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A Consuming Fire Virtual Preorder Campaign

I’m very, very excited to be announcing details regarding a virtual preorder campaign I’ll be running in the lead up to the release of my fourth novel, A CONSUMING FIRE. ACF is the story of a deeply wounded girl setting off on a journey which will require her to dismantle the entirety of the belief system she’s been raised within, and to go head-to-head with a monster she’s always believed to be a god. You can read more about it here–I’m immensely proud of A CONSUMING FIRE, which is, at this point, my favorite of my YA offerings to date!

So! Preorder campaign stuff!

As always, I am not requiring proof of purchase for this campaign because I trust my readers. It’s open internationally, as it’s going to be virtual. You can preorder A CONSUMING FIRE from any venue to qualify for the campaign reward(s) but my preferred option is always either ordering from your local indie, or from Scrawl Books, where you can request copies that come with a lovely signed and personalized bookplate, should you desire one (I’m biased, but a signed and personalized copy of ACF would make the PERFECT Christmas gift for yourself and for any bookworms in your life!)

When thinking about promo for ACF, I wanted to come up with a preorder campaign option that didn’t mean I had to order a ton of expensive swag and sit stuffing mailers for twelve hours. I also wanted something that would be meaningful to readers who’ve experienced one or more of my previous books–generally preorder involvement comes from dear friends and readers who’ve been following my literary journey for awhile, and aren’t brand new to the odd little worlds that live in my head. And as I was working on preorder ideas, I was also forging through edits on 2023’s YA title, THE VOICE UPSTAIRS, which is dual-POV. That, and the advice of a very good friend, Hannah Whitten (whose work you should absolutely read, pick up your copies of FOR THE WOLF and FOR THE THRONE as soon as possible!) gave me the idea for the preorder incentives I’m offering this time around.

For each reader who preorders a copy of A CONSUMING FIRE, I will have brand new scenes for *each* of my published books available, that happen either during the events of the story, or not long afterwards. They’ll be told from a brand new point of view, as well–in my head, I’m thinking of this as a “This One’s for the Boys” campaign. You will be able to choose from…

The Light Between Worlds: Tom’s POV–Tom and Evelyn meet on the train platform
A Treason of Thorns: Wyn’s POV–Wyn learns to spear fish
A Rush of Wings: Gawen’s POV–Gawen brings the Winthrops to his family home
A Consuming Fire: Tieran’s POV–[redacted for spoilers]

For those of you who are the most enthusiastic about my work, there’s also an option to get the whole bundle of new scenes, rather than picking just one.

To enter the campaign, all you have to do is 1. preorder your copy of A CONSUMING FIRE, and 2. fill out this Google Form with your entry details. I’ll be sending campaign materials out in late November/early December. Can’t wait to share these new bits and bobs with you, and especially to share this year’s YA release.

Sending you love and light here at the onset of autumn,

Laura

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A Consuming Fire Cover Reveal + First Chapter

There are a lot of reasons to write a book. You can write one to fulfill a contract or reader expectations. You can write a book to entertain or move your audience. You can also write a book because of something within you–because there’s something you need to say, something you need to alchemize into words so that other people can see it and understand it, and maybe, if you’re lucky, say “I know this feeling. I have it too.”

Years ago, I wrote a book called The Light Between Worlds for that last reason, and ever since, reader responses to it have blown me away. You have all been so generous and warm-hearted in your reception of the Hapwell girls, weighted down as they are by emotional baggage and the worlds they trail along in their wake. I wrote that story because I wanted to look at my own experiences with grief and displacement and longing and depression. Not to ask questions about those experiences, or try to answer them, but just to acknowledge that they existed, and were real.

Last year, in the throes of a very dark pandemic winter, I finished another book in that sort of vein. It is, in many ways, the spiritual successor to The Light Between Worlds, though it also touches on some of the themes covered by A Rush of Wings, which I’ve referred to elsewhere as a hymn to anger. This latest book–the one I get to place on shelves and into readers’ hands this coming autumn–is called A Consuming Fire. I wrote it because I was angry. Because I needed to deconstruct and (hopefully) rebuild something I’d lived with all my life, and held extremely dear.

A Consuming Fire is, on one level, a book about what you do when a system that you were raised within (be it cultural, religious, political, etc) lets you down in the worst possible ways. When you start to undertake the process of growing up and realize, with the perspective growth grants, that you have been part of something that seemed beautiful, but that springs from a poisonous root. It is also a story about sisters. A story about love, and sacrifice, and the pursuit of justice. It is about the strength that exists in seemingly fragile and gentle and damaged people. It is about relentless compassion.

I wrote this book for myself. But I hope when you read it, it’s your own soul you see reflected in the pages.

And on that note, here is your first look at the cover and opening chapter of A Consuming Fire

Uprooted meets The Grace Year in this dark young adult fantasy of love and vengeance following a girl who vows to kill a god after her sister is unjustly slain by his hand.

Once every eighteen years, the isolated forest village of Weatherell is asked to send one girl to the god of the mountain to give a sacrifice before returning home. Twins Anya and Ilva Astraea are raised with this destiny in mind, and when their time comes, spirited Ilva volunteers to go. Her devoted sister Anya is left at home to pray for Ilva’s safe return. But Anya’s prayers are denied.

With her sister dead, Anya volunteers to make a journey of her own to visit the god of the mountain. But unlike her sister, sacrifice is the furthest thing from Anya’s mind. Anya has no intention of giving anything more to the god, or of letting any other girl do so ever again. Anya Astraea has not set out to placate a god. She’s set out to kill one.

I am extremely privileged to have had the talented Kim Ekdahl design the covers for both my latest release, A Rush of Wings, and this upcoming title. Kim has a tremendous facility for capturing details and the heart of a story, and her beautiful illustrations put me in mind of the covers of YA novels I enthusiastically read during my own teen years. I love the way she’s captured Anya and the troubled countryside of Albion, and am so excited to hold this book in my hands.

