paper Beats World is a labor of love. If you want to support what we do, you can do so on Ko-fi.

1

How my day job makes me a better writer

I am a writer. I am a professional writer. Most of you already know this, assuming this isn’t the first post of mine you’ve read. I have been a professional writer for a good long time at this point, ever since I started submitting to agents for my first novel, Broken Patterns. I’m a novelist, podcast author, blogger, and critic.

I also have a full-time job that has nothing at all to do with my writing, because writing just does not pay all of my bills.

Hell, it doesn’t pay most of my bills.

So yes, I still work a day job. And while I hope someday to leave that day job, it’s going to be a while. In the meantime, I’m trying to be thankful for what having a day job does for my writing. Because even though I would love to write full-time, having a steady day job does have some benefits to a creative life.

I have to focus

The first thing I want to talk about is the small windows of time in which I have to write. I generally have an hour in the morning, a few hours Sunday afternoon, and one whole day a week to write. In many ways, this sucks.

But in other ways, having less time to write forces me to be more intentional about my projects and what I’m doing about them. When I only have an hour to write, I need to sit down and actually write. There’s some pressure behind the pen.

I have time

Conversely, having a day job also means I have more time to develop my career. Because I don’t need my writing to make money to, you know, eat, I can focus on projects and creative works that will pay out in the long run.

The sad truth is that writing a novel unless you’re already famous, is probably not going to make you any money in the short term. But it might make you money in the long term.

Might.

Creating a successful writing career takes time. You work your way up through short stories. You write and publish books and short stories to build a backlog. You create a platform of people who trust you to put out good content regularly, whatever regular might look like.

All of this takes time. You can write as fast as you want, and work as much as you want, and it’s still going to take time to build a writing career. It’s nice to not have to eat like a college student while you’re building that.

I can write what I want to write

Listen, I get that speculative fiction is not a huge money-maker. If I were writing to feed my family, that would be a serious concern. I might consider selling feet pics. I might consider selling James’s feet pics.

I might consider writing romance novels disguised as fantasy because that shit sells like chocolate on February 12th. But I don’t want to write that. I want to write about ghosts, dragons, and space stations. I sure as hell wouldn’t be publishing my entire new science fiction novel right here on Paper Beats World before I publish it anywhere else. But because I don’t need writing money to live, I can do that. And I am, starting on February 5th.

I have the freedom to write experimental things. To write things that I enjoy. I hope you like them too.

I don’t seek out sponsorships

Lots of blogs and podcasts have sponsorships. YouTube content certainly does. My podcast, AA, does. But this site doesn’t. I’m not writing sponsored posts, or creating sponsored content. Because I don’t have to.

For many creators, making sponsored content can take as much time or more than they’re spending on their actual creative work. It in effect takes the role of a day job, working to build a brand and company for someone else dependent on outside requirements and deadlines. As far as I’m concerned, seeking out sponsorships is the same as having a day job, just without the medical insurance.

This isn’t to disparage sponsorships! Like I said, I do one for AA. My favorite YouTube channel, Watcher, does them all the time. I have a friend who does them for her content. But because I have a full-time job, I don’t have to do that. And I’m really glad I don’t.

I don’t have to take on freelance work

Another thing I don’t have to do is write freelance content. I used to do this, and honestly, I hated it.

Freelance work is hard. It takes time and creative effort. It takes so much time.

There was a time when I needed that work because I was struggling to make ends meet with my day job. And I was thankful for the little extra I could make with it. But I’ve learned over the years that I only have a certain amount of writing energy every day. And if I use it up writing ad copy for a company I don’t care about, I’m not going to have any for the writing I want to do. So if I was writing freelance work, it might quickly become the only writing I was doing.

I’m constantly inspired by new stories

Finally, I want to talk a little bit about the work itself. I’m not going to give many details about what I do, because I work hard to keep my writing and work life separate. But one thing I can tell you is that I talk to people all day every day. And like in any job where you work with people, sometimes they tell me their stories.

No, most people don’t just start unraveling a yarn of their lives unprompted. Though at least one time a man spent 45 minutes telling me about his experiences in Vietnam and finished this by telling me he felt like he was supposed to tell me these stories. I didn’t ask for them. I was shocked by them. But I’m so thankful for the privilege of having heard them.

I learn their stories as they tell me about what kind of day they’re having. How it snowed, and it made them think of a storm when they were kids. How their kids are driving them nuts. Or they just got back from a funeral. Or how they just lost their job or got a new one, or their daughter had a baby. All of these wonderful, worrying, scary, sad, happy stories that people just tell you when you seem willing to listen.

That feeds my soul. But it also feeds my creativity. I talk to people who see the world in a completely different way than I do. I learn new things and gain a new perspective. Granted, some days I learn new ways to be irritated by people. But I also learn compassion and patience.

