Inkwell: UF author Erin Fulmer - My Five-Step Revision Process + giveaway

My Five-Step Revision Process

For me, revision is where a book really takes shape. When I think about drafting vs. revision, I think about how a wood carver starts their work by roughing out the general shape from the raw material. That’s drafting. But revision is where the carving starts to look like itself, where the details are added, and where the rough spots are sanded away.

In this post, I’m not talking about line edits—that comes later. I’m talking about a full revision, a redraft. In this part of the process, everything is fair game, from cutting entire scenes to writing entirely new ones, scrapping characters or adding them, and removing plot points that no longer serve the story.

Step 1: The Read-Through
In step 1 of a full revision, I print out the previous draft and read it in hard copy from start to finish. I cross out sections, underline sentences I like, and write notes in the margins. These notes range from hearts and smiley faces to harsh indictments, depending on how I’m feeling about my writing that day.

My therapist ordered me to stop writing “meh” in the margins and instead give myself actionable critique. Instead, I write notes like “NEEDS MORE SPICY TIMES” and “why are you like this?” This is probably following the spirit rather than the letter of the law, but it’s a work in progress.

Step 2: The Reverse Outline
Because I tend to be a “pantser,” or to use the more refined term, a “discovery writer,” my first drafts can be somewhat chaotic. Even if I start with a detailed outline, I almost always diverge from it. I always intend to update the working outline as I go, but I only sometimes follow through.

That’s where a reverse outline comes in. That isn’t an outline that starts at the end of the book and goes backward to the beginning, as you might expect. Instead, it’s an outline that you create after the first draft is written.

I use Microsoft Excel for this, with columns for chapter name/number, main events of that chapter, character arcs, setting, etc. My spreadsheet has evolved over time and become quite complex. I usually chart word counts for each scene and track story beats at this stage to check story structure and pacing. On the right hand side I note down any issues that need to be resolved with particular scenes or elements.

Step 3: The Self-Edit Letter
In this step, I try to collect my thoughts from the margins and the reverse outline into an actually actionable to-do list. Oftentimes during this process I’ll notice that my notes tend to build on each other or repeat themselves. Repeated themes in my notes may point to a global issue, though it’s not always a big fix. Sometimes it just means adding a couple of lines of explanation in a crucial spot.

When I dig into the actual work of the revision, I’ll cross items off in the edit letter as I address them. This helps keep me on track and ensures I don’t forget anything, big or small. It especially helps me keep character arcs and conflicts consistent by keeping important elements on the top of my mind.

Step 4: Set Word Count Goals & Deadlines
I use a system of self-imposed deadlines to keep myself motivated during long projects. My brain is primarily motivated by urgency and a fear of failure, which means I will always fall behind my goals and then pull it back in a last-minute comeback. Revisions often go faster than first drafts, because not everything needs to be rewritten, so I try to set a relatively high goal.

I then figure out how many days I have to finish the revision and how many words I revise. Thanks to my engineer spouse who understands how to create Excel formulas (which I do not), I now have a spreadsheet that spits out my daily word goal for me and even tells me how far behind I have gotten. I usually plan at least two months for a full revision cycle.

Step 5: Ready, Get Set, Revise!
Once I have my revision plan in order, I open my manuscript in Scrivener and move the previous draft to an archive folder. Then I create new blank scene cards and chapter folders. Sometimes I will fill in descriptions of each scene, especially if I have planned anything new, but I don’t always do this.

I use a split screen view to look at the old draft while rewriting. I try to force myself to retype most of the material, however, because this helps me avoid glossing over any small issues. I start from the beginning and rewrite mostly in order, though sometimes I do skip over a section if I’m stuck on what needs to change.

This step is the meat of the revision, where the pedal hits the metal, the rubber meets the road, and the writer meets the writer’s block. Yes, I still get blocked when revising. It’s easier than drafting because I’m not coming up with new material. But if I handwaved it in the first draft and said “Eh, I’ll fix it in post!” now is the time I curse my past self for saving the worst problems for last.

Whew, Revision Done! Now What?

Once I have a fully revised manuscript, I send it out to betas and critique partners, or to my editor, or both, depending on my timeline. And then, unless I’m very lucky and pulled off a miracle, the process begins all over again!

There you have it. That’s the super fascinating five-step process of how I revise. I revised CAMBION’S BLOOD twice last year, starting from an extremely rough first draft. It’s amazing how much it changed in each iteration, but at heart, it’s still the same book. I’m pretty proud of how it turned out, and I hope you enjoy reading it if you decide to pick it up!