Cover art by Kim Ekdahl

You can currently add A Consuming Fire on Goodreads, or preorder via any of the retailers listed here (if you’re unable to purchase from your preferred retailer yet, try the link again tomorrow as the book has only just become available to online retailers!) Signed preorders via my favorite local independent bookseller will be an option closer to release. And of course, if you’re like me and want a glimpse at what you’re buying before placing an order, I have a first chapter just for you.

A Consuming Fire
(Content Warning: This excerpt contains the death of a central character)

CHAPTER ONE
Weatherell

************

Once upon a time, when Anya Astraea and her sister Ilva had been small, they made a habit of walking out to Weatherell’s final clearing together. The clearing marked the edge of the village’s woodland—beyond it there was only the uninhabited New Forest, with its birdsong and bluebells and wandering piebald ponies, and past that, the forbidden expanse of Albion, which had been the Roman province of Britain before the last of the centurions left. While few raised in the village of Weatherell ever saw what lay outside the wood, none born and bred in Albion ever left the great island’s shores.

In Weatherell’s final clearing, at the edge of everything Anya knew, there stood a beech tree with golden leaves. Old charms crowded its branches, hanging so heavy they might have been a strange and jangling crop of fruit. They’d been made by the people of Weatherell, from glass and chestnut hulls and old coins dug up from the forest earth, which bore the faces of long-forgotten lordlings and Caesars. But the most vital of Weatherell’s charms—the ones wrought for protection, not for beauty—were strung with bits of sun-bleached bone. Anya and Ilva would lie on their backs and look up at the spinning charms and try to guess which of the Weatherell girls each bone had come from.

Was it Gabrielle, who’d given her face to the god of the mountain, returning home indelibly marked by a mask of deep scars?

Was it Leya, who’d given her right leg at the knee, and joked until her death that at least she had another?

Was it Florien, who’d given her memory, and known not a soul when she’d come back to the village?

Was it Moriah, who’d given her thumbs and been considered lucky, because the god might certainly have required more?

On and on they’d guess, naming girls who’d gone out from Weatherell to serve as living sacrifices to the god of the mountain. It was Ilva’s game, really. She found that naming the girls was a painless way of remembering Weatherell’s history—a recollection with its teeth taken out. But it hurt for Anya even to remember people who’d lived and died before they were born. Perhaps those girls were shadows and stories and the bones in charms now, but to Anya, they still lived. She felt the weight of their sacrifice hanging over her every day.

And though most of the Weatherell girls who’d gone out into the world were dead, the god himself was still very much alive on his faraway mountain. His divine sleep could only be renewed with the sweet taste of abnegation—of a living sacrifice offered by a righteous lamb. Nothing but the willing pain of a Weatherell girl could soothe and sate the god and keep all the vast isle of Albion free from his ruthless predations.

“Someday, I’m going to go,” Ilva would whisper to Anya, spinning a story of her own as they lay side by side in the soft fallen leaves. She’d clutch her greatest treasure as she did—a strange trinket, washed ashore from Gaul to the east or Hibernia to the west, no doubt, and carried inland by some creature. Made for stringing upon a cord or chain, it was a little cross-shaped pendant wrought of crude metal, a girl with a babe in arms on one side, a suffering man on the other. Wounds were visible upon the sufferer’s hands and feet, and a twisting band of thorns stretched across his brow. Ilva loved the small relic because it was part of an unreachable world. Anya loved it on account of the sufferer—because for once, it was not the girl or the child who bore the wounds.  

“When the eighteen years of grace Mam purchased with her sacrifice have passed, and it’s time for the next of us to travel to the god again, I’ll go,” Ilva would announce to Anya and the little graven sufferer and the bones of the girls who’d gone before. “I’m the strongest and bravest—they’ll send me if I offer. If I do, then you won’t have to leave, or anyone else, and when I come back we’ll have a story to tell. You’ll take care of me afterwards if I need it, won’t you, Anya?”

“I don’t want you to go,” Anya protested staunchly every time, at which Ilva would only laugh.

Someone has to go, little moon. Better me than you.”

“I don’t want it to be either of us.”

“Who then?” Ilva would press. “Who would you send instead? Elsie? Min? Amara, perhaps?”

Every time, Anya shook her head. “None of them. I don’t want anyone to go. It isn’t fair, and it isn’t right.”

“It’s the way of things,” Ilva answered with a shrug. “The way they were and are and will be. It’s not for us to change the working of the world, only to make it a safer place.”

“It isn’t fair,” Anya repeated sullenly, though she gave in to Ilva in the end. She always allowed her sister to have her way sooner or later—Anya had come into the world hard on Ilva’s heels, tiny fingers wrapped around her ankle, and had been trying to keep pace with her ever since.

Secretly, though, Anya harbored doubts as to her sister’s motives in going to the god. Ilva was a restless soul and a wandering spirit. While Anya would never say so out loud, she sometimes wondered how much Ilva’s longing to go had to do with sacrifice, and how much of it was simply a desire to leave Weatherell in the only way afforded to the village’s girls. If she were braver, Anya often thought, she’d tell Ilva no when her sister spoke of going to the god. She herself was the most dutiful, the most restrained, the nearest to righteousness of all Weatherell’s daughters. The most fit for a sacrifice. But she was afraid and unwilling, and Ilva was not. Anya felt a deep-seated sense of wrongness and revulsion at her core when she considered the journey and the offering. Ilva felt only eagerness and expectation at the prospect of leaving Weatherell, despite departure’s agonizing price.

Perhaps that was all that mattered, in the end.

The last time Anya walked out to the final clearing with Ilva, it was to say goodbye, because her sister had laid hold of the one unspeakably costly freedom available to her. At midwinter, when the Arbiter and his selectmen called for a living sacrifice to renew the god’s slumber, Ilva alone stepped forward. So there’d been no selection process, no testing of her faith or drills from the Cataclysm, the god’s inscrutable holy book. There’d just been Ilva, set apart for the offering from the moment she took that fateful step and spoke her name.

