Cover reveal: Daniel and the Sun Sword

Introducing debut novels is a great pleasure when I know that the novelists share my passion for great fiction and for the Lord. Nathan Lumbatis hired me a couple years back to do an editorial review of his manuscript and he’s been working hard on it ever since! The story stood out to me for its uniqueness as it pits young protagonists against Peruvian ‘gods.’

Daniel and the Sun Sword CoverThirteen-year-old Daniel is about to be adopted. But when he learns his new family wants him as a slave, he runs away with the help of his new neighbors, the naïve and cowardly Ben, and Raylin, a mysterious girl with a shady past. He begins to second-guess his decision, however, when the cave they hide in transports them to the ruins of Machu Picchu, where they find themselves embroiled in a battle between ancient gods of Life and Death. To top things off, the God of Life draws Daniel into the fray by adopting him as his son and setting him on a quest to complete a broken, mystical sword, a task that will pit him against the god of the underworld.

Now, Daniel and his friends have just one weekend to find the shards before a hoard of supernatural enemies catch up. But that’s not all they face. A trap has been set that even Daniel wouldn’t expect, and he just took the bait. Will the power of his Heavenly Father be enough to save them?

Daniel and the Sun Sword will be published by Ellechor Media in JULY 2015.

Nathan Lumbatis

Nathan Lumbatis grew up in the woods of Alabama, where he spent his time exploring, hiking, and dreaming up stories. Now, as a child/adolescent therapist and author, he’s teaching kids and teens how to redeem their stories using Biblical principles. He counsels at Dothan Behavioral Medicine Clinic and is a member of First Presbyterian Church. He still lives in Alabama, where you will find him with his wife and three kids every chance he gets.

Be sure to check out Nathan Lumbatis on his Website!

Finishing The Phantom’s Blade (in the midst of my busy life)

For the past two years my readers have been asking, “When is the next book in The Sword of the Dragon series coming out?” This fourth installment is titled The Phantom’s Blade.

This writing project has been my most difficult yet. Why? Because I am juggling family, a full-time day job, and writing projects. This hasn’t been easy but at last I have found a “schedule” that is allowing me to get The Phantom’s Blade completed.

I work during the day, return home, and my kids are going to bed about 8 o’clock. Most nights I don’t get home until after 8 if not 9. I tried getting onto a morning schedule but so far without success. The challenge of that is that the kids can often get up in the middle of the night, so my level of energy and motivation in the morning varies greatly.

Up until I was seventeen I spent most nights stargazing with my telescopes (I’ve always loved astronomy). Often I stayed up until 3 or even 4 in the morning. The night hours have, ever since, remained my most productive time.

The Phantom’s Blade is passed 77,000-words now. I have been writing it late at night. Coffee has been the ticket to getting me passed midnight at which time my brain usually gets a second creative wind. The story has turned out really well. Many characters that readers of Swords of the Six, Offspring, and Key of Living Fire will recognize return for further development. I anticipate this book finishing at 90,000-words…

Expect The Phantom’s Blade to be available in paperback this Fall 2015.

How my dad inspired my fascination with trees in fantasy

My dad is a talented artist. I remember when I was a kid (we were homeschooled) my mother did not have the artistic leaning, so my dad told us he was going to draw an apple. When he said “draw” he meant create a piece of art. The apple seemed to “grow” off the paper.

My dad did another thing I found fascinating. He showed me how to draw trees. The way he drew them he would “grow” the tree, starting with the trunk, designing branches that shot off of it. Maybe I just don’t remember but it seems to me he never added the leaves unless it was a panoramic sketch.

For an unknown reason trees have always fascinated me. Perhaps it is their strength and their fortitude in a storm . . .. A better explanation might be that my dad brought them to life for me in a magical way.

I am not a great artist. My sketches are simple. Maps I can do but other things take me hours to accomplish. Yet, I do know how to write.

Through fantasy stories I bring trees to life in much the way my dad did on paper. In Key of Living Fire I had the opportunity to introduce a living tree. Ancient and deep in shadow, this is a carnivorous tree, full of evil intent. It works with its benefactor, this crazy woods guide.

If trees were alive? Is it a question? Not to me. My dad brought them to life on paper, and now I bring them to life in my novels. This is just one more reason to love what I do.

Question: What things do you like to see ‘brought to life’ in Fantasy?

Cinderella: a true heroine

My wife made the suggestion that she take our 3-year-old daughter to see Disney’s remake of Cinderella. Inevitably it ended up being a family trip. The local theatre in town has a Tuesday all-day special price that we’ve taken advantage of before. Coming into this film having already loved Maleficent, I was curious if Disney could succeed in turning another classic cartoon into a worthy live-action film.