Anything that makes you a more well-rounded person is going to make you a better artist. The more sides of the world you can see, the more you can write from.

All of this is not to say that I don’t want to write full-time. It’s certainly not to say that writers don’t need and deserve to get paid for their writing. Creative work is work. Emotional work is work. I’d love to quit my day job and write full-time, so I’m not literally working two jobs.

But the truth is that creative work isn’t paying enough to keep me alive right now. And that’s the reality for most writers, sadly. So if we have to work while we create our careers, we can at least lean into the positives.

Nova will start on February 5th. But if you need to start at the beginning, you can get Seeming for free on Smashwords right now.

Paper Beats World is a labor of love. If you love what we do here, please consider supporting me on Ko-fi.

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Writing when you work from home

It’s snowing where I am as I write this. Not just snow, but a messy sleety wet slop that is freezing when it hits the road. There is nothing I want to do less than leave my home. Thankfully, I work from home.

While many people have transitioned back to offices, lots of us are still working from home. And it is a blessing.

Before we go forward, please let me be clear that this is a blessing and I am not complaining about it. That being said, working from home isn’t without its challenges. Especially when you, like me, already work a creative job from home.

Working from home when you also have a creative hustle has its own challenges. For one thing, there’s only so much time one should spend staring at the same four walls. For another, it’s just hard to spend more time in our creative space when it’s also now our workspace. Listen, I like my day job and there are still some days where I don’t want to step away from my desk so much as set it on fire and run screaming from it. And then I’m expected to spend more time at that same desk?!

I’m a big fan of basically tricking my brain to get it to do what I need. And I’m also a big fan of, you know, doing the thing I love no matter what. So here’s what I do to juggle both working and writing from home.

Have a specific start and end time

This is a piece of information that’s been around for WFH folks forever. But frankly, it bears repeating because this is harder when you’re creating from home.

Have a specific start and end time for your day job. This is easy when we’re working at the office, because you clock out and head home, not to see your work PC until next you clock in.

If you’re working from home, your PC is there with you. Waiting. Judging.

When I’m doing things around the house, making dinner, or watering plants, I can ignore the PC with ease. But when I sit down back at the desk, back where I was performing a specific action all day, I start to think about things that happened at work.

Did this person respond to my email? Did that guy do the thing I needed him to do? Did I take care of my part of that other thing?

This sucks. But it’s important to stick to your intentions. You were at work already. You have a specific amount of time that you and your boss agreed to. There is no reason to jump on there at any other time.

Physical boundaries

Of course, this is easier said than done. When you’re computer is right there, it’s harder to just say no.

And I get it. I’m lucky to have any devoted space in my home for working, it’s a small place. So my desk is the place where I work from home and do all of my writing. Same little desk, same squeaky chair, same Peanuts calendar. And I’m not going to move my work pc every time I want to write.

So what I do instead is to place a scarf over the whole PC when I’m not at work. I turn it off, and I cover it with a nice maroon scarf. Out of sight, out of mind.

Tricking your senses

Getting my work PC out of sight is just one way I trick my senses into thinking this is a different workspace. I’m careful to keep certain practices separate.

When I’m working the day job, I listen to jazz music. I don’t light candles or incense. I’m generally drinking water or coffee.

When I’m writing, I like to listen to either nature sounds or work with me videos. I almost always have something nice smelling lit. I also tend to prefer tea while I’m writing. It’s all about creating the right kind of vibe. When I’m doing day job work, I want to feel alert and not stressed out. When I’m writing, I want to feel creative and soft.

Get out of the house when you can

Finally, I try to write outside of the house when I can. Not all the time, frankly I write too much to do it all the time. But I like to go to a coffee shop or the library and get some work done. Especially when I’m feeling like I’m in a slump, or the four walls of my office are getting to me.

Writing outside of the house has all kinds of benefits. Especially when you’re spending 40+ hours a week in your usual writing spot.

If you can’t leave the house, which might be the case for me as I’m looking down a snowstorm this weekend, try to switch up where you write. While I don’t suggest writing in bed, maybe there’s somewhere else in your home you can write from. I’ll often write reviews on my couch, for instance, my laptop balanced on a lap desk.

Now, if you feel like a lot of this advice sounds the same, you’re right. These are all examples of what boils down to the same advice.

Make your creating time as separate from your work time as possible. Because the last thing you want when you’re writing is to feel like you’re at work.

Nova will start on February 5th. But if you need to start at the beginning, you can get Seeming for free on Smashwords right now.

Paper Beats World is a labor of love. If you love what we do here, please consider supporting me on Ko-fi.

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An overdue announcement (Yes, it’s a new book)

I’ve become the thing I’ve most hated. I’ve become that writer who leaves horrid long stretches between their books. I know how you feel, believe me. Tamora Pierce published Tempest and Slaughter in 2018, and there’s no sequel in sight.