On their last morning together, Anya and Ilva stood alone under the beech tree. Their mother, Willem, had said her terse farewells back in the village, and refused to walk out to the edge of Weatherell’s bounds. Willem hadn’t wanted Ilva to go, and the two of them had fought over it for weeks. The fighting left Anya trapped between them and nearly torn in two, because while she would never naysay Ilva, in her heart of hearts, she agreed with their mother. Though she did not have the courage or conviction to take her place, nevertheless, Anya did not want her sister to go.

Ilva wore a heavy and practical canvas pack slung over her shoulders, full of the things she’d need on her journey to the mountain. She’d cut her brown curls off at the chin to make for less bother on the road. And a band of supple scarlet leather wrapped around her neck, marking her out to all of Albion as a Weatherell girl—as righteous, and a sacrifice.

Anya had sewn the scarlet band on herself, because Willem could not. The night before Ilva’s departure, she knelt behind her sister in their small, firelit cottage, fingers trembling against Ilva’s warm skin as she tried to steady herself. But all Anya’s efforts had not been enough, and the needle slipped. Tears welled in her eyes, blurring her vision, and she heard Ilva take in a soft breath. When she blinked back the tears and could see again, a drop of blood stood out, stark red against her sister’s white skin.

“It doesn’t matter, Anya,” Ilva said. “You’re doing very well.”

Anya glanced over at Willem, who sat by the hearth, watching. Willem’s leather and iron hands lay on a table across the room, and her scarred, handless wrists rested in her lap.

“It’s a bad omen,” their mother said sternly. “Bones are for protection, but blood is for ill-luck.”

“Stop.” There was steel in Ilva’s voice as she spoke to their mother, and it left Anya breathless. Only Ilva dared stand up to Willem’s anger, that sometimes burned low and other times flared hot, but was always present. It had grown worse in the past months, though—Anya had been warned that the women who’d once gone to the god were always affected so, in a year of disfavor. Until another girl sated the god of the mountain, his baleful influence reached across Albion to touch those who’d been sacrifices before, rendering them restless and short-tempered, however hard they strove for kindness.

“I don’t believe in luck or superstition, and you know it,” Ilva said with defiance, fixing her eyes on Willem until their mother quailed. Ilva had been an unstoppable force since her acceptance as Weatherell’s sacrifice, and Anya thought that between the reflected heat of Willem’s anger and Ilva’s resolve, she might catch fire and burn away to ash.

But she’d found it in her to finish sewing on the band, and pressed a kiss like a prayer to the back of Ilva’s neck when she’d completed the task.

“Be brave, little moon,” Ilva whispered to her, so low that Willem could not hear. “I know you’ll find your courage without me.”

And then their last hours together were at an end. They stood under the beech tree one final time, the branches above them flush with the new green of spring. The twisting path out of the wood was already beneath Ilva’s feet, and the trail back to Weatherell beneath Anya’s.

“I’m glad it’s me,” Ilva said fiercely as Anya clung to her. “Not just on account of seeing the world beyond the wood. I couldn’t have lived with myself if they’d sent you. I’ve always known that—always known it would have killed me to watch you go.”

“Hurry on the road,” Anya begged, tendrils of guilt unfurling in the pit of her stomach. “Hurry away, and hurry home. I’ll be lost until you’re back, Ilva, truly I will.”

Ilva held her sister at arm’s length. Her eyes were dry and glittering with suppressed anticipation, while Anya’s were dim with tears. In addition to the scarlet band, Ilva wore a long braided cord around her neck, and Anya knew without seeing that the otherworldly pendant must hang from the end of it, the mother and child and sufferer tucked away against Ilva’s pale skin.

“Will you keep your promise, and look after me once I’ve come back from my adventure?” Ilva asked. “Will you care for me as well as you’ve done for the rest of the ones who went—for our mother and Sylvie and Philomena?”

“I will look after you until the day you die,” Anya swore. “And when that day comes, when we’re old and full of stories, I’ll break up your bones with my own two hands, to be turned into Weatherell’s charms. No one else will touch you.”

Ilva smiled. “You’re very sure of that. But I’m only a minute older than you—who’s to say I’ll go first?”

Anya wanted to be brave and light-hearted like Ilva; to find levity in the face of death and disaster. But when she opened her mouth to return the joke, her humor withered and died. She could only manage to stare at Ilva, and shake her head in dismay.

“Be brave,” Ilva told her again, and with a last swift embrace, turned her back on Weatherell and her face towards all of Albion, which lay beyond the wood.

Anya watched her sister set her shoulders and take the first steps of a journey dozens of girls had undergone before. She stood and looked after Ilva until the trees swallowed her up. And in the moment Ilva disappeared, Anya knew that though she herself had not set out to go to the god of the mountain he’d nevertheless reached inside her, rendering her somehow broken instead of whole.

*************

Once upon a time, Anya Astraea stood under the golden beech tree in Weatherell’s final clearing and watched her sister Ilva go to the god of the mountain. Now every afternoon, she stood under it alone and waited for her return.

As spring wore on to summer, she hurried through her morning’s work each day. Through brushing her mother Willem’s hair and washing her gently with a soft cloth; through buckling on Willem’s useless leather and iron hands and murmuring rote prayers to the god of the mountain together. The prayers were more a lullaby than anything else—a way of placating the god through soothing words, and staving off his appetite for pain and self-denial.

Then Anya would hurry to fetch their skittish black-nosed sheep from the sheepyard at the village’s center, beneath the overarching boughs of unfathomably ancient trees. And when she brought their ewes to the Weatherell boys who followed the flocks, she’d bring Philomena and Sylvie’s few lambs as well.

Along with Willem, Philomena and Sylvie were Weatherell’s three still-living ones who went, who’d gone to the mountain as girls and given of themselves to the god. They served the village as a reminder, and as an ongoing sacrifice—it was said in Weatherell and beyond the wood that the lives of the ones who went served as the purest of prayers. That they were bound to the god, and their connection to him continued to ensure peace for Weatherell, even after their offering had been made. It was why Willem had never been allowed a more functional substitute for the hands she’d given—Arbiter Thorn declared that equipping her with such a thing would be to flout the will of the god.

