First book, nothing really sets it apart from the standard super-hero novel. Though mine seems to be a twist where everything is at the beginning so the heroes (and villains) develop from the very beginning as well.
It's a question I wrestled with before I started writing. Have you ever read John Barth's short story "Lost in the Funhouse"? It discusses these questions: If it has to be universal to be grasped by all readers, then why write? And if it has to be specific to be original, then it won't be grapsed, so why write?
I decided to make my work original by writing only things based on direct knowledge. That way, I know no one else could've written it.
This made a recent review of FS especially interesting. In addition to despising my style, the reader couldn't accept the weirdness. Ninety-five percent of the book is documentary. (BTW - Not a complaint. I loved the review. Loved it.)
That's an important question. If I offer nothing new, there's no reason to purchase my work.
1. LOST Humanity. This is my best selling book by far. It is the only major book on LOST that treats all six seasons of the series and it analyses the major themes in a more substantial (some might say intellectual or even academic) way than is usually the case with most companion books.
2. Cartier's Ring. I sought immediacy, something that would immerse the reader in the fictional world, and I achieved this through three conscious storytelling devices: Present tense narrative throughout, first-person protagonist POV, and a decision to tell most of the story from the Aboriginal ('Native American') point of view. The present tense and first-person narrative I don't think won me any fans, but the Aboriginal point of view seems to have been a winner.
3. Deneb. This is LOST on steroids. What I mean is that it is going to take a very determined reader a lot of effort just to figure out where the story takes place--not to mention when it takes place. Example: By all appearances, the characters are on Earth somewhere, but there's no Moon. Impossible? No: It's a real place. Many characters appear to be one thing but later turn out to be something else entirely. Most readers will root for one of the characters but then watch in horror as that character makes some really horrible choices--but keeps on winning, anyway. Lots of mysteries piled on top of mysteries. Two completely new cultures to deal with. Dozens of major characters. It's been a complicated chess game in the writing, but I hope something readers will enjoy wrapping their minds around. What's unique? The extent to which I immerse the reader. The novel marries the language, Tasblish, to the Tasfit culture. You need both to understand the Tasfit Nation, and also the Verdos Nation. So I created a 7800-word conlang, possibly the most complete fabricated language ever created for a fictional work, with quite complicated grammar and consistent spellings and etymologies--all the stuff that makes a language real. I hired an illustrator to create 20 figure sketches for the major characters and character types. There are dozens of maps. You might think of something on the scale of Dungeons and Dragons or A Song of Ice and Fire--that level of immersion--but for a sci-fi world, not fantasy.
Most of my work so far is about various forms of slavery. The alternate universe I created in two of them deals with institutional slavery in very concrete ways that emphasize its effects on the individuals involved. They're solidly character-based, not written for thrills or for anyone who's looking for typical master/slave relationships. Of course, that means they're not terribly popular. I'm moving more toward near-future SF now, but exploring some of the same themes.
Interesting question! In my Flirts! short story collections, I have five stand alone romantic shorts (novelettes, really) that connect with one another. Story #1 will end at a charity event, for instance, and story #2 will begin at the charity event with different characters. Sometimes, characters show up for cameos in other stories. They usually all take place in the same city or setting. Most of the main characters appear together at the end of the last story. When readers email me about my books, they always say they love these links. It's fun as a writer to plot out the stories and figure out how to weave a common thread through them. Right now I'm working on Reunion Flirts! and it's been a challenge to come up with five sequential stories that could conceivably happen over a three day reunion weekend.
I don't know how unique it is, but I'm trying (emphasis on "trying") to write complex, nuanced epic fantasy in contemporary settings. There's a lot of alternate history, warped variations of Judeo-Christian mythology, and overly detailed world building. I try to keep everything mythology-lite in my YA/NA books so it's more accessible, but it gets pretty ugly and complicated in the UF. (All of my books are in the same universe.)
So...if an unholy (and less talented) union of Ilona Andrews, Philip Pullman, and Suzanne Collins is unique, then there you go.
My story is unique because it's full of things you wouldn't expect. It's a classic superhero tale but it's also a story about family and friends, the ones you fight for, the ones you love. I really feel it has something for everyone. The action is intense. There's a lot of suspense that keeps your attention throughout. It's a journey that tells the story of the eternal battle between good and evil, with strong characters on each side.
Intriguing question! I write suspense novels about the dark side of love. I don't do procedurals, or quirky detectives or serial killers. Instead, I like to look at how things like obsession, lust, greed and jealousy are mistaken for love - and how it leads to murder.
I think of my books as being Lifetime movies as produced by Investigation Discovery and starring Halle Berry and Will Smith.
1. There isn't much, if any, historical fiction written around the bohemain artists of nineteenth/early twentieth century Paris; yet it was one of the wildest, most decadent eras in history. A truly fun ero to write about.
2. My main characters don't apologize for who they are. They are fair, but they definiately life life in ways that most of society frowned upon and some of the charcters choices would still be frowned upon or judged today. They don't care. They know what they have to do to make themselves happy in life and say so up front. No one goes into their life not knowing who they are. Some see it as selfish, others see it as being true to yourself. It depends on the reader and confident they are about themself, I think. Some could buck society and its mores, others frown on it.
3. I'm not afraid of subjects that some readers may find objectionable or unforgivable. My "evil" characters show their good sides eventually and vice versa. No one is an ultra hero.
A forum community dedicated to Amazon Kindle owners, authors, and enthusiasts. Come join the discussion about publishing, audio, troubleshooting, models, styles, reviews, accessories, classifieds, and more!