Cambion’s Blood (Cambion, #2)
by Erin Fulmer
June 7th 2022
Genres: Adult, Urban Fantasy
Half-succubus attorney Lily Knight has blood on her hands.

Haunted by guilt, behind on her rent, and facing professional disgrace, Lily must figure out how to survive in the wreckage of her former life. To make ends meet, she accepts a contract job she never wanted but can’t seem to avoid—hunting another demon murderer. This time, the victims are human, and a shadowy government agency will reward Lily with a way out of her dire financial straits.

If Lily doesn’t solve the case before the news gets out, fear and hatred will put all demonkind at risk from the proverbial torch-carrying mob. But when a young succubus on the run from the authorities begs for her help, Lily faces a new conflict of interest—especially after the suspect, Eve, reveals her father is Lily’s old frenemy.

Now Lily must juggle the pressures of a high-stakes murder case, her complicated relationship with her “not-boyfriend” Sebastian, and responsibility for a wayward teenager as she races to find the real killer. Worse, the culprit isn’t just a demon, but a self-proclaimed goddess who will stop at nothing to carry out her bloody quest for justice. To stop the killings, Lily must confront that which she most fears: the truth about what went down with Eve’s father in the desert—and its consequences.

That is, if the goddess doesn’t get to her first…

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About the Author:

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Erin Fulmer (she/her) is a public benefits attorney by day, author of urban fantasy and science fiction by night. She lives in sunny Northern California with her husband and two spoiled cats. When she’s not writing or working, she enjoys yoga, taking pictures of the sky, playing board games with friends, and napping like it’s an Olympic sport.
CAMBION’S BLOOD, the second book in her Cambion series and sequel to her debut urban fantasy CAMBION’S LAW, is out June 7 from City Owl Books.

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Fantasy Author Jayson Jolin: Inkwell - One writer's process explained for the reader. + excerpt

Writing is a deeply personal process. That being said, there are certain habits that can make the craft easier. I have already given a brief rundown of my pre-manuscript process elsewhere. Here, I’d like to focus in on one particular aspect of that process: scene structure.

Scenes can be classified in a variety of ways, but for the purpose of scene structure, I use two basic scene types: Confrontation and Resolution. By oscillating between these two scene types, you create a flow that neatly carries you through your story.

Confrontation scenes have three basic elements. At the start of the scene, the character through whose point of view we see the scene starts with a Goal. That goal is opposed by some source of Conflict, which the POV character must overcome in order to achieve their goal. As the scene draws to a close, the character has success in sight, when some unforeseen, but story-sensible Disaster stops the character cold. This disaster could be physical, but often it is emotional, and the character cannot proceed until they have regrouped and dealt with the disaster.

Resolution scenes pick right up from Confrontation scenes. Here, the character has a Reaction to the prior scene’s disaster. This reaction could be instant, happening right after the disaster hits, or it could be set years or decades later, with the character having lived with the problem created by the disaster, until now unable to cope with it. Once we’ve seen how the character has been reacting, they face a Dilemma; how are they planning to overcome the consequences of that disaster? Once the character has committed to a Decision, they set out with a new Goal, and a new Confrontation scene starts.

The potency of the disaster in each Confrontation scene grows in intensity from the start of the story. But there are three disasters that have to be particularly hard-hitting. The Inciting Disaster breaks the status quo and prompts the main character to take the main story problem on. The Midpoint Disaster, which normally hits in the middle of act two, results directly from the main character’s attempts to solve the main story problem and forces them to reconsider their path. Finally, the Climactic Disaster, at the story’s climax, gives the main character their sadistic choice; choose the easy path that seems to give them what they want but forces them to compromise their principles, or take the moral high road that seems to deny them what they want but leaves their principles intact (we of course reward the latter with victory and the former we punish with defeat).

After the climax, the disasters should grow less intense rather than more, winding the story down until the end, where no disaster presents itself and the main character’s goal is achieved. You can use this same ramping and decline for secondary character subplots as well. Using this structure helps ensure dramatic flow in your story.

Soul: Part One: Fate Of The Forged, Book One

by Jayson Jolin

05/08/2021

Awakened from an ancient slumber, a warrior of the old gods finds his immediate future bound by fate to the failures of his past. As he struggles to gather allies amongst the untrusting denizens of this oppressed new world, the ancient warrior seeks to secure the plans for the weapon his unit died trying to destroy, only to find himself hunted not only by those who stole those plans but by the very people and deities that he seeks to save.

