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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.

From Me to You, Life, the Universe, and Everything

Deep Magic and a Rosemary Tree

As a teen, I was a witch.

Or what I understood to be a witch, and what, I think, a lot of people would understand to be one too.

I grew from a line of impeccably faithful evangelical Christians into someone who snuck out not to meet romantic prospects or to go to parties, but to wander the nearest forest with a kerosene lantern and undertake rituals in a clearing among the pines. I did not follow a book, or have any sort of guide. I did not call on dark spirits. All I knew was that the Earth and the things living on it had a voice, and that I wanted to speak with them. That they were a choir, and I wanted to join their music.

In my twenties, I was a Christian. Or what I understood to be a Christian, and what, I think, a lot of people would understand to be one too.

I grew from a teen who haunted forests into a young adult who craved structure and care–to be tenderly shepherded by an all-knowing and loving power. I spent my time not among the trees but in a sanctuary. I followed a book; I had a multitude of guides. All I knew was that the children of God had a voice, and that I wanted to speak with them. That they were a choir, and I wanted to join their music.

The children of God, as it turns out, can bite in ways the woods do not, and I am a cautious person. Once bitten, twice shy, was an adage coined for careful souls like me, and it is difficult to unlearn wariness when every day, the fold is shown to hold new wolves in sheep’s clothing. But I’ve never yet lost my faith in the shepherd I sought out–that, I’ll carry with me till I die.

I am trying to unlearn wariness. Wariness of my scars and wariness I was taught in the sanctuary, of opening myself to the world around me. Of listening to the Earth, and the things living on it.

Which brings me to the rosemary tree.


I brought her home last month, because I knew I needed her. Rosemary is a good and giving plant; a steadfast and nurturing friend. Rosemary, since she was made (“Let the earth bring forth grass, the herb that yields seed, and the fruit tree that yields fruit according to its kind”) has been for clearing the mind and body, for opening the same, and for protection. Mine is proving true to type, good and giving, steadfast and nurturing, a daily reminder that there are more things in heaven and earth, Horatio, than are dreamt of in your philosophy. That all nature sings as round us rings the music of the spheres.

There are two things I believe whole-heartedly, down to the core of my being: that the spheres are turned by a good and loving power, and that the universe we inhabit is full of beautiful aliveness. That the rosemary tree and I each give up glory when we fully and joyously live the lives we were made for. When we give, one to another; me tending her, her tending me, each as we are able. I worship, not just because of the rosemary tree, but with her.


I want to speak with the things whose voices I unlearned. I want to join the great music and the great dance. I want, everywhere, to see glory, and to reflect back what I have seen.

For you shall go out with joy, And be led out with peace; The mountains and the hills Shall break forth into singing before you, And all the trees of the field shall clap their hands.

Isaiah 55:12

Most High, all powerful, good Lord,
Yours are the praises, the glory, the honor, and all blessing.

To You alone, Most High, do they belong,
and no man is worthy to mention Your name.

Be praised, my Lord, through all your creatures,
especially through my lord Brother Sun,
who brings the day; and you give light through him.
And he is beautiful and radiant in all his splendor!
Of you, Most High, he bears the likeness.

Praised be You, my Lord, through Sister Moon and the stars,
in heaven you formed them clear and precious and beautiful.

Praised be You, my Lord, through Brother Wind,
and through the air, cloudy and serene,
and every kind of weather through which
You give sustenance to Your creatures.

Praised be You, my Lord, through Sister Water,
which is very useful and humble and precious and chaste.

Praised be You, my Lord, through Brother Fire,
through whom you light the night and he is beautiful
and playful and robust and strong.

Praised be You, my Lord, through Sister Mother Earth,
who sustains us and governs us and who produces
varied fruits with colored flowers and herbs.

Praised be You, my Lord,
through those who give pardon for Your love,
and bear infirmity and tribulation.

Blessed are those who endure in peace
for by You, Most High, they shall be crowned.

Praised be You, my Lord,
through our Sister Bodily Death,
from whom no living man can escape.

Woe to those who die in mortal sin.
Blessed are those who will
find Your most holy will,
for the second death shall do them no harm.

Praise and bless my Lord,
and give Him thanks
and serve Him with great humility.

St. Francis of Assisi

The book I followed has led me to other books. The room full of guides has given way to a history and a world full of them. I am caught halfway between two things–between the witch and the Christian I was. But I am convinced that there is no need to give up magic simply because you call it miracle. That the meaning and potency and importance of things is not diminished simply because the power they hold is granted by something outside themselves; by something greater.

