Broom of Anger Feed

Winners in Our Poetry Book Giveaway, Free Poetry Ebook, Twinkl Poet Spotlight

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By Lisa Brunette

You might remember back in April we ran a giveaway for a signed, paperback copy of the poetry collection pictured above. I'm pleased to announce the winners:

Marsha Pipes

Jolie Eason

Congratulations to both for the win! They're apparently too shy for a photo op here like we did with the wildlife gardening book earlier this year, but I can share some tidbits about both winners. Jolie let me know she's already lost the poetry book to her teen daughter, who can't put it down (yay, teens reading poetry), and it turns out that Marsha and I...

...used to dance together! I didn't realize it when her email address was chosen at random - her address doesn't contain her name - but we danced together at a studio in Centralia, Washington, called Embody. Marsha further made my day by telling me she actually had already purchased a copy of Broom of Anger from the brick-and-mortar bookstore in that area, Book 'n Brush, which sells them. I sent her a signed copy anyway and told her to gift the other one to someone who might like it.

And that's the story of our giveaway.

But you have another chance at nabbing a FREE ebook copy of Broom of Anger, as I've added it to Smashwords' Summer Winter Sale. So you can still pick up a copy gratis if you head to the Smashwords page by July 31.

Lastly on the poetry front, I want to share this great spotlight Twinkl (a resource for teachers) published in celebration of poetry and prose, including yours truly. It's nice to be listed among the authors there, and they also posted my poem, "The Eyes Have It."

Happy poetry-reading, y'all!

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Happy National Poetry Month! Welcome to Our Great Poetry Giveaway.

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As a welcome gift in honor of National Poetry Month, all new subscribers to our blog newsletter throughout the month of April will automatically receive a FREE ebook copy of Lisa Brunette's award-winning book of poetry, Broom of Anger.

Both new and existing subscribers will also be entered into a drawing to win one of two free signed print copies of Broom of Anger. Drawing to be held in May. The poems in the collection are themed on nature, yoga, trauma, and the healing process. The title is an homage to the writer Zora Neale Hurston, who famously said, "Grab the broom of anger, and drive off the beast of fear!"

So tell your friends to subscribe, and stay tuned for the results of our giveaway! You can also check out some of the poems from the collection as published here at Cat in the Flock:

Moving Away

August

The Open Door

The God in Me Salutes the God in Her

Noticing

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Roundup: Arena Bricks, SLU Spotlight, Dreamslippers Series Features

Arena brick

By Lisa Brunette

This past Saturday we had a spare moment to catch our breaths and wound up at a place called Architectural Artifacts St. Louis. I follow them on Instagram (@architecturalartifactsstl), where I'd found out they had a crate of bricks salvaged from the St. Louis Arena, unearthed after 20 years.

Built in 1929 and demolished 70 years later, the St. Louis Arena was a sport and concert venue, a place where memories were made. The Blues hockey team played there, so I suspect many of the folks picking up a brick of their own are motivated by the current Stanley Cup playoff. I'm not a huge hockey fan, but even I can appreciate the fervor; the Blues haven't been in the Stanley Cup finals since 1970, haven't won since 1967, and this is the fourth time in history they've made it this far. All over the city, there are signs saying, "Let's Go, Blues!"

But my motivation for combing though the array of blue, yellow, and orange Arena bricks and choosing one to take home was different.

Arena bricks

In 1980s St. Louis, The Arena was the place to see a rock concert.

I saw Whitesnake and Poison there, and both L.A. Guns and Guns 'n Roses. I crushed on Joe Elliott when Def Leppard played at The Arena "in the round" in 1988. My boyfriend and I were close enough to marvel over Richard Allen's deft skill in playing the drums with one arm and both feet. Next came Mötley Crüe's Dr. Feelgood tour in 1989. Tommy Lee's drum kit extended out over the crowd, turned him upside-down, and spun. Yeah. I'd played in the rhythm section of my grade school band, so you could say the drummers stood out to me for that reason, but they certainly had their own draw.

I regret missing KISS when my parents grounded me for what I protested at the time were unfair reasons: When my boyfriend and I went to The Arena to get tickets, he parked in neighboring Forest Park to save on the parking fee, and we returned to find the windows on the car broken, his expensive stereo system gutted, huge baseball bat-sized holes in the sides of his Grand Prix. Dealing with a police report and taping up the windows against the cold winter air, we returned home well past curfew, and the grounding was my punishment.

In 1999 when The Arena was imploded, I walked from where I lived just a few blocks away to watch it. I still remember the birds emerging from holes in the ceiling the second the detonation went off.

