Last time I did, actually, was to discuss whitewashed cover art for my Negotiator Trilogy (aka the Old Races books), and indeed, I’m back today to talk more about the Old Races.
It happens that that trilogy was extremely difficult to write. I mean, like, between three books I rewrote them something like seventeen times, and I must have written close to a million words for what ended up as 375K worth of story. You will not, then, be surprised that I swore I was never going to write another book in that world. And so far, I haven’t.
I *have*, though, been committing short stories and novellas over the place. I didn’t really mean to. It’s just that—well, sick to death of the world or not, I knew I hadn’t gone anywhere near telling all the stories in it. There were three in particular I’d always known about: the story of London burning, the story of Chicago burning, and Grace O’Malley’s story.
Over the past few years, I’ve told two of those stories at novella length: Year of Miracles is the story of London burning in 1666, and HOT TIME IN THE OLD TOWN TONIGHT is the story of the Great Chicago Fire. (KISS OF ANGELS, Grace’s story, is still in the works.)
One of them—HOT TIME—is being traditionally published by Subterranean Press in this month’s release, BABA YAGA’S DAUGHTER, along with nine other stories that fill in the background and some of the future of the Old Races world.
The other, though, I’ve plunged into self-publication with, and it’s been an utterly fascinating journey.
First off, one of the huge advantages of self-publication is that I’ve got total control over my cover art. And I am, let me tell you, very picky about self-published cover art, because this is my job. I’m a professional. I need to present myself to you, the reader, professionally every single time, whether it’s a traditionally published piece or an experimental e-release. So I worked with a cover artist for all three of the short story collections I’ve done, and the coolest part, hands down, of these covers, is finally getting to represent my main character, Margrit Knight, accurately:
I love the cover art for the other two collections as well, but actually seeing Margrit as a black woman is just so exciting that Icannot get over it. This is so much more how I envisioned her, and I so wish my original Negotiator cover art could have represented her more accurately.
But that’s only been one aspect of the fun of all of this. The Aftermath collection is entirely stories set after the Negotiator Trilogy. The other two, Origins and Year of Miracles—well, Origins sometimes really does tell origin stories, but as often it’s just setting pieces into play for things that happen in the trilogy.
I realized as I was writing them that many of them are a little tragic…but then, they’re set in a time when the Old Races are dying, and have no real hope for a future. I like to think they carry some power because of that.
And, well, Year of Miracles is the Old Races’ greatest love story, so delving into it and learning its details as the writer was quite wonderful. The fact that I’m able to write them and share them through e-pub these days is really incredible to me—they’re stories that really might not have been told, otherwise. So I’m excited to have them out there, and I hope people are excited to get a chance to fill in some details of the Old Races world!
I’m almost certainly going to be revisiting the world of the Old Races with more stories in the future, so tell me—if you’re already a reader of the series, whose stories might you like to see?
If you haven’t read them yet, I’ll be giving away a copy of each of the e-collections to commentors on this blog, so this is a great time to be introduced to the Old Races!
And if you just can’t wait and must go buy the stories right away, this link brings you to my website, where links to Amazon, B&N and Smashwords are all available!
Looking forward to talking with you all in comments! Please, if you have any questions about the Old Races world, or comments, or anything, fire ‘em at me! I’ll be around all day to answer!
According to friends, C.E. Murphy “is a thin veneer over a woman who is constantly moving and shaking. In between walking to Mordor and back, swimming, dancing, and attending Bon Jovi concerts, she squeezes out a book or two every three days.” Also according to friends, she began her writing career when she ran away from home at age five to write copy for the circus that had come to town. It is clear to her that she should let her friends write all of her biographies, because they’re much more interesting that way.
Her own recollections suggest she began writing around age six, when she submitted three poems to a school publication. The teacher producing the magazine selected (inevitably) the one she thought was by far the worst, but also told her–a six year old kid–to keep writing, which she has. She has also held the usual grab-bag of jobs usually seen in an authorial biography, including public library volunteer (at ages 9 and 10; it’s clear she was doomed to a career involving books), archival assistant, cannery worker, and web designer. Writing books is better, and she now has close to twenty in print. In her down time, she writes comic books and short stories, which may be why her editor and agent independently suggested she get a hobby that *wasn’t* writing.
She was born and raised in Alaska, and now lives in her ancestral homeland of Ireland, which is a magical land where it rains a lot but winter never actually arrives.
Readers, learn more about C.E. Murphy here:
Read the Bitten by Books reviews of the author’s work here.
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Blog : http://mizkit.com/ or http://mizkit.livejournal.com/