This spring, however, Philomena was surely doing the lion’s share of the peacemaking. She was often unwell, but had been worse than ever since the year of disfavor began. Long ago, the god asked for her ability to bear children, which she’d given to him, and she’d suffered from internal complaints ever since. It seemed to intensify her pain, that fathomless miles away, the god she’d once knelt before was restless and waking.

When Anya ducked into Philomena and Sylvie’s cottage after tending their sheep, she found the interior dim and cool—no fire on the hearth, not even a candle burning. Sylvie sat hunched in the shadows in a far corner of the cottage’s single room, swathed in blankets to ward off the chill. The oldest of the ones who went, her wrinkled face sagged and drooped against the place where her eyes had been, though she turned her head towards Anya at the sound of the girl’s voice. Even in the gloom, Anya could make out the black latticework of unreadable script that had been inked into Sylvie’s skin, spreading across her neck. Anya knew that most of it ran in orderly rows along her back, though Sylvie refused to speak of it, except to say that the markings had been done to her beyond the wood, and against her will.

“What about a fire?” Anya asked Sylvie briskly, and set about making one. As she knelt before the hearth, she could hear Philomena behind her, struggling to get out of bed. But Anya did not turn, or offer to help. If there was anything the ones who went all had in common, besides their journey to the mountain, it was a fierce sense of pride and a determination to remain independent whenever possible.

Slowly, the sound of Philomena’s footsteps drew closer. Anya glanced up and smiled as the older woman reached the hearth, dropping into a wicker rocking chair with a trembling sigh.

More so than Willem, Philomena was a mother to Anya. Threads of silver twined through her chestnut hair, and the crow’s feet around her eyes deepened with each passing year, but Philly was a gentle and hospitable soul. It was to her Anya went when she needed to confess troubles, or talk over fears. It was Philly who’d held Anya close and let her sob after Ilva left, keeping the girl together when she’d thought her heart would surely break. Even the year of disfavor seemed unable to temper Philly’s kindness, though it brought her bodily pain.

“Good morning, Anya,” Philomena said, though there was a tense, tormented note behind the words. “Do you know what day it is today?”

Anya nodded, turning back to her work at the hearth. She felt Philly reach out a hand, and settle it briefly atop her head like a blessing.

“Two months since Ilva left,” Anya answered. “Today I can start watching for her return.”

Two months was the quickest any Weatherell girl had made the journey to the mountain and back. They crossed nearly all of Albion and its disparate patchwork of feuding fiefdoms and provinces, all ruled over by petty lords grasping at power. But the island’s true overseers were the Elect, who tended souls in the world beyond the wood, and guarded the well-traveled and safe high roads from the New Forest through the countryside beyond. Under the Elect’s careful watch, Weatherell girls went north, keeping well away from the forbidden metropolis of Old Londinium, and fording the River Thames at a place called Godstow. Then there was mile after mile of plains and hills and moors that led to Banevale, the city at the foot of the mountain called Bane Nevis, where the god of the mountain dwelt in power.

Frida held the record for the fastest journey north. Ten girls ago she’d gone out to the god and returned with her mouth a gaping hole—lips and teeth and tongue torn clear away. But she’d been the fastest, in spite of her injuries.

Secretly, Anya had hoped Ilva would beat Frida’s record.

Hurry on the road, she’d said, after all. Hurry away, and hurry home.

When Philomena spoke again, warmth and good humor eclipsed the pain in her voice. “You say you can start watching for Ilva today as if you haven’t done so since the moment she left. All of Weatherell knows you’ve been looking out for her, Anya. It will be awhile yet, I’m sure—the burden of the god’s unease still lies heavy on your mother and Sylvie and me. But I don’t think any girl has ever been as fortunate in her family as Ilva, or left behind someone so eager for her return.”

Anya flushed. She’d never thought of herself and Ilva as fortunate in their family. Neither of them knew who their father was—Willem had called them Astraea, after him, but would never say more than that she’d met him beyond the wood. And Willem herself was not a warm or devoted mother in any sense. She’d been furious when Ilva put her name forward to go, and refused to speak of her since her departure. Every night Anya wept over her sister in careful silence, because when Willem overheard her tears, she said sharp and cutting things that haunted Anya for days.

If you’d had her courage, you’d be walking now instead of crying.

I’d rather it had been you. You count costs in ways she never does.

It was no use Anya trying to reassure herself that Willem’s temper was the result of the god’s restlessness either—her mother had always been harsh. The year of disfavor only honed an edge that had already been there. It coupled with a gnawing guilt over Ilva’s going that Anya had felt since her sister’s departure, and left her in constant misery, though she tried to hide it.

In truth, was not only eagerness over Ilva’s return that took Anya out to the final clearing each day, though she’d plenty of that. There was also the need to see Ilva first: to look her over, and learn what she’d given to the god, and grapple with the low, relentless regret Anya now carried. She knew it would not abate until Ilva was safe beside her again, an offering triumphant, who had purchased grace and peace for all of Albion and had an adventure besides.

After starting Philomena and Sylvie’s fire and fixing them a late breakfast, Anya took to the woods. She slipped out of Weatherell’s village proper without a backward glance, because she knew every inch of what lay behind her. How each cottage had been built up against the trunk of a tall, spreading tree. How every door had been painted with a protective rune, to ward off ill-luck. How the branches overhead glittered with charms, which stirred when the breeze picked up and filled the village with intermittent hollow sounds.

Weatherell was everything Anya knew. She’d never left the village, and never would. There she’d been born, and there she’d die. The Elect, which Weatherell’s Arbiter and selectmen were part of, said it must be so. How else could a girl be born every eighteen years to serve as a sacrifice and a spotless lamb, free of the pride and failings that ran rampant in the country beyond Weatherell’s bounds?