Look, we can’t all be Brandon Sanderson, as much as we might want to be.

But that’s done now. The wait is nearly over.

Nova, the fifth book of Station 86, is launching right here on February 5th.

And I understand that the wait has been quite long. Literally, it’s been five years. Things are going to be a bit different this time around. Previous Station 86 books have, first off, been much shorter than this one. None of them before have reached novel length, and Nova exceeds it, clocking in at just under 70,000 words. So instead of posting one episode a week, I’ll be posting three. One on Monday, another on Wednesday, and a third on Friday.

You’re also going to meet a character that, if you only read what’s on the website, you haven’t had the chance to yet. His name is Michael, Godfrey’s father. He’s a survivor of the Hollow Suits on Earth, and he’s been collecting lost children to protect them. This time around, his story became too integral to what was going on aboard Station 86 to leave him to his own devices.

And besides that, I like Michael. I didn’t really mean to make a hero out of him. But here we are.

There is no secret episode this time around. It’s all going to be published here, one chapter at a time, from February 5th to April 17th. And the reason for that is simple. You deserve it.

You, who’ve been reading Station 86 since Seeming launched in 2016. You, who found the series or this blog somewhere along the way and decided to stick around. And even you if this is the very first time you’ve been here. You all deserve a full, complete, good story about a group of people trying to survive against impossible odds. Because while we aren’t facing hollow suits of armor intent upon killing us, we are all trying to survive against what seems like impossible odds.

Finally, I’ll be offering a limited number of beta copies of Nova. And I mean a very few. Because you are all my beta readers. Nova will be available here in its entirety for two weeks after its finale to make sure everyone gets a chance to read it who wants to. If you like it, I’d love it if you’d share it with your friends. It would mean the world to me.

Just in case this is your first time here, or you’ve never heard me talk about this series before, here are links to the whole series on Smashwords. And to help you get into the world quicker, book one is free.

Seeming

You Can’t Trust The AI

Virus

Station Central

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The many uses of subplots

So, you want to write a book. You have a vision for a story, and it’s wonderful. You have a beginning, a middle, and an end.

But, what about subplots?

A subplot, just in case this is all very new to you, is a story within your story that is not directly part of your main plotline. Today, we’re going to be using the novel Southern Book Club’s Guide to Slaying Vampires by Grady Hendrix as an example because I’m tired of using Harry Potter and everyone should read Slaying Vampires.

So, as an example, in Slaying Vampires the main story is about a vampire that moves to a suburban town and starts feeding on people. One of the subplots is the main character, Patricia, struggling with her relationships with her husband and children.

Subplots have the power to make or break your book. And it’s almost impossible to write a novel without some subplots. So let’s talk today about how subplots can make your story better.

Subplots work best when they have something to do with the main story. Even when they don’t seem to at first. Especially when they don’t seem to at first. For instance, in Slaying Vampires, there’s a subplot regarding Patricia’s mother-in-law coming to live with them. While that might not seem like it has anything to do with a vampire attack, it sure as hell has a lot to do with the story by the end of it.

Foreshadowing

One of my favorite ways to use a subplot is for foreshadowing. We can do this by adding subtle (or not-so-subtle) hints that appear to have nothing to do with the main plot.

For example, let’s consider Patricia’s mother-in-law. She is suffering from advanced stages of dementia. So when she first sees our vampire, she calls him by another name. This is pretty common behavior for someone with dementia. Which makes this subplot a strong and useful one.

When they provide character development.

Early in Slaying Vampires, Patricia’s husband gives her a pair of earrings. And these earrings have a whole journey on their own.

This story starts when Patricia is worried her book club friends will think she’s showing off, wearing big diamonds to their meeting. Then, one of them is bitten off her head and swallowed by someone infected by the vampire.

Bitten off and swallowed.

When Patricia starts to cry, telling her husband that she’s sorry she lost his expensive gift, this asshole loving husband starts laughing at her. He tells her that those earrings were costume jewelry, and he got them from one of his patients. His therapist patients.

This little story tells us something about Patricia. It tells us that she’s desperately worried about what her friends think of her. It also tells us that she’s uncomfortable with how much money her family makes and that she tends to think that everything is her fault.

What we learn about her husband is that he doesn’t put much care into giving his wife meaningful gifts and that he doesn’t consider it his responsibility to care for her when she’s emotionally distraught. You know, because somebody bit her ear off. It also tells us that he doesn’t care much for the ethics that go along with his profession, since therapists aren’t supposed to accept gifts from their clients.

That’s a lot of lifting for a three-part subplot.

When they balance out the main story.

Some stories are heavy. They’re full of dark content, upsetting themes, and serious subject matter.

That is important work that we undertake as artists. But sometimes, it’s a lot.

