Choices make destinies. Destinies can also change. At last, I finished the first draft of one of my current works-in-progress. And this novel was a struggle. One of the biggest hurdles in my creative writing process, both in length and ethics. Took over a year to complete—a COVID-year, mind you, but still!
Normally, when I end a first draft, I want to celebrate. I’ve known colleagues to even crack open a bottle of bubbly at this early stage (with another after publication). The foodie that I am, I prefer grabbing one of my favorite meals: tacos, Thai, or t-t-t-t-t—spaghetti. Except, after I typed the last key yesterday, I was so spent that I nearly slid from my chair to the floor in an exhale, curled up, and sucked my thumb. Today, I feel like this Shaun the Sheep-ish depiction. Standing alone in an amber space (sort of like a caution light between go and stop), nursing on a Binky, wide-eyed. Determining if the inner turmoil and opposition to completing this book was because of divine inspiration and the start of something new… or it’s crap. There’s a fine line there, ha! Since I have other active stories, it’s time to rotate and finish another while this one ferments. Have to let the manuscript sit for a while until I can come back to it with fresh eyes. This is just another friendly FYI post by your Shaun the Sheep-ish stand-in. Still standing, at least…  Science fiction writer, Robert A. Heinlein, coined the term “speculative fiction” in the 1940s. Since then, the industry often uses the “spec-fic” label as an all-inclusive phrase for any fiction that is science fiction, fantasy, horror, space opera, steampunk, superhero, alternate history, dystopian, paranormal, supernatural, weird fiction, or a combination, and more. But I think the genre today has strengthened into something more specific. Add in faith components to explore and--voilà!—you may have Christian speculative fiction.
There’s an element, a key to what makes something speculative. I find a lot of authors call themselves speculative but aren’t. Maybe they’re science fiction or dystopian; however, something is missing. Because a writer pens fantasy, for example, doesn’t make him/her spec-fic. So what is it, what’s the needed key? Speculation is defined as a notion based on conjecture rather than knowledge. Something formed over incomplete information. It’s abstract reasoning or exploration of an opinion based on guessing. It’s mystery. It’s the book that makes you grab your chin and say, “Hum… I’m not sure what to think about that, but it’s interesting, and let’s dwell on it for a spell.” It’s a walk on the bridge between the intellectual and the visceral and not based on a plot or characters in a world-build where the author spells everything out. It’s asking, “What if?” in an imaginative landscape that’s open for exploration. Too often I grab a book to read that’s labeled Christian Speculative Fiction, yet it’s a straight up Christian fantasy, for example, (though perhaps well-done) that’s mapped out and exposited leaving no room for real speculation or imagination from the reader’s mind. I see it as a common mistake in branding. In fact, some authors might do better if they branded in a particular subgenre rather than speculative fiction because it’s harder to define. Ask eight people what spec-fic is and you’ll probably get eight different answers. I think for a book to be truly speculative it needs to leave room for questions, be an enigma, puzzling, something difficult to understand. My favorite spec-fic books have ingredients that leave me with a big fat question mark in the shape of a stairway to climb within my mind. “What did I just read? That was an interesting slant. It challenged me; haunted me. Let’s revisit.” In fact, if you find a novel that doesn’t quite fit in a specific subgenre, such as horror or fantasy, yet it does at the same time, and you scratch your head wondering what it even is—because the labeling is difficult for you to determine—then I’d say you’ve probably discovered the heart of speculative fiction. There are those reading this who would speculate on the accuracy of my speculation. And I’m just speculating, but the more the merrier.  “And into the forest I go, to lose my mind and find my soul”—John Muir The forest is calling me--always calls me—and I can’t wait for life’s weather to let up a bit where I can head out to my sweet spots once again. As a lover of not only nature but literature as well, I can devour works regarding the wilderness experiences of others if I’m planted inside the home for long. A while back, I’d posted a review on Cheryl Strayed’s trek. Her memoir, Wild: From Lost to Found on the Pacific Crest Trail, offered much to digest. Even better is Paul Stutzman’s Hiking Through. Never mind that I dream of thru-hiking the Appalachian Trail and have lived vicariously by reading this author’s 5-month 14-state journey to complete the AT, his spiritual transformation brought me to tears. Just goes to show, as was pointed out, words have meaning. And our lives, purpose, aside from—and maybe because of—grief, heartache, choices, and possessions that weigh us down. What a stunning and freeing memoir! I highly recommend reading it. And then I urge you to get out in nature and let God speak to you and refresh you through his creation, the church of the mountains. See you on the trail!
Some people know what’s behind reissuing of books and recovering of novels. But because I’ve been asked more than a few times, especially recently, I’ll briefly share with those who don’t know and are curious why an online search might churn up more than one version of a particular work by an author.
If an author is contracted with a publishing company for a particular title, the author sells their rights to that title. What this means in industry standard is that the author enters a partnership. The author still has a say, but ultimately must come to an agreement with editor(s) (new boss) and graphic artists before the work is released. When the term of contract is up, which can be anywhere between two and seven years, give or take, the full rights of the work revert back to the author and then he/she is free to seek publication elsewhere or even recontract with same company for another term. The full rights meaning the initial written work at the time of submission—before it gets an overhaul by the boss and staff. They retain what they still own, which almost always includes their artists’ work (covers) as well as formatting. That’s why when an author republishes with a different company or version, you’ll see a new or different cover pop up for the same book. That’s the latest edition, and it’s the one that’s readily available—or should be. I appreciate the various publishing companies I’ve worked with in the past, their devotion to the art of books and to creators, work ethic, and great rapport with their writers. I’m grateful that I’ve had pleasant partnerships. Thus, the ending of a contractual term is often bittersweet. Happens that my six-year term for Ice Dancer’s Hold has recently ended and the novella is being rereleased this week and made available in bookstores once again. Same novella, just hosting a different cover—and the new formatting I have to say is da bomb. Check it out: |
Tessais a storyteller, and a certified transcript editor. She's also a Romans 8:28 kind of Jewish girl ... 
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