As many of you know, I've moved back to St. Louis after 20 years away, so this brick marks that occasion for me, too.

While picking up the brick was my main goal, my husband and I also just wanted to check out the salvage finds at Architectural Artifacts. We hope to add some choice pieces as focal points and sculptures as we create Dragon Flower Farm. We have dibbs on a couple of items, like these triangular tiles, large-scale letter blocks, and a sphinx.

Triangles
Want.
Me
I think I would prefer "We."
Sphinx
Recovered from an elementary school. The church that bought the building didn't want the Egyptian icon. AASTL has two of them, the other in a bit better shape.

Speaking of getting in touch with one's roots... this year marks my 25th reunion from college (undergrad). As part of the reunion observances and festivities, SLU is creating spotlights on alumni and publishing them in the alumni email newsletters. I mourn the loss of one important professor in particular, so I focused on her for my spotlight:

SLU spotlight

In other news, my yogi detective series, the Dreamslippers Series, has received a couple of features, the first from indieBRAG, as all three books in the series won that institution's medallion, awarded to only the top 20 percent of books submitted. May was mystery month, so the series was included in that.

Mystery spotlight

The series was also included in a roundup wiki of top 10 paranormal mystery series, with a video intro here, the Dreamslippers reel starting at 4:04.

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The End of the Dream(slippers): Year in Review

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Image courtesy of Pixabay.

When I set out to write the Dreamslippers series back in 2012, the self-publishing business was still bright, shiny, and promising.

Still, I wasn't sure if I'd go that route. I had to be convinced, and I was, in the end--by research that showed you had a better chance of making a living as a fiction writer if you went indie. Around a very demanding day job, it took me two years to write the first book. During that time, I shopped it around to agents and editors in traditional publishing, and I had an incredible amount of interest--just no follow-through. I worked on the book, getting a ton of feedback from alpha and beta readers--as well as some of those agents--and revising over and over. It wasn't my first book; I'd had an agent back in 2005 who shopped a short-story collection around. I'd honed my skill since then and felt confident about the manuscript. I talked to a lot of people, authors and agents and marketers and others. It seemed to make the most sense to take a leap into self-publishing.

Cat in the Flock performed well, enough to warrant further attention. A celebrity Hollywood director reached out to me about rights, I was interviewed by the Seattle Weekly, and I won my first indieBRAG medallion. This despite a homemade book cover and struggles with Amazon's category algorithms, which plunked the book in "pet noir" because of the title. 'Cat' referred to the protagonist's nickname, a shortening of her full name, Cathedral. There are no felines in the book.

FINAL COVER ART CATINTHEFLOCK

The original cover for Cat in the Flock.

Perhaps most important to me, the book was reviewed well by people whose opinions I trusted. The writers Jon Talton, Mary Daheim, and Corrina Wycoff all contributed praiseful blurbs. None other than the venerable Kirkus Reviews called it "a mystery with an unusual twist and quirky settings; an enjoyable surprise for fans of the genre."

According to some successful indie authors I've talked to, what I should have done right then was release two more books that year and keep going as fast as I could.

But I didn't. Writing and releasing Cat around the day job (and my own wedding, by the way) had been exhausting. So instead, I took a poetry manuscript out of a drawer and published that, too. Half the poems in Broom of Anger had already appeared in literary journals, and for some of them, I'd won awards. I was curious to see how it would do.

Broom of anger

It probably won't surprise you to learn that sales were pretty much non-existent. Poetry is a tough enough sell for traditionals, and self-published poetry, no matter the quality of the work nor the stature of the authors contributing blurbs, is a non-starter.

But I persevered. My husband and I had a change in our living situation when he was offered an opportunity to steer a grant at a small college in a small town... And the semi-rural life held appeal for us both. I stepped down from my management position at the day job and dropped to four days per week, which I would work remotely, from the small town. I hoped this would provide more time for the novel series.

I'd published Cat in late July of 2014 and followed it with Framed and Burning in the fall of 2015. From first draft to release, it took me nine months.

There's a lot that goes into self-publishing that takes up time. You could think of an iceberg, how you see only 1/3rd of it, the part above the water. The other 2/3rds of being an indie is everything ranging from reviewing voice actor demos for your audiobook to formatting the actual manuscript to writing a marketing plan. Most of it has nothing to do with the actual writing.