But such things were not for Anya to worry on. Holiness and boundaries were the province of the Arbiter and the Elect. Sacrifice—the making of it and the surviving of it, the raising of daughters who might be fit for it—was the province of girls like Anya Astraea and her sister Ilva, who had gone to the god.

Though perhaps elsewhere things were different, Anya sometimes thought blasphemously. Perhaps elsewhere, sacrifice belonged to the sufferer with his band of thorns, and the girl and her child were left intact. Perhaps there might one day be a world in which she did not constantly catch glimpses of bones overheard, and feel a sudden stab of regret, and of an indefinable wrongness.

The path to the final clearing looked entirely different now than it had when Ilva left. When she’d gone out to Albion, the woods had only hinted at summer to come. Now everything was green and lush and full of life, smelling of rich earth and growing things.

Anya ghosted down the trail, running her hands along the velvety tops of wildflowers and hardly having to look to find her way. Two months to the day since Ilva had set out from home. Longing and fear and guilt pooled at Anya’s core. How much more time would pass before her sister’s return? And how had she fared on the mountain? How would the pieces of their new life fall into place?

When she stepped into the final clearing, wind was combing through the branches of the beech tree, setting its charms to chiming. The long grass stood sweet and green, dotted with white flowers, and overhead stretched an expanse of blue sky ringed by tree branches. It was as much of the sky as Anya had ever seen, and today soft clouds and a few distant birds scudded across it. Anya took a breath of good clean air and thought to herself that the worst must surely have passed. She’d survived two months of Ilva’s absence. Two months alone with Willem, and her sharp, inexorable tongue. Two months of feeling like half instead of whole. It could not be long now before Ilva completed her work and returned to Weatherell to take her place among the ones who went.

And when Anya drew closer to the beech tree, her heart leaped painfully in her chest. Though Philomena had said it could not be so, Ilva sat among the roots of the tree, leaning against its trunk.

As Anya ran to her, Ilva’s face lit with a fleeting smile. Then Anya’s arms were around her sister and she was sobbing, all the tears Willem had scorned pouring out of her in a flood. Ilva was everything she’d hoped for, everything she’d longed to have back, everything she’d ever wanted to be.

“I hurried,” Ilva whispered. But she did not put her arms around Anya in return.

As the force of Anya’s relief calmed, she rocked back on her heels.

“I hurried,” Ilva said again, her voice a quiet rasp. As she spoke, Anya saw for the first time that her sister’s skin was flushed, with fever and a pair of angry scars that crept up from under the collar of her woolen shirt. Ilva’s breath came shallow and fast, and her eyes were dim and unfocused. Her hands, resting on her lap, would not stop shaking.

Anya fumbled with the neck of Ilva’s shirt, loosening its drawstrings until she could see her sister’s chest and the place where the god had touched her. Her breath caught at the sight of a vicious red handprint, inhumanly large, burned into the skin over Ilva’s heart. There was no sign of the sufferer’s pendant, though the scarlet band that marked a Weatherell girl still wrapped around Ilva’s neck.

“What is it? What’s wrong? What did you give?” Anya asked, the words coming out in a panicked jumble. “Ilva. Ilva. Show me what’s the matter. Show me so I can fix it.”

For a moment, Ilva’s eyes rolled back and fear cut deep at Anya’s core. But her sister rallied, catching her breath with a pained hitch and fixing her gaze on Anya with an effort.

“Everything hurts,” she breathed.

What did you give?” Anya asked again.

Ilva swallowed and winced, as if even that small action pained her. “Nothing. I gave him nothing, in the end. He told me there was no sacrifice he’d accept. When I said I would give him whatever he asked for, he reached out a hand. And oh, Anya. He is so terrible. It’s a struggle even to stand before him.”

For a long moment, Ilva fell silent, her breath coming hard and fast as the feverish color drained from her face, leaving her grey and drawn instead.

“He reached out,” she whispered, “and placed his hand on my heart. And when he spoke, all his anger and his fire and his bitterness went into me. I can feel them in me yet, eating up my insides, and everything good and alive went out of me and into him, too. He touched me, and I knew it was the beginning of the end.”

Tears pooled in Ilva’s eyes, and her voice was barely audible, even above the scant breeze stirring the grasses. “Just when I thought I would die, he turned away. But I gave him nothing, Anya. Do you understand? I gave him nothing, because he took from me instead.”

Ilva’s hands in Anya’s were no longer trembling like delicate leaves. Now they shook like the earth beneath Weatherell that occasionally rumbled and shifted. As Anya watched in horror, the shaking spread. All of Ilva shivered and jerked, as if caught out in the bitterest cold.

Anya drew her own hands away and sat helplessly by, with one fist pressed to her mouth and the other to her middle as some unseen, insidious force wracked her sister.

At last, the shaking stopped and Ilva was still.

“Ilva?” Anya asked.

No answer. Froth stained one side of Ilva’s face, her head had tipped back as she shook, and her lips parted a little. Anya had seen many a dead thing in the woods around Weatherell, and her sister had the aching, unnatural look of something life had left behind.

“Ilva?” Anya’s voice broke on the word.

With the shallowest gasp, Ilva’s chest rose and fell again.

“Don’t go.” The warning came out ragged, cobbled together from caught breath and splintered bones and the last dying embers of Ilva’s once indomitable will. “Whatever happens, don’t go.”

“I’m right here,” Anya sobbed.

“No. That’s not…don’t go. Don’t let anyone else go. Promise me.”

Anya took Ilva’s hands in her own again. “I promise.”

“Be brave, little moon,” Ilva said, her eyes fixing on Anya’s one last time. “Will you…”

Her voice trailed off, and Anya waited.

But Ilva was still.

She did not move.
She did not blink.
She did not breathe.

After a few moments, Anya Astraea, who had sent her sister out to be a living sacrifice, curled up on her side with her head on Ilva’s lap. Everything inside her had gone still, too—still as stone, or as the frozen forest earth at midwinter.