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Excerpt

Copyright © 2021 Jayson P. Jolin

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Axe and shield in hand, Sassacua charged past Clank at the coalescing cloud of embers and tried to cleave it in two. The axe passed through the thick concentration of soot to no effect. As she spun around, arcing her axe above her to land a killing blow through its head, the creature continued forward towards Clank, the path the axe had taken through its form vanishing as the two halves melded together.

Clank rushed to the left, frantically adjusting the setting on Junker. The metal bear positioned itself between the apparition and its master, growling ferociously. “Damnit, Sassy,” Clank yelled angrily, “you can’t hack and slash your

way through this one. This thing isn’t alive.” 

Again with the ‘Sassy,’ she thought angrily. Her body glowed brighter, casting the chamber in a red glow. She charged forward, bringing her axe down hard. “You could have fooled me.”

Clank brought Junker up to fire, the interior of

the barrel glowing white. “Get clear so I can get

a shot.” But Sassacua was too blinded by determination

to heed him. She stepped up for another swing.

The cinder wraith turned its head suddenly to regard her. Its arm shot up, and then a blast of embers surged out. The white dust gushed into Sassacua’s mouth as she roared a battle

scream.

She felt it fill her lungs, breathing instantly impossible. Helplessly, she dropped her axe and began clawing madly at the stream of soot, as if somehow that would stop the influx of

powdery corpse remnants into her airway.

Her whole body felt cold. Her muscles slacked. The rage inside her intensified even as her sense of place and self dispersed. The whispers were blotted out by unyielding, universal hatred.

There was a sound like a shout that she barely registered. And then everything went brilliant white.

With a rush of exhaustion the light tore the hatred harshly out of her. She was awake again and aware, her body falling and then slamming hard, left side first, onto the ground. Exhaling

from her lungs on its own, the torrent of ash gushed out of her mouth and nostrils. Her mouth tasted like burnt death. She coughed up soot and she spat blood. Her lungs burned as

though she’d inhaled a campfire.

“Mandla,” Clank called out as he took aim on the recoiling wraith. “Go do that healing psychic touch on Sassy and then give me a hand.” He pulled the trigger and the barrel erupted with brilliant, burning light. The wraith recoiled and shifted out of the way as the searing glow struck it. But then it resumed its rapid track back towards the sergeant. As Sassacua found her weapons and struggled to her feet, Mandla burst forward at a run, leaping over Clank, grabbing him by the neck

with both hands as she did so. With all of her might, Mandla tried to hurl Clank directly at the cinder wraith.

However, the monk had not accounted for the sheer weight of her enemy. Several hundred pounds of G.R.U.N.T. was lifted off of his feet, rotated head-over-heel, but never quite made it

more than a few feet off the ground. Instead of sailing across the room into the wraith, Clank slammed into the bear’s side, causing the beast to howl in surprise, then turn ferociously towards Mandla. The monk rolled from her throw, then

backpedaled several steps as the metal bear stalked towards her.

“Keep him back, Scrapyard,” Clank shouted over his shoulder as he fired again. The shot was true, but the creature’s advancement continued, forcing Clank to backpedal and shift direction to avoid being cornered. “This thing’s only getting

tougher. It’s absorbing the magic from my attacks.” He switched the dial again, the light vanishing from the gun, the barrel widening. “If this were a zombie that holy light would have dusted it in one shot.”

The cinder wraith was right on top of him. He jammed Junker’s nozzle right inside of its swirling vortex. The burst of thunder that erupted from the barrel scattered the wrath far

and wide, the dust settling all throughout the room.

Clank adjusted the setting of his gun again and aimed at Sassacua. “That only bought us a few seconds,” he said, firing.

She tensed, her instincts screaming at her to dodge, but her trust in Clank forced her to remain still. She was rewarded for that trust as the soothing warmth of a healing blast washed

over her. Her wounds mended some, but the beam could not soothe her nerves. She rushed to Clank, axe gripped in both hands. “How do we kill this thing?”

“Not easily,” Clank replied. Already the embers were beginning to reform. He reset the gun again. “Cinder wraiths are the cremated remains of beings so evil and so powerful in life

that even burning it cannot prevent it from returning. They’re all instinct and hate, with a loathing for the living that can’t be sated.”