Framed and Burning garnered a good deal of critical success, most notably as a finalist for the Nancy Pearl Book Award. A huge fan of the celebrity librarian, I was awash with honor over that nomination. But the top prize went to a traditional author who already had a long list of such awards. I won a second indieBRAG and was nominated for a RONE Award, but sales were just okay.

FRAMED AND BURNING IndieBRAG 2

I'd worked diligently to professionalize my novel-writing business, forming an LLC and hiring professional editors, a book cover artist, marketing consultants, and so on. I researched social media, tried to get good at it, and bootstrapped as much as I could, making lovely connections in my small town, where people still treat writers as if we're at least minor celebrities.

Meanwhile, I'd made the decision to exit from the day job. It had been a heady, exhilarating, and at times, challenging, five years. I'd created a narrative design team, basically a group of game storytelling experts, and together we raised the bar on storytelling in the company's collector's edition games. Passionate about game storytelling, I wanted to continue to write and design games, but a no-compete clause in my contract kept me from any work that could be construed as "materially similar" for a blackout period of one year. So I tried my hand at some new genres, such as Smash Squad for WG Cells, and I wrote about games for several publications and my own blog.

And I continued to write novels. I released the third book in the series the week of the presidential election in 2016. 

The country was in upheaval with Trump's victory, and no one paid any attention to Bound to the Truth. I won a third indieBRAG for it, though. The medallion represents the top 10 percent in independent publishing, so it's a strong achievement, especially considering the volume of self-published works. I still think it's the best book in the series, but it launched to dismal sales and never recovered.

Brokenhearted, I had long conversations with two successful authors--one indie and the other a hybrid of traditional and indie--who both proclaimed the self-publishing bubble had burst. The hybrid author has gone back to 100 percent traditional. The indie is aggressively pursuing a career in scriptwriting, which she believes is the next big opportunity.

I pulled back on investment in the Dreamslippers series and made due with one final pro cover, for the boxed set. After a year, it's still sitting on Amazon without a single review, and sales have been poor. It's tough, because I know some indies who are still making an all right living. But they tend to serve niches (such as a Christian apocalyptic writer) that are ignored by New York publishing. They also usually have military pensions or are kept financially afloat by their spouses' incomes. 

Boxed set

But frankly, it would have surprised me if I'd been able to make a living on indie books alone. I'd already survived the collapse of the journalism industry, and I understand that we are in the throes of a digital revolution that places primacy on the visual. I approached the entire enterprise with the idea that it was a huge experiment, and a gamble. While there are many things I might have done differently, on the whole, I learned a lot, acquired new skills and further honed old ones, and grew as a writer. The result is an award-winning novel series to my credit and scores of articles written by and about me and my work.

On balance, I'm glad I tried to become a full-time novelist, though commercial success proved to be an elusive beast. 

What continues to do extremely well for me is my work in games.

The one-year blockout from my no-compete clause ended in February 2017, and it was as if the floodgates opened. Without having to actually look for any work, it has consistently found me. By spring, I was already at full-time capacity, writing and designing games for Daily Magic, an old partner of mine from the day job, as well as a few studios new to me that were trying innovative game formats. 

I wrote and co-designed what could be considered a "game novel" or "interactive novel" called Sender Unknown: The Woods. It released in the "New Games We Love" section of the App Store and has been a top 10 in several categories. Gamezebo calls it "the next leap forward in mobile." Another writing/co-designing title for me, Matchington Mansion, has pretty much blown the doors off mobile with its popularity. I'm just now finishing up a "visual novel" for Pixelberry Studios, and it will release in March of this year. Additionally, I'm at work on a project for GSN Games, releasing in early 2018, and in talks with Jam City, a studio I've admired for some time. I'm also designing and writing levels for G5's hit game, Survivors: The Quest.

Loading Screen

It was into this exciting vortex that Webster University entered last summer, and with it, an opportunity to return to my roots--in two ways. One, as a professor of games and game design, as visiting faculty for the 2017-18 school year. Two, in St. Louis, where I'm, as we say, "from."

Some of you know I used to teach English at Pierce College, back in the early 2000s. I had tenure but left to pursue a writing career on my agent's recommendation and because I struggled to pay off my student loans on that faculty income. But I feel the classroom never really left me; I was destined to return and had already as a guest-lecturer at University of Florida and Seattle University.

My family is here in the area, on both sides of the river. I earned my bachelor's degree at Saint Louis University, and I cut teeth early in my career as a writer for the St. Louis Science Center and various city publications. I wasn't born here, having grown up a child of the Air Force with its mandate of frequent moves, but I attended part of junior high and all of high school in Illinois and still think of the Lou as "home." 