For our sake and the readers, we need to lighten the story up a little.

Southern Vampires is of course, about a vampire. It’s also about austerity, and how far people will go to get it. It’s about race inequality. It’s about financial abuse (and physical abuse) in gender-normative relationships.

To balance that out, we need some funny in the story. We need some heartwarming moments in the story. And so we have Patricia’s son as a subplot, with a fascination with nazis. ( Not as good guys. They aren’t from that part of the south.)

We also have the subplot, possibly the most important one of the book, of the creation of the book club itself. We see scene after scene of the women talking about their books, their families, their struggles, and their successes. We see their polite friendships grow into strong sisterhoods, without which their eventual success over the vampire would be impossible. But before it gets too far, these scenes help to lighten what is at its core a very dark story.

Do not add subplots just to add subplots.

Finally, I’d like to leave you with this important suggestion. Subplots only work if they factor in, in some way, with the main storyline. This is why most romantic subplots annoy me because they could be removed from the book and leave no plot holes.

That is a good test for your subplots. If you remove them from the story, what kind of impact will that have on the story as a whole? If not, maybe this is a subplot that should be left out altogether.

That’s all I have to say about subplots for the day, but it’s not all for the day as a whole. Check back in about fifteen minutes, I have a great announcement.

Paper Beats World is a labor of love. If you love what we do, please consider supporting me on Ko-fi.

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The best books of 2023

Christmas is over. 2023 is basically over. And it has been a hell of a year. There have been some wonderful moments. Book launches, conventions, birthdays and holidays. But there have been some not-so-great things as well. Mostly the world is still on fire.

But that’s not what we’re here to talk about. Today, we’re here to talk about the best books I’ve read this year.

And it’s been a good year for books, let me tell you. I’ve discovered several new authors that I am in love with. And I can’t wait to share my list with you.

Some of these books I reviewed on Haunted MTL. If you’re interested in reading them, I’ll include links.

Dread Nation/Deathless Divide by Justina Ireland

I talked about these books in my mid-year check-in, and I’m still just not over how good they are. If you like historical fiction, zombies, or just great storytelling, you should read these books.

Cord Magic by Brandy Williams

This is the only nonfiction book to make it onto my list. But it deserves the position. I learned so much from this book about magic. It is wonderful.

Silver Nitrate By Silvia Moreno-Garcia

Moreno-Garcia is one of my favorite authors, but I wasn’t as thrilled with her last book, The Daughter of Doctor Moreau. So the fact that Silver Nitrate was such a fantastic book was honestly a relief.

It’s also got sort of a Christmas vibe. So if you’re not done with egg nog and fruit cake yet, it’s not a bad time to read it.

Final Girl Support Group by Grady Hendrix

This book was so much fun. Again, I did a whole review on Haunted MTL. As a fan of slasher flicks who also understands that they’re a bit shallow and exploitative, this book felt tailor-made for me.

Holly by Stephen King

I was looking forward to this book before it was even written, I’m pretty sure. Holly is such a pure, wonderful character. And this book was super fun.

The Dark Descent of Elizabeth Frankenstein by Kiersten White

If you loved Frankenstein, but always felt like Victor’s story was a little suspicious, this is the story for you. It’s dark, it’s thought-provoking, and it’s terrific.

Hide by Kiersten White

I picked up this book because I wanted a fun, scary romp through an abandoned amusement park. And I got that. But I also got a deep look at the terrors of inheritance and the lengths people will go to for privilege. This book is a wild ride, is what I’m saying.

Kind of like an amusement park ride.

Delicate Condition by Danielle Valentine

I did not shut up about this book on Haunted MTL. I talked about it when I reviewed it. I talked about it when I was looking forward to the next season of American Horror Story. I talked about it the whole time I was reviewing American Horror Story. And I’ll probably still be talking about it when I review the second part of the latest American Horror Story season.

Go read this book, it’s awesome.

How to sell a haunted house by Grady Hendrix

I read this book in one day. It was amazing and sent me seeking every other book I could get my hands on by this author.

Again, I thought this book was going to be funny. I thought it was going to be a light romp through a haunted house while a haggard person tried to sell it. I was not expecting an introspective look at how we can pass down emotional trauma in a family while never even talking about it.

The Southern Book Club’s Guide to Slaying Vampires by Grady Hendrix

I told my therapist about this book because I was literally crying over this book and kind of being mean to my husband about it. I was angry at the male gender reading this book. But it was fantastic.

I loved this book more than most books I’ve read in the last five years. It was funny. It was sad. It hit every one of my real-world fear buttons before we even got to the vampire antagonist. This book was, in short, perfect.

So that’s the top ten best books I read in 2023. Now I want to hear what you think. What were your favorite reads this year? What are you looking forward to reading next year? Let us know in the comments. And I’ll see you next year.

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