Sassacua, feeling pain within her burning lungs with each breath, gripped her axe tighter. “What did it do to me?” she asked hatefully. Clank took aim and fired the thunder again,

scattering the dust once more. But it didn’t blow the reforming creature apart nearly as much as it had before. “Reproducing. It was trying to burn you from the inside, and turn your rage into hate, steal as much of your burning, charring flesh from you as it could to grow itself, leaving whatever was left as a new cinder wraith.”

He fired again, but this time the coalescing ash barely budged. It was forming together more quickly this time, as well.

Sassacua knew time was short. But one question needed answered before she resumed the fight. “Why is it after you?”

Clank took a knee, withdrew some tools from his belt pouches, and opened a hatch in Junker’s magazine. “These things are particularly hateful of the thing that killed them. Maybe this was the lich in charge here when my unit blew the place up.” He looked at the nearly reformed monster and then at Sassacua. “It’s absorbing my attacks faster than I can damage it. I have to hot-wire Junker for more output. Keep it busy,

preferably without eating any more soot.”

Her chest tightened around her burning lungs as she watched the wraith reassemble, and her heart began to pound. Her legs felt like jelly. Her throat constricted, making it hard for her to breathe. She backed away.

About the Author:

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I started out writing for myself when I was a pre-teen, during long hours running Sunday open houses for my father's apartment building, writing mainly to keep myself entertained. My interest in storytelling helped shift my attention to acting, leading to my getting my bachelors of arts in theater. Even after entering more mundane employment, I would often write and draw short sketches and occasional short stories, as well as adventures for role-playing games. After years of dancing around my love of storytelling, I finally sat down in front of my computer and got serious, producing my first trilogy of novels, the first book of which I hope you will find compelling enough to represent.

MM Author Morgan Brice: Inkwell - One writer's process explained for the reader + giveaway

If you ask any two writers about their process, you’ll get three answers. We’ve all got our own ways of doing things, and as long as it works for us, that’s all that matters. There’s no wrong way as long as you get words on page and tell the story you want to tell.

My process has evolved over the years, not just with gaining more experience as I’ve written more books, but also from adapting to writing multiple books a year. But for what it’s worth, here’s a peek behind the curtain.

I usually start with a vague idea of where the story is going, and a very loose outline of the main plot points. If it’s an existing series (like adding Blink to the Treasure Trail world), I already know the names of the main and supporting characters, key locations, and some history. The fun of existing series, especially with romance, is to get to know all the characters a little better in each book, give them some new insights into themselves, and move the relationship along to a new level. So I’ll make notes to myself about those elements—either ideas I’ve already had or reminders that I need to address later.

Next is usually research. I try to base the hauntings, magic, monsters and historic elements on something real, and then take some authorial liberties to adjust for the story. If possible, I love to find things that actually happened in the book’s location, but I’ll also ‘relocate’ a good element from elsewhere if it suits the plot. This is where I get ideas for the subplots and flesh those out. Sometimes, I’ll find something that is so good I’ll change a main plot element to be able to use it!

I try to set books/series in places that I’m familiar with so I can do a better job of capturing the location’s ‘vibe’. Since I can’t always plan a trip to do additional research, I’ve learned to use what I can find on Google images and YouTube, plus Google Earth. Those are amazing resources that help me see locations so I can get the details right.

Telling the story requires thinking about pacing as well as plot, so I try to plan out chapters and the sequence of what happens so that there’s a mix of action and discussion. If I know what’s going to happen in the next book (the big pieces, anyhow) I will drop some hints.

Once all those things are done, I write a detailed outline so I can see how the story flows, balance action and dialogue, and make sure I know what needs to happen in each chapter. I also need to make sure that I’ve dropped enough hints (foreshadowing) that things happening later in the book don’t just show up out of nowhere. The outline often changes as I get into the writing and move things around, but it’s an essential way for me to gather my thoughts and avoid needing massive revisions later.

Then I put my butt in my chair and write.

Blink: Treasure Trail - Book 2

by Morgan Brice

August 31, 2021

Genre: MM Supernatural Suspense

Ghosts always remember. Mobsters never forget.

Erik Mitchell helped Interpol bust cartels, oligarchs, and spoiled billionaires for art fraud. As an undercover cop, Ben Nolan helped bring down a Newark crime family. Now Erik and Ben have started over in Cape May, leaving their danger-filled jobs behind them, excited about a fresh start and their new relationship.