Honestly, I wasn't sure I could take on full-time faculty duties with the game work ramping up so quickly. But I hit it off with the faculty there, and it became an opportunity not to pass up. I knew of Webster University's strong reputation, and since the program is new and in need of leadership, there's a chance to put my stamp on something that could be key to the success of not just the school but the whole St. Louis region. What impresses me most is the seed of entrepreneurship being sown here by a small but quickly growing local game industry.

I've had to say no to some work, which is regrettable, but I feel reborn in the classroom. Teaching game design is in many ways a dream-come-true, and a fitting transition from all that dreamslipping.

Game-design

Image courtesy of Webster Today.

So here I am at year end, a novelist, game designer, and teacher. All the best to you in the New Year, and I'd love to hear from you by email or in the comments below.


The Woman Behind My Book Covers: Monika Younger

Monika pic

This week on the blog I've interviewed Monika Younger. Monika designed the book covers for all three of the Dreamslippers Series novels and the poetry collection Broom of Anger. She's a joy to work with, and I've loved every single one of her designs. A professional book-cover designer with more than ten years of experience designing for the major North American publisher Harlequin, she also designs covers for indie authors. 

Lisa: You've designed covers for Harlequin, including their mystery line. How did you get started with that, and what's it like to design for that publisher in particular? Also, please share one of your favorite cover designs for Harlequin.

Monika: The mystery line I design for is called Worldwide Mystery. Worldwide Mystery is an imprint owned by Harlequin (now Harlequin/Harper Collins). I started with the publisher in 2003 when I was hired as a full-time designer in their art department. I worked for Harlequin in-house for two years designing covers for their series books (Harlequin Romance, Harlequin Presents, Intrigue, etc.) and single-title books (MIRA, HQN). In 2005 I started freelancing and retained Harlequin as my client. I work with several art directors there, and they are all amazing people to work with. Freelancing work with Harlequin is now mainly focused on Carina Press (their digital line, which covers several genres) and Worldwide Mystery. 

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One of my favorite recent mysteries (which I designed) is Brooklyn Bones. For this title, I was given more flexibility to experiment with a new look for the author. It was a fun project to work on, which took me away from the usual photographic style.
 
Lisa: Tell me how you approach working with authors. You send us a questionnaire before you begin designing our covers. Why is that an important step?
 
Monika: To represent a story meaningfully and accurately on the cover, I need to be very familiar with it. And since I cannot read all the books I design covers for (I would be reading more than designing), I have to get as much information from the author as possible--a summary of the novel, character descriptions, setting descriptions, important visual elements, themes and meanings, etc. All this helps me to figure out what is the best approach for the cover design. Once I get as much information as I feel I need, I come up with two or three cover layout options to present to the author. Usually one of the selections is approved with or without further revisions. After the front cover is approved, I design the back cover and spine to complete the book jacket. 
 
Lisa: I get compliments on the covers you designed for the Dreamslippers Series all the time. What was your goal in designing these covers? Do you have a favorite of the three? Or is Broom of Anger your favorite? How was that project different for you?
 
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Monika: Thank you. I think Bound to the Truth is my favorite. The symbolism on that cover is very powerful to me. I absolutely love it.  
 
Broom of Anger was one of my all-time favorite projects. It was my first non-fiction (poetry) cover, and I had a lot of fun with it. As you know, there were many versions considered before the final was selected, and they were all fun to do. I don’t know how else to describe it but “fun.” I enjoy designing covers--playing around with graphic elements, photography, typography--and having it all come together on the screen is sometimes still magic to me.
 
Broom of Anger
 
Lisa: What other work do you do? What's your background?
 
Monika: In the last couple of years, I have been focusing on book-cover design, as it is my favorite area of design, but my training/education is in graphic design, so I can design anything from business cards to billboards and logos. I studied Graphic Design at Conestoga College. Previous to Harlequin, I worked full-time for a greeting card company and a full-service marketing firm in Mississauga.
 
Lisa: What do you enjoy about book cover design? What makes it special?
 
Monika: Books/novels/stories are interesting, compelling, and inspiring--and the cover has to reflect those elements. I love coming up with ideas and answering the question, "How can this story be represented visually so it will compel the audience to select it/engage with it?" It's a fun puzzle to solve. I love combing through stock photography web sites, font web sites, dissecting and altering images in Photoshop--I enjoy everything about it.
 
Learn more about Monika Younger's work at www.youngerbookdesign.com.
 

Dreamslippers Trilogy