Everyone is afraid of something. We fear things because we value them. We fear losing people because we love them. We fear dying because we value being alive. Don’t wish you didn’t fear anything. All that would mean is that you didn’t feel anything.
If within the U.S. - A signed paperback & magnetic character bookmarks
If outside the U.S. - An unsigned paperback & signed character bookplate
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A Hotheaded Prisoner
They say she’s mad—made of madness, made of fire. In a cage by the sea, Flare dreams of escape. She yearns for the day when she’ll flee to a place only she knows, a hidden world of mystical waters and gilded sands.
The island is calling to her. And she she won’t let anyone keep her from it.
Especially not him.
A Coldhearted Prince
They say he’s cruel—crowned of cruelty, as cold as ice. A prince whose gaze cuts like the incisions he administers within his lab. Jeryn has sailed beyond his kingdom for the Trade, to bargain for those wild, imprisoned fools that make his skin crawl.
By law, they’re subjects meant for experimentation. And easy to despise.
One in particular. A girl seething at him from behind bars, with burning eyes and ready fists.
A Mythical Shipwreck
But on the cusp of transport, the tide rages. That uncharted island awaits, a dark tangle of foliage where creatures slither in the mist and poisons lurk in the flora.
Stranded, the prince and prisoner must fight to survive. In this mysterious rainforest, they must band together … if they don’t slay one another first. Or become something more to each other.
Something just as dangerous.
*Book Two in the Foolish Kingdoms duology: same universe, different couple. Can be read as a standalone, though it’s recommended to read TRICK first.*
*Mature YA: sexual content and language. Intended for readers 17 and older.*
every time you
tell your daughter
you yell at her
out of love
you teach her to confuse
anger with kindness
which seems like a good idea
till she grows up to
trust men who hurt her
cause they look so much
(to fathers with daughters) milk and honey, rupi kaur
Let’s get this out straight away: You cannot disregard character arcs. The
way you can think of character arcs is that readers usually come for the plot
but stay for the character because you can have a kick ass plot but if the
characters don’t have depth and don’t grow or change throughout, then the
readers can’t connect to the story. Readers need to care about the character to
care about what they are going through and the best way to do this is through
their arc. Now, though attention to character is always important, certain
genres demand more than others just like certain genres demand more plot than
others. For example, literary, contemporary YA, and romance put more emphasis
of character than more plot-driven genres like thriller, adventure, fantasy and
sci fi. In any case, character arc enhances the story but it can be tricky to
understand how create this arc and how to use it to better the story, so here
are some tips:
Really, think of it as a curve. Okay, so
maybe not a nice smooth curve, more like one with a bunch of bumps and squiggles
in it. Also, the direction of this curve depends on who you want your character
to become. Usually, a protagonist will arc up, starting at point where they
have some personal obstacles to overcome, whether this is just a few things or
a major attitude adjustment. You can also have characters that arc down and progressively
get worse, like a villain or a tragic hero. The point is that as the time goes
on, your characters should move on the Y axis (sorry for the math). You can
actually plot it out if it helps you understand the rises and falls of your
Find what each character really needs to change. What is holding them back from achieving their goal? Why is it so
important that they change? What would happen or who would they be if they don’t
change? Alternatively, what can go wrong if they change or change for the worse?
Remember that not every character arc is a positive one and sometimes readers
need to see the characters fall to understand what is at stake and cheer for
them more when they get back up.
Don’t make it sudden or pointless. Like
anything else in your story you want to make the character’s advancement (or
deterioration) have a cause and effect relationship. Something that happens in
the story causes the character to have to change or at least consider how their
actions are impacting others and their own life. A drunk who gets into a car
accident and nearly kills their kid. A hero whose selfishness nearly causes the
destruction of a village. Typically, the biggest shifts happen near the climax
where the stakes are highest and the character has to make the biggest
Don’t make the character passive.
Passive characters, in particular passive protagonists are unbearable. These
are the ones that have the plot happen to them rather than contributing to the
direction and outcome of the events. A character needs to take charge of their own
destiny even if it’s a story where destiny is literally coming after them. Like
I said before, some genres have more room for this than others. A high-stakes
thriller that’s more plot driven has moments where the characters have to
struggle to keep up with the events happening to them, but they should still be
making the major decisions that ultimately lead to the conclusion. When the
characters aren’t being decisive they can’t grow or change and their personal story
stays flat and boring.