Cinderella’s character is honorable in this story and, I think, extremely likeable as well. The supporting cast of actors and actresses filled their roles almost seamlessly. The one exception, I felt, was the fairy godmother. Same actress as the Queen of Hearts in Disney’s live-action Alice in Wonderland. Her personality was so strong that it jerked me out of the fairytale, albeit for only a few moments. Even then I can barely complain as she did play her part well.

So, did Disney succeed in reviving the old classic? I think they did. The overarching theme of love and forgiveness at all costs is a noble part of this story.

Disney seemed to steer away from incorporating non-traditional-family-values into the film. The only point I found a bit “preachy” was how Cinderella convinced the hunter to let the stag get away. All of the big film studios seem bent on convincing us that the life of man is of equal value to that of the beasts and creatures of this world. It is not.

God made the beasts for man, and sacrificed beasts for man. Yes, we need to value the lives of the creatures in this world. Life is a precious gift that is too often taken lightly. Perhaps this is Cinderella’s intent. Perhaps merely a reminder that we are so absorbed in ourselves that we devalue the creation around us.

Cinderella takes us to the heart of God’s love (though God is not mentioned in this story) by offering us a noble heroine who rises above the scum around her to be a truly good person. I think the greatest message behind this movie is that a great hero or heroine rises above their circumstances to do the right thing… no matter what the cost. We need more fiction exemplifying these values.

Question: What was your impression of Cinderella?

The bad and good of Portraying Violence in Fiction

When writing my fantasy novels it is frequent to encounter (you guessed it) violence. Targeting my books to the middle grade and young adult readers this is of great concern to me. I don’t want to wash over the violence but I don’t want to glorify it in the eyes of the reader either.

Consider that violence is sometimes necessary to convey the cost of wrongs done. I think of how the Bible narrative is full of violence. Violence wrought by the good, the evil, and by God himself. Blood spilled, sacrifices of life and limb made. But this violence is not glorified, instead its purpose is shown. Whether the will of God to wipe a degenerate nation from the face of the earth, or allowing the Babylonians to conquer and enslave the Jews.

Too often contemporary fiction glorifies the violence by turning it into entertainment. Entertainment, whether in the form of a book or a movie, can and should display violence as a means to an end. A lesson must always be understood, subtly taught, so that the reader comprehends the relational and eternal consequences of such actions. Unless this is done the reader, and especially young minds, can follow the violence itself as an entertainment and subconsciously accept it as an end of its own.

In properly thought out books the reader will learn to respect certain actions and despise others. They should be able to picture themselves as the knight riding into battle and ramming his lance into the heart of a wicked tyrant. But on the same note they should also picture themselves looking with pity upon that tyrant’s corpse and wishing that another resolution might have been possible. We don’t need to glorify violence, but we don’t need to despise it either. It is admirable to slay the invader, save the fair maiden, and pray to God for mercy on those who have fallen.

It is admirable to wield the sword in battle… yet the greatest admiration should be given to the knight who knows when to show mercy to his enemy. The knight whose heart dreads violence and yet will not shy from vanquishing his foes when need be.

Question: How do you view violence in fiction?

How to not let subplots run amok in fantasy fiction

When writing a fantasy story much focus is given to world building and character development. This focus can greatly enrich the story world… though there is also a pitfall in it for those of us who write the story.

Characters come to life, landscapes take form, cultures are developed, costumes and customs are established. As you create a fantasy book or series you do not want to miss an opportunity to enhance the reader’s experience. This is a work of art. You want it to shine. All of this leads to an endless supply of subplots within the main story. It may be as simple as a secondary character who needs more personality in order to interact more realistically with the main characters in the story.

The wise writer files away an array of subplots. Histories of lands and biographical data on secondary and background characters, for example. But sometimes we get carried away by the ideas the subplots deliver and we let the story follow rabbit trails as we flesh out minor characters. Certainly there is validity in doing this when drafting fantasy novels, but it is imperative that we remember to focus the story on the main characters.

I was reminded of this recently while watching The Hobbit: The Battle of the Five Armies for the first time. Peter Jackson allowed the story to follow so many minor characters that, even though the movie had great moments, it lost its punch. Characters wept over fallen comrades, and I could not weep with them because I did not feel an affinity for their loss. I did not “know” their comrades well enough to miss them. If the movie had stuck to following a couple characters a more coherent story would have resulted and greater emotional attachment could have been achieved. Instead it followed a slew of characters and tried to make all of them equally important.