Plans to renovate a historic old theater stir up dangerous ghosts and revive interest in unsolved Mob hits. The curse of a murdered witch strikes a close friend, old movie props reveal clues to long-ago crimes, and a shakedown scheme sends Ben’s cousin running for cover.

Time is running out to lift the curse. The Russian Mob wants revenge on Erik, and the Newark Mob is gunning for Ben. A grieving ghost seeks justice. Secrets, lies, and deception unravel in the blink of an eye.

Erik and Ben were planning for happily ever after. But unless they can outwit witches, wraiths, and wise guys, they could go down in a hail of gunfire and a blast of dark magic—and see their plans go up in smoke.

Blink is a suspenseful MM paranormal romance mystery-adventure filled with second chance love, hurt/comfort, true soulmates, awesome food trucks, dangerous secrets, restless ghosts, psychic visions, powerful witches, angry mobsters, and a very haunted theater.

Book Two in the Treasure Trail series.

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Excerpt:
Ben hadn’t been sure he’d last longer than the summer until he met Erik.

After the fiasco of his previous relationship, Ben had doubted the “right one” was out there. He and Erik had hit it off, then managed to solve a long-ago murder, piss off the Mob, and nearly get themselves killed. Through all that, the spark between them burned hotter than ever. If that isn’t true love, I don’t know what is.

Ben shuffled the papers on his desk, mostly bids from contractors for renovation projects on several units now that the peak season was over. He was looking forward to the slow months, and at the same time, felt a little queasy.

Over the summer, he and Erik had been so busy settling into their new businesses that their relationship was built on dates and dinners out. There hadn’t been time for spending long hours together, having deep or difficult conversations—the kind of things that needed to happen to build a lasting relationship.

Fall brought with it more free time, and that scared Ben. What if I’m not really what Erik wants or needs once he really has a chance to think about it? He handled international art theft, worked with Interpol, traveled the world. I’m a Newark ex-cop with issues. I know he loves me, and I love him. Will it be enough?

Alessia Mason had said she sensed Erik and Ben were soulmates. Ben had never believed in that kind of thing before now, but after how quickly he and Erik had formed a bond, Ben was reconsidering that belief. Even if that’s true—and God, I want it to be—we’re going to have to work at it. Make it good; keep it strong. I’m not going to fuck this up by taking anything for granted.

He pulled himself out of his thoughts and focused on a more pressing concern. Cafaro’s name triggered bad memories. While he and Erik had solved one mystery about a long-ago murder, doing so had unearthed information about other crimes some people preferred remain forgotten. They’d nearly ended up dead, and part of the fallout was discovering that old Mob ties were alive and well in Cape May.

While they had solved a murder from the 1970s, Ben had acciden‐ tally found incriminating evidence implicating Vincente Cafaro in another killing. Cafaro had owned the grand, cursed Commodore Wilson Hotel and had connections to a lot of other enterprises.

Cafaro himself was long dead, but as Ben and Erik had learned the hard way, old crimes could reveal a web of secrets and lies that threat‐ ened the living, who would go to deadly lengths to keep the past buried.

For his own peace of mind, Ben had created a program to scan the web for any mention of known Mob players he’d had a role in arrest‐ ing. He wanted to keep tabs on where they were and what they were doing—and whether they were anywhere near Cape May. Ben consid‐ ered the tracking program to be an early warning system. Having one of the mobsters he had tangled with in the past show up might not mean anything—but just in case, Ben didn’t want to be caught by surprise.

He’d checked the program every couple of days when he first moved to Cape May. Ben might have left his former home, but the undercover bust that had gone wrong had Mob ties—and Newark wasn’t that far away. When no one showed up, Ben had relaxed a little —until the Seventies murder case flushed out a local cop who didn’t want old organized crime ties to come to light.

Treasure Trail: MM Supernatural Suspense

by Morgan Brice 

June 26, 2019

Erik Mitchell traveled the world uncovering art fraud and relic theft, which pitted him against spoiled billionaires, unscrupulous collectors, mobsters, and cartels. He worked with law enforcement across the U.S. and Europe, but then a sting goes wrong, Erik ends up injured and returns to find his partner cheating. He decides to stop globetrotting and buy an antique shop in scenic Cape May, NJ, rebuild his life, and nurse his broken heart.

Undercover Newark cop Ben Nolan went down in a hail of bullets when a bust went sideways, after a tip-off from a traitor inside the department. When he recovers, he spends a couple of years as a private investigator, only to tire of seeing the worst of human nature. So when his aunt offers him the chance to take over her rental real estate business in Cape May, it seems too good to be true. Now if he could just believe he could ever be lucky again in love.