Anya lay motionless until the sun went down. Then Philomena got up from her place by the hearth and led the people of Weatherell to the village’s final clearing. They found Anya there, lying beside the cold, stiff body of their failed offering. Anya would not rise, and had to be carried back to the village, for when Ilva left her again—this time irrevocably—her scant courage had utterly failed, swallowed up by a sea of guilt.

She dared not move.
She dared not blink.
She dared not breathe.

************

Can’t wait for A Consuming Fire? I’ve got other stories to tide you over. If you’re in the mood for a dark, atmospheric fairytale retelling, try A Rush of Wings, my Scottish Highlands-set reimagining of The Wild Swans. If you want a lush, romantic gothic fantasy, pick up A Treason of Thorns, in which the daughter of a disgraced nobleman must save her family legacy–a sentient, magical house–from the king who holds it in bondage. Or if a meditative, bittersweet reflection on the portal fantasy genre is more your style, consider The Light Between Worlds, in which two sisters struggle to readjust to life in our world after spending years adventuring in another.

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Writing Advice Weekly: Writing and Parenting

Lately, I’ve been fielding a lot of requests for writing advice. Questions are wide-ranging, but some crop up time and again, and so I thought in order to maximize my efficiency while still being able to help out anyone who wants my perspective, I’d put my answers to the FAQs of my direct messages and inbox here. I plan to cover one question weekly-ish, and am going to start with the Biggest Ask: how do you write as a job and fulltime parent at the same time?


To start with, a disclaimer: I am very fortunate in that while writing is my profession, I have a spouse with a job that provides health insurance, and a reasonable baseline income. I need to earn, yes, but I’m only able to do because I don’t need to earn that much (for most authors, writing as a career does not pay well) and I don’t need a job with insurance. However, in addition to writing as a career, I homeschool two children, and live nowhere near family. I do not have any childcare assistance beyond my spouse being the point person for our kids on the weekend while I work. I am also, for the most part, able-bodied, though I do have a chronic undiagnosed condition that causes fairly frequent pain, and that can entirely derail a day on occasion. Those are my supports and lack thereof, for you to mull over from the beginning of this conversation, because it bugs me when people write about juggling work and parenting only to reveal in the last paragraph that they’re independently wealthy or have a nanny or some such.

Back to the question: how do you write professionally and parent fulltime simultaneously?

In order to build a writing career while fulltime parenting, and to sustain both of those things over a lengthy period, you’re going to need a survival kit, because writing and parenting are both emotionally fraught, life-consuming endeavors. And if you do both at once, they will inevitably fight and try to eat each other. Your job is to constantly separate them, find a sliver of space in between (that’s called your “free time” and it is very literally going to be a sliver, do not expect to have much of a life beyond writing and parenting if those are two things you plan to undertake simultaneously), and then repeat the whole exercise over and over when the tricky beasts that are your twin vocations escape and fight again.

Like I said, you’ll need a survival kit.

And the first and most indispensable thing you’ll want in that kit is FLEXIBILITY.

You are going to get crushed by these undertakings if you’re too dependent on rituals or scheduling. Writing as a job means that sometimes you go for weeks twiddling your thumbs and other times, you’re on a deadline so tight it feels like it’s sucking your soul straight out of your eye sockets. Parenting, similarly, sometimes has its peaceful moments. But more often not. More often, it is an exercise in controlled chaos. Kids can derail your schedule and plans at the drop of a hat. They get sick, they have a hard time processing the world, they want to tell you long rambling stories, they need you to look and listen and love them. Writing wants your whole attention (publishing especially, but you shouldn’t give it). Kids want your whole attention. You cannot give it to both of them at once, but they will both require it sporadically. So be ready to upend the way you’re used to doing things.

For example, authors often get asked if they have any writing rituals. And I laugh, because I started writing with the goal of publication when my youngest was six months old. At that point, I wrote while I was nursing her. Later, I wrote while she (and then her younger sister) napped in the afternoon. When she dropped naps at age three, I started writing in the evening after the kids went to bed around 6:30. Now, my kids are nine and seven and don’t go to bed till nine. My oldest often isn’t asleep and requires a bit of attention until 10pm. Evening writing is a thing of the past. On hard deadlines, I sometimes go to bed at the same time she does, then wake up at 5am to fit in my words.

Because kids change constantly, and their needs change constantly, you have to be just as ready to shake things up if you plan to write and parent without losing your marbles. When COVID happened, we abruptly went from being a family where the kids went to school and I wrote while they were in class (half-day preschool and first grade) to a family that homeschools. I taught them all of kindergarten and second grade, and we’re now midway through first and third grades. From an education and parenting standpoint, homeschool is amazing for us. The kids are thriving, I love teaching them, the whole experience is fantastic.

From a writing standpoint, homeschooling has been an apocalypse. Because I cannot wring a day of teaching two separate grades and a day of writing out of my brain. So once again, I’ve had to change the way I do things.

And this is where your next survival tool, COMPARTMENTALIZATION comes in.

Neither school nor writing take up a full eight hour “work” day for me. They’re mentally very rigorous, but they do leave me with extra time. So what I do is this: Monday-Tuesday and Thursday-Friday we have school, and I do not write (unless some flash of masochistic inspiration strikes). I do, however, keep up to date on my social media accounts and continue with all the hours and hours of admin work that come along with writing. Answering emails, going back and forth about projects with my agent and editor, organizing and executing giveaways and preorder campaigns, creating promotional graphics and posts for my socials, working on mentorship opportunities I’m involved with/manuscripts I’m critiquing or blurbing, etc.

This adds up to 4-5 hours of sitting down school time (a lot of our learning opportunities and outings take place above and beyond this timeframe) plus an average two hours of extraneous author job stuff. So, you know. Still a pretty full day.

Writing happens on non-school days. Saturday and Sunday, and Wednesday. No, I do not routinely take weekends off. When I’m getting very worn out, I will take a few non-writing days. But on a regular basis, I cannot get both these fairly demanding undertakings done to a reasonable standard while having regular days off. Instead, I compartmentalize. My grandmother was fond of saying that a change is as good as a rest–it’s an adage I’m currently living by. Fortunately, a solid day of writing for me is shorter than a solid day of school and admin. I do less admin work on my writing days, and they tend to average three hours. Not bad, and I’m still able to do some leisure activities/have family time.