A subplot is fantastic for enriching a fantasy tale. If we are following our main character and they encounter a minor character, it benefits the story if that minor character is given a history. But where we must be careful is in not immersing ourselves in that minor character. The story must pull back to the main character so that the conflicts continue to be resolved in a coherent manner. A great example of this is in Harry Potter because J.K. Rowling always kept the story on Harry and varied from him only rarely to enhance certain plot elements.

Stay true to the main character. File away the majority of your subplots. Who knows? Maybe someday you will dig into those files and write an altogether separate novel to cover the subplot.

Question: What examples of good or bad use of subplots in fiction stand out to you?

Character Arc: Lessons Learned or Change Achieved? (Guest Post by Gillian Bronte Adams)

“To me, characters lie at the heart of any story. Characters drive what happens when and where, and the way they grow and change over the course of a story is what makes a book either memorable or easily forgotten in the already-read pile.

But it seems to me that in Christian fiction, we too often think of a character’s arc as the path they take to learn a lesson by the end of the book, rather than the change and growth achieved along the journey. We put the cart before the horse, and often fall into the trap of preaching a Sunday School lesson rather than telling a whopping good tale.

The problem with this is that it doesn’t feel real.

I don’t know about you, but in my life, I’ve made my share of mistakes, been through tough times, and learned from them. But those lessons were rarely tied up in a neat little bow. More often, they were like Eustace’s change in Lewis’s Voyage of the Dawn Treader, who “began to be a different boy” after he was un-dragonized.

We tend to muddle our way through life, changing, growing, and hopefully being shaped more into Christ’s image each step of the way.

Change rarely happens overnight in the big lessons learned. It is far better seen in the little moments, in the gradual slipping from one decision to the next.

I would venture to say that the purpose of Bilbo’s journey in The Hobbit was not to show how he could come home a different hobbit than the one who had set out. That was just a byproduct of the quest. Don’t get me wrong—change in a novel is important. It is a sign of growth and life, and if the character who walks offstage at the end of the novel is the same as the one who stepped onstage at the beginning, you probably have a problem.

But I believe the true heart of a story is less about teaching your character (and thus the audience) that A is wrong and they should become B instead, and more about showing your character wandering from A to B, changing and being affected by their decisions along the way.

Otherwise, you risk winding up with a story that feels like a collection of scenes and pithy statements contrived to teach your character, and by extension the reader, a lesson. Like old fairy tales where every story had a moral. “Be polite to strangers … or bad things could happen to you.”

In the end, character growth comes down to the old “show your story, don’t tell it” adage. Often when characters “learn a lesson,” what you’re really seeing is the author intruding into the novel to impose a sermon on the story. I’m not saying it can’t be done, or that there isn’t a time or place for it, but that’s when readers are more likely to complain that Christian fiction is preachy rather than impactful.

On the other hand, character change that naturally follows the course of events and is seen through actions rather than told through what has been “learned,” results in a much more vibrant story. A story that feels true rather than contrived. A story that may stick with the reader long after the last page has been turned.

What are some elements of character growth that you think encourage a story to be impactful without being preachy?

GILLIAN BRONTE ADAMS is a sword-wielding, horse-riding, coffee-loving speculative fiction author from the great state of Texas. During the day, she manages the equestrian program at a youth camp. But at night, she kicks off her boots and spurs, pulls out her trusty laptop, and transforms into a novelist. She is the author of Orphan’s Song, book one of the Songkeeper Chronicles, and Out of Darkness Rising. Visit Gillian online at her blog or Facebook page.

Cover reveal: The Phantom’s Blade (The Sword of the Dragon Book 4)

In preparation for the release this Fall of The Phantom’s Blade (The Sword of the Dragon book 4) I commissioned the same artist who did the new edition for the Neverqueen cover. Here is the final cover:

Novel plot tease:

From across the sea the Maiden Voyage has failed to return to the Hemmed Land, leaving Ilfedo to wonder at the fate of his beloved Warrioresses . . .

The Hemmed Land is in political confusion thanks to Vortain’s dissidence. As mayor of Ilfedo’s chief city Vortain holds great political sway. He openly opposes Ilfedo’s proposal to form a rescue expedition to bring the people of Dresdyn to the Hemmed Land, and regards the young woman Ilfedo brought back from the Hidden Realm with deep suspicion. Even more strong is his opposition to Lord Ilfedo’s declaration that, as the albino long ago prophecied, the entire population must seek a new homeland.

Holding himself to a promise Ilfedo will not be swayed from seeking the people of Dresdyn. His allies are strong now. Few in the land hold the wisdom of Brother Hersis, and fewer still command the same respect in the military as Lord Ombre, and none have risen so high in the esteem of the people as Oganna.

An expedition launches to seek out the people beneath the desert sands, and only Ilfedo truly recognizes the nature of the enemy they face.