Sparks fly when Erik and Ben meet. But when a cursed hotel’s long-ago scandals resurface, the two men are pulled into a web of lies, danger, and deception that will test their bond—and might make them Cape May’s newest ghosts!

Treasure Trail contains sexually explicit material intended for adults 18 and over. This is book #1 in the Treasure Trail series.

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About the Author:
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Morgan Brice is the romance pen name of bestselling author Gail Z. Martin. Morgan writes urban fantasy male/male paranormal romance, with plenty of action, adventure and supernatural thrills to go with the happily ever after. Gail writes epic fantasy and urban fantasy, and together with co-author hubby Larry N. Martin, steampunk and comedic horror, all of which have less romance, more explosions. Characters from her Gail books make frequent appearances in secondary roles in her Morgan books, and vice versa.

On the rare occasions Morgan isn’t writing, she’s either reading, cooking, or spoiling two very pampered dogs.

Series include Witchbane, Badlands, Treasure Trail, Kings of the Mountain and Fox Hollow. Watch for more in these series, plus new series coming soon!

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You can also enter the giveaway on our Instagram post or click here for your chance to win an ecopy of your choice from Morgan or Gail's backlist!

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Inkwell: How to (Correctly) Steal Ideas! with fantasy author Kelvyn Fernandes

Hi, my name is Kelvyn Fernandes, author of The Many Adventures of Peter and Fi, and I’d like to tell you that it’s okay to steal ideas. There’s a song I really like by the Australian hip hop artist, Illy, called “Heard it All” (https://youtu.be/dorDfjTX7EM), where the chorus goes:

Please forgive me if it all sounds so familiar,

I'm sure that you've heard this all before.

I'm only one voice in a world of billions

And no idea's original no more

The premise is not to worry about whether you’re being derivative or whether you’re too closely imitating your inspirations or whether your idea is too generic to be unique. Just worry about staying true to yourself and honestly expressing that you through your art. So here are three
guidelines I’ve come up with to help find your own ideas within the ideas of those you admire.

1. Steal without abandon!
Never hesitate to test an idea just because someone else has already had it before you. If you’re really interested in writing about “the chosen one attending a wizarding school” or “the struggle between the light and dark sides of a force that balances the universe”, explore to your heart's content. Every story is based on the sum of a writer’s experiences. And the best stories are based on the experiences those writers hold closest to their hearts.

2. Take Only the Parts You Want!
Analyze your inspirations and determine what you think works and what you think could or should be changed. If you’re copying Thor, for example, is the whole character important to you? Maybe you admire his relationship with his mythical family members, maybe his unbridled confidence, maybe his weapon that returns to him on command. Rather than saying to yourself, “I want a character like Thor”, say “I want a character that has this, like Thor!”

3. Add the you!
Most importantly, understand that stealing ideas does not mean plagiarising them. Once you’ve identified what the this is, you still need to breathe your own life into it. You’re not stealing the fruit off of someone else’s idea tree, you’re planting their seed and seeing what you can grow for
yourself. At the end of the day, even if you’re dead set on writing about a mage named Peter who can manipulate bubbles (my character!), you’re still the one who has to write the story yourself.

The Many Adventures of Peter and Fi Volume I: Homecoming

by Kelvyn Fernandes

December 14, 2018

234 pages

Follow Peter and Fi as they work together, each searching for something uniquely special to them through the four kingdoms of their known world. It’s a tale of fantastical beasts, peculiar characters, remarkable settings, and a unique brand of biochemistry-based magic. A story that focuses on meaningful character interactions, delicate world building, and intense action battles.

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Excerpt:

She emerged within a dark sea of green, shielding her eyes against the crescent moon’s pale blaze. The twinkling stars hummed softly, discordant against the chattering birds below. The lush leaves rippled in the breeze, tempting Fi to dip her toes in for a swim. The wind blew at her back and she turned east to face it. The fresh air carried the salty spray of the Shimmering Sea.

Although she could not see it, she knew it was right there. Her ears caught the distant waves crashing against the shore. One last step, she thought.

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Kelvyn Fernandes decided to follow his dream of becoming an author after graduating from McMaster University with a degree in Biochemistry. He enjoys travelling and going on adventures, with his favourite pastime being back-country canoeing in Algonquin Park. He uses both his experiences with nature and education in the sciences to shape the world of the stories he writes.