The next characteristic I think is indispensable to anyone wanting to write as a career while also parenting fulltime is RESOURCEFULNESS.

You need to be willing to completely rethink the way you’ve done things when the aforementioned need for flexibility kicks in. My creative process has entirely changed from what it was when I started writing and my kids required less emotionally and intellectually intensive time. In order to maximize efficiency, I went from being a pantser (someone who makes up their books as they go along) to someone who writes from a chapter-by-chapter outline–every time I sit down to work, I know from the get go what I need to be writing that day. I also, as mentioned above, pull 5am writing sessions to supplement my non-school day writing time when on a hard deadline, because I find myself able to teach after writing, but not vice versa. You will need to understand exactly what your writing requirements and parenting strengths and shortcomings are, and take them into account at every turn. No one is going to hand you time when you’re trying to do two all-consuming jobs at once. You will have to search for it, scrape minutes together, and get extremely creative with how you organize your schedule. Time is absolutely not something you’ll be able to be precious about.

The last tool I think is a requirement for managing to parent and write at the same time is MARGIN.

Remember that sliver between your two warring vocations I mentioned above? It may be small, but it needs to exist. You cannot draw from a dry well. It won’t yield words, and it won’t yield a positive relationship with your kids. Figure out what you can fit into the margins that will refill your creative and spiritual well. I like to watch an episode of Star Trek on my phone every evening–no one else in the family watches it except me, and I don’t write scifi, so it’s a thing I’m doing for no one besides myself. I also, when the kids are both busy with work at the same time during the school day, either read or knit. I always have a non-fiction book on the go–again, I don’t write non-fiction, so it’s not something I’m doing for my job. In the spring and summer, I garden. Sporadically, I bake. You must find time to maintain hobbies and an identity beyond writing and being a parent. Those are both great things. They’re both things that require a great deal of time and energy. But they are not who you are. It is dangerous to wrap up your identity entirely in an activity. You need to be more than the sum of your parts if you’re going to succeed at either of these undertakings, otherwise any momentary failure will crush you.

As you may have surmised, writing as a career and parenting fulltime is not a combination for the faint of heart. But if those are your twin passions–if you can’t see yourself giving either up–there are ways to make both work. They’re not always going to work at the same time–sometimes one will succeed in partially, or even for a season, wholly, consuming the other (parenting, I’m looking at you) but you can always regroup down the road. You can get flexible, compartmentalize as needed, tap into your resourcefulness, and draw from the creative well you keep filled by maintaining that small but necessary degree of margin.

Full disclosure: it won’t be easy. Sometimes it will downright suck. I’ve spent many late nights or extremely early mornings on my office floor in despair. But at the end of the day, I get to write novels for a living–the dream job of my childhood–while also spending the lion’s share of my time with my favorite people on the planet, ensuring they get a great education and days filled with wonder. For me, being able to do both those things is worth some of my seven-year-old’s favorite and most frequently referenced commodity–blood, sweat and tears.

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Pitch Wars 2021 Wishlist!

WELCOME!

[ID: apple blossoms fill the foreground of the picture, a path leading up to a house with a warmly lit window in the background]

Hey everyone! As many of you already know, I have the great privilege of volunteering as a Pitch Wars mentor this year. Pitch Wars is a mentoring program where published/agented authors, editors, or industry interns choose one writer each to spend three months with revising their manuscript. It ends in February with an Agent Showcase, where agents can read a pitch/first page and, if interested, request to read more. I entered Pitch Wars twice, in 2015 and 2016, and while I was never selected as a mentee, I had incredible and positive experiences building connections with fellow entrants and mentors alike. I still keep in regular contact with many people I met through the contest, and my entire critique group is composed of people I met directly or indirectly through Pitch Wars! All that to say, I’m absolutely thrilled to be involved as a mentor this year.

WHO THE HECK IS LAURA WEYMOUTH?

[ID: a green hillside sloping down to a pond at sunset. Someone in tall rubber boots and a sweater sits on the hillside. That someone is me]

For those of you who are new to Ye Olde lauraeweymouth.com, I’m an author of Young Adult historical fantasy, and will be mentoring within the YA category. My published works are The Light Between Worlds and A Treason of Thorns (both of which received multiple starred reviews) and the forthcoming A Rush of Wings, which is releasing on November 2nd! I’ve got another book, A Consuming Fire, on the docket for 2022 as well—what can I say, I like to keep busy 😉.

So, because I hope you all will end up pitching to me, I’m now going to pitch myself to you. I personally think I’m a GREAT option to send your query and samples to because, as aforementioned, I’ve got plenty of experience revising work of my own and leveling it up successively throughout different stages of the publication process. And not only am I a skilled writer, I also have plenty of experience mentoring, though this is my first year doing so via Pitch Wars. I’ve done long and short term critique work with other writers, and have several authors who started out as my mentees and are now dear friends with agents and publishing contracts of their own! My mentorship experience means I’m used to walking fellow writers through the setbacks of authorial world as well—with several of my prior mentees, I stayed on board to work through multiple manuscripts before we found the one that landed them an agent, and eventually a publishing deal. And I’m no stranger to setbacks myself—after all, I entered Pitch Wars twice and never got in! Think of me as a potential fairy godmother for this exciting step in your writing journey—someone who gets it, and who wants to see you end up the belle of the publishing ball, even if we have to cry over some lost slippers and smashed pumpkin carriages along the way.

WHAT I WANT

[ID: a rustic, oat-topped loaf sits on a plate, a white lace tablecloth beneath them both. Baked goods are a thing I want, though ultimately somewhat irrelevant to the subject at hand]

If you’ve stayed with me through all of that and are thinking “Well, bippity boppity boo, Laura, let’s do this!” here’s what I’m avidly seeking. As a general rule across genres, I am deeply committed to the movement to create a more diverse and equitable modern YA canon. In all genres and subgenres, I am eager to receive stories from historically marginalized voices.