But ask the beasts, and they will teach you; the birds of the heavens, and they will tell you; or the bushes of the earth, and they will teach you; and the fish of the sea will declare to you. Who among all these does not know that the hand of the Lord has done this?

Job 12:7-9

I keep the Holy Family on my window sill. I keep them there to remind me of magic: that the divine had a mother, a country girl with nothing to recommend her besides the depth and breadth of her faith. Of her openness to the extraordinary, because when her world was infringed upon by angels, her response was “let it be to me according to your word.

I keep what I would have once considered witchcraft on my window sill, and what, I think, a lot of people would understand to be witchcraft too. It is a little thing, a bundle of cedar (for protection and cleansing) given to me as a gift, and clippings from the rosemary tree I am working and worshiping with. I draw in breaths of its resinous smell to focus, to help me find the still point, and to remind me of miracles: that I am alive in a world of bright living things. That the universe is full of wonders I will never understand, that I am loved immeasurably, and my sole duty is to love in return.


Whether it is the Holy Family or the rosemary tree that draws my focus and holds it, reminding me to give up glory, it is all worship. It is knowing that the children of God–in all their shapes and guises–have a voice, and I am speaking with them. That they are a choir, and I am adding to their music. And I think, in these moments, that I too, have the Spirit of God.

Amen and amen, and so may it be.

Craft Advice, Publishing Miscellanea, Writing Craft

How to Vanquish Your Murky Middles (+ a free Four Act Structure Template)

I have a problem with murky middles.

It’s a common woe among writers–you hit twenty or thirty thousand words in a first draft and your plot just…fizzles out. The luster of starting a new project fades. The exciting and climactic final act is still just a glimmer on the horizon. And you get stuck, in the bewildering, unexciting doldrums of moving your characters from a good beginning to a better end.

Many a time have I foundered in those very doldrums.

Over the years, I’ve learned to structure my plots not just around a thrilling finale, but also around a high-stakes, explosive midpoint. Previously, I envisioned stories as a steady uphill climb, where characters ended on a peak of revelation. And boy, was that climb a drag sometimes. Now I envision them as an entire mountain instead–there’s the uphill striving, the summit, and then a precipitous descent towards the inevitable arrival in new territory.

My amazing friend Wendy Heard has talked more extensively about midpoints, and her thoughts on the matter have really shaped the way I now approach plotting. Where I used to break things up into three acts (a la the very well known Save the Cat beat sheet) and the second act would lag, I now break plots into four acts instead.

However, I’m a very checklist-oriented person, and love to use templates. In my travels about the internet, I’ve never been able to find an existing template for four act structure that I really love. There are some templates out there, and some comprehensive breakdowns of how four act structure functions, but none of them really worked for me on a fundamental level.

So since I couldn’t find a four act structure template that entirely suited my needs, I cobbled together ideas from a few different sources (this fantastic post by Heather Cashman, this one by Mikhaeyla Kopievsky and this one by The Magic Violinist were all incredibly helpful) and made my own. Maybe it’ll work for you, maybe one of the structures I linked to will better serve, or maybe you’ll need to forge your own path like I did. But this is the template I’ve ended up with, and I thought I’d share. I’ve provided some well-known examples for each plot point within an act, though they’re from older books so the division of the four acts is different than you’d find in modern novels.

Without further ado…

A Four Act Structure Template, by Yours Truly

ACT ONE: Setting the Scene

Image by Sir John Tenniel

The Old World
This is where readers get a brief glimpse of the main character’s life and world to date. How does everything around them function before their adventure begins? This stage of the story is important because in order to appreciate changes the plot will bring, readers need to know what is being changed, and what (if anything!) will ultimately remain the same. Think Bilbo sitting on his doorstep blowing smoke rings during the opening of The Hobbit, or Alice dozing on the banks of the stream before her journey to Wonderland.

Inciting Incident
In a Hero’s Quest narrative, this stage is often referred to as the Call to Adventure. It is where something happens that beckons the main character away from their current circumstances and towards something new. It is the first whiff of change, though the protagonist may initially resist it. Again, think Bilbo unexpectedly being drawn into conversation by Gandalf, or Alice seeing the White Rabbit hurry by.

Initial Stakes
This is where the gentler invitation of the inciting incident becomes an insistent push. Something happens to tilt the scales in favor of the protagonist abandoning their old world and heading out into the unknown. There may be some distasteful quality of the old world the character wishes to escape–for Alice, the initial stakes are her current boredom versus satisfying her curiosity about the White Rabbit. Or, there may be something about the shift the inciting incident has provided that draws the protagonist in. For example, in The Hobbit, the dwarven dinner party provides Bilbo with his initial stakes–it piques the inherent adventurousness of his Tookish side coupled with wanting to be thought better of by the dwarves.

The Lock In
The lock in is where the main character goes all in. After the enticement of the inciting incident coupled with the intensification of the initial stakes, they’re fully invested in the events to come; they’ve reached the point of no return and proceeded to barrel past it. Again, this is Alice tumbling down the rabbit hole, and Bilbo tearing out of his comfortable hole to chase after the dwarves. The call to adventure has been both heard, and heeded.

ACT TWO: Heading Uphill

Image by J.R.R. Tolkien

Hatching a Plan
This is when the protagonist first takes ownership of their circumstances. Previously, they’ve been responding to external movers. Now, as their adventure really begins they must decide what their role will be in the new realm they’ve entered. This stage will echo throughout the remainder of the story, as it involves the main character committing to a certain vision of themselves and their place in the world. The vision can be wrong or right, or a bit of both. This is Bilbo choosing to become the burglar the dwarves hired him as when faced by the trolls; it is Alice drinking her first potion and fundamentally altering herself in order to navigate the strangeness of Wonderland.

False Calm
The protagonist’s proactive planning and new sense of identity seem to be paying off. They’re coping fairly well with their changing world, and it seems like the vision of self they’ve arrived at is an accurate one. Bilbo is of great use to the dwarves along their journey to the Lonely Mountain, using his self-image as a burglar to rescue them on multiple occasions. Alice uses her shape-altering capacity to move throughout Wonderland, meeting odd and interesting creatures.

Storm Clouds Build
Uncertainty begins to mar the protagonist’s competence and confidence, and signs point towards greater conflict to come. Things are set in motion that cannot be undone, and that the main character will have to reckon with before the end. They have nearly reached the summit of their uphill climb, and conflict is looming. For instance, Bilbo’s less than friendly encounters with the goblins and wood elves foreshadow the eventual Battle of Five Armies even as he arrives at the Lonely Mountain, and Alice’s meetings with the White Rabbit and Duchess serve as a preview of the tempestuous nature of the Queen of Hearts’ court.

THE CATASTROPHIC MIDPOINT: Gains and Losses

Image by J.R.R. Tolkien

All of the first and second act have been leading to this point. The protagonist must, for the first time, face the major conflict their journey and their current vision of self have been moving them towards. This may end in a total loss, or they may both gain and lose something from the encounter, but it will NOT resolve the plot–this is not climax of the story, but rather the thing that tips the protagonist over an edge to hurtle towards the climax. Likely at this point, the protagonist will learn their initial vision of self was flawed in some way, and requires correction. This is Bilbo successfully facing Smaug in his burglar role, only to pridefully raise his ire and indirectly cause the destruction of Lake Town; it is Alice finally getting through the little door to the beautiful garden only to find not the peace she sought, but the pettiness and danger of the Queen of Hearts’ entourage.

ACT THREE: Careening Downhill

Image by Sir John Tenniel

Initial Failures
Just as initial stakes pushed the protagonist towards a fundamental change, initial failures now push them towards a need to expand their understanding of the world and their place in it. They are faced with the consequences of attempting to overcome their major obstacle while harboring a flawed or incomplete sense of self. Bilbo, until now operating primarily as a burglar, sees Lake Town destroyed and the dwarves and others consumed by greed for the treasures he’s made accessible. Alice has a terrible time at the croquet game, is unable to use her skills to succeed at it, and begins to realize that Wonderland is truly a lawless and illogical place.

Dark Night of the Soul
The weight of carrying a flawed understanding of self, and of weathering the catastrophic midpoint followed by further failures, wears the protagonist down. They are defeated not only externally but internally at this point. This is their “all is lost” and “abandon hope” moment. But is just that–only a moment, and it must cause a greater understanding of their role in the new world as they reckon with their failures. This is Bilbo’s increasing unhappiness with the decisions of the dwarves as he realizes they’re making many unnecessary enemies, but that he’s tied his fate to theirs; it is Alice thinking she’s at last found sensible and sympathetic allies in the Mock Turtle and the Gryphon only to fail to understand them at all.

ACT FOUR: Crash-Landing and Reconstruction

Image by Sir John Tenniel

The Bitter Dawn
Armed with a new understanding of self that is informed by their failures as well as their successes and personal agency, the protagonist once again takes their fate into their own hands. The Bitter Dawn is the fulfillment of The Lock In in Act One: where they initially chose adventure and conflict, now they choose to move towards resolution, no matter the cost. This is Bilbo turning his burglary skills against the dwarves and attempting to trade the Arkenstone for what he now knows he truly values: peace and song and friendship. It is Alice returning to the Queen of Hearts’ court for the Knave’s trial, and attempting to bring order to the chaos at hand despite her own confusion.

Victory
The protagonist’s new sense of self is cemented by their sacrifice during the Bitter Dawn, enabling them to finally prevail over the forces arrayed against them. Frustratingly, Bilbo is robbed of active participation in the Battle of the Five Armies, but his overtures in the name of peace and his previous encounters with goblins force a victorious alliance between the humans, dwarves and elves, and his decision to leave the dwarven stronghold to seek peace arguably saves his life. Alice realizes that she does not require external agents to control her destiny in Wonderland, and that she can impose order on the looming chaos. She alters her size without help, and scatters the threatening army of cards.

The New World
With victory obtained, we are given a brief glimpse of the protagonist’s post-adventure life, mirroring our vision of the Old World in Act One. We see what has irrevocably changed, and what has stayed the same. Bilbo returns to Hobbiton, where he still enjoys his creature comforts but keeps very different company and is perceived very differently than before. Alice returns to her dull existence, but we realize that sleepy circumstances will never dampen the fire of her vivid imagination. All is as it was; all is fundamentally different. And so our story draws to a close

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

There you have it! A recipe, a template, an outline for Four Act Structure and an end to saggy story middles. I hope this proves helpful to at least some of you–may all your plots be cohesive, all your pacing airtight, and all your character development flawless <3


News, Publishing Miscellanea

A Rush of Wings Cover Reveal Plus Excerpt!!!

Today, I’m absolutely thrilled to be revealing the cover for my third YA novel, A Rush of Wings. Ever since I was a tiny girl, listening repeatedly to an audio version of Hans Christian Andersen’s fairytale The Wild Swans, I’ve been fascinated by the classic story of a devoted sister, her cursed brothers, and the daunting task she must undertake to set them free. As a teen, I tried to adapt the narrative and make it my own several times. But it wasn’t until years later, when I began to envision the events taking place against the backdrop of the rugged Scottish Highlands, that it truly came into its own. Without further ado, A Rush of Wings

Rowenna Winthrop has always known there’s magic within her. But though she hears voices on the wind and possesses unusual talents, her mother Mairead believes Rowenna lacks discipline, and refuses to teach her the craft that keeps their Scottish village safe. When Mairead dies a sinister death, it seems Rowenna’s one chance to grow into her power has passed. Then, on a fateful, storm-tossed night, Rowenna rescues a handsome stranger named Gawen from a shipwreck, and her mother miraculously returns from the dead. Or so it appears.

This resurrected Mairead is nothing like the old one: to hide her new and monstrous nature, she turns Rowenna’s brothers and Gawen into swans and robs Rowenna of her voice. Forced to flee, Rowenna travels to the city of Inverness to find a way to break the curse. But monsters take many forms, and in Inverness Rowenna is soon caught in a web of strangers who want to use her raw magic for their own gain. If she wishes to save herself and the people she loves most, Rowenna will have to take her fate into her own hands, and unlock the power that has evaded her for so long.

Here is Rowenna herself and her swan-cursed boys, in all their tumultuous glory. I could not be more thrilled about how the cover artist, Kim Ekdahl, has captured Rowenna and the individual nature of each of the boys in her care.

Cover art by Kim Ekdahl, Design by Debra Sfetsios-Conover

You can add A Rush of Wings to your reading list on Goodreads or Storygraph!

And lastly, if like me, you’re the sort who likes to sample the merchandise before you buy it, well, discerning reader, I have an excerpt just for you 😉

A RUSH OF WINGS

Prologue

“When will you show me how to do that?” Rowenna Winthrop asked her mother. She was newly turned nine, and Mairead had been promising for years to teach her the secret of working craft.

They were out on the headland beyond the village of Neadeala, where the cliffs grew steep, dropping from a breakneck height to narrow spits of shingle where waves shattered and foamed. Mairead had a shovel with her, and was digging up stones, which she laid in waist-high cairns and infused with protective power.

“Not yet, love. Not for awhile,” Mairead said absently, but a frown drew her golden brows together. Rowenna flushed with shame—she knew what her mother was thinking of. Only that morning Rowenna had let her brother Duncan, the closest to her in age, tease her into a towering passion. She’d thrown herself at him, pummeling her brother with her small fists while he only laughed.

“If I could, I’d string you up by your toes,” Rowenna had hissed at Duncan. “I’d skin you alive and pull your guts out and feed them to the cliff wyverns. That’d teach you a lesson.”

Mairead, fair-haired and