Within YA, I’m searching for essentially everything that would fall under the umbrellas of Contemporary, Romance, Scifi and Fantasy. Within contemporary, I’m open to smart and funny books, dark and serious ones, or issue-driven stories. When it comes to humor, I love authentic, sarcastic teen voices, and kids who are a bit of a mess—if you have the book version of Netflix’s Never Have I Ever, I’d adore seeing it. However, I also love quieter, more thoughtful stories, and even downright tearjerkers. I have a soft spot for well done, careful mental health representation in particular.

In romance, I have no preference as to subgenre. Send me your space romance! Your contemporary romance! Your paranormal! All the romances are great so long as the central relationship is swoony. I tend to favor a slower burn, with loads of tension between characters, but am not the best choice for a manuscript featuring explicit sex.

YA needs to get onboard and make scifi happen. I have a PASSION for science fiction as a genre, and have been a devoted Trekkie since the tender age of 5. I especially love scifi that sheds light on current day issues and takes a more hopeful view of the human condition—The Sound of Stars by Alechia Dow and the Light the Abyss duology by London Shah are MAJOR standouts of the genre for me, so if you have something similar to those, I absolutely want to see it. I’m not picky when it comes to my scifi though—time travel, aliens, robots, the Creature from the Black Lagoon—I think they’re all the bee’s knees.

And lastly, fantasy. Oh fantasy. The thing I write, and my first and longest love. I’d like to see any and all iterations of YA fantasy, but have a special place in my heart for the dreamy, lush and literary. Similar to scifi, I adore a fantasy that says something relevant to our times and our world—if your fantasy manuscript has a definitive theme, like belonging, identity, etc, I’d love to take a look.

Within all genres, if you’ve written a story I might love that is currently NA, I’m willing to help you revise it down to fit the YA category.

MY MENTORING PHILOSOPHY

[ID: an image of forget-me-nots in my garden, because my hope is that if we end up working together, the experience will be, in the best way, unforgettable]

…is that I want you to end up with the best story you can possibly write, but that it still has to be YOUR story. I can make suggestions, and lend you my expertise, but the most important thing is that you come away with a book you’re proud of. To that end, I generally provide in-line comments on smaller changes that should be made, as well as a longer, more detailed edit letter. Once I’ve provided feedback, I’m always open to discuss changes with mentees via whatever communication mode works best for them—phone, Skype, email, I’m good with it all! If you’re unsure how to implement changes I’ve suggested or want to approach them in a different way, we can brainstorm, too. My mentorship style is very collaborative, and I’m happy to go back and forth to find just the right shape for your story.

AND THAT’S A WRAP!

[ID: a small black and white hen stares directly into the camera, because if you thought you were going to escape this post *without* a chicken picture, my friend, you were sorely mistaken]

I hope this has given you an idea of whether or not we might be a great team. If so, I can’t wait to get a glimpse at your work! If not, carry on to some of the other amazing mentor wishlists–one of them is sure to catch your eye 🙂

Pitch Wars 2021 Young Adult Mentors’ Wish Lists

  1. Mary E. Roach (Accepts NA)
  2. Amelia Diane Coombs (Accepts NA)
  3. Diana Urban
  4. Susan Bishop Crispell (Accepts NA)
  5. TJ Ohler (Accepts NA)
  6. Laurie Dennison (Accepts NA)
  7. Justine Pucella Winans (Accepts NA)
  8. Zoulfa Katouh and Molly X Chang (Accepts NA)
  9. Sonora Reyes (Accepts NA)
  10. Abigail Johnson
  11. Rosiee Thor and Emily Grey
  12. Carlyn Greenwald (Accepts NA)
  13. M.T. Khan (Accepts NA)
  14. Sarvenaz Taghavian
  15. Emery Lee
  16. Margie Fuston (Accepts NA)
  17. Aashna Avachat (Accepts NA)
  18. Allison Saft (Accepts NA)
  19. Fiona McLaren
  20. Jessica Lewis
  21. Brianna Bourne (Accepts NA)
  22. Jamie McHenry
  23. Meg Long and Rochelle Hassan (Accepts NA)
  24. Laura Weymouth (Accepts NA)
  25. Natalie Crown and Angelica Monai (Accepts NA)
  26. Skyla Arndt and Alex Brown (Accepts NA)
  27. Charity Alyse and Cimone Watson (Accepts NA)
  28. Emily Thiede and Lauren Blackwood (Accepts NA)
  29. Anna Sortino and Annika J. Cosgrove (Accepts NA)
  30. Jenny Perinovic and Kyrie McCauley (Accepts NA)
  31. Carrie S. Allen and Sabrina Lotfi
  32. Jamie Howard and Meredith Tate (Accepts NA)
  33. KL Burd (Accepts NA)
  34. Jennifer Yu (Accepts NA)
  35. Hoda Agharazi and Lyssa Mia Smith (Accepts NA)
  36. Em X. Liu and Grace D. Li (Accepts NA)
  37. Carly Heath (Accepts NA)
  38. Kiana Krystle (Accepts NA)
  39. Sarah Underwood and Kat Dunn (Accepts NA)
  40. Joel Brigham (Accepts NA)
  41. Dante Medema and Liz Lawson (Accepts NA)
  42. Aty S. Behsam and Maedeh B. Saaina (Accepts NA)
  43. Kylie Schachte (Accepts NA)
  44. Gabi Burton (Accepts NA)
  45. Aaron Cole and Tamara Cole (Accepts NA)
  46. Hannah V. Sawyerr and Olivia Liu (Accepts NA)
  47. Bethany Mangle (Accepts NA)
  48. Lane Clarke (Accepts NA)
  49. Sunya Mara (Accepts NA)
  50. Karen Bao (Accepts NA)


Click here to view all Pitch Wars 2021 Mentors’ Wish Lists. To view the wish lists by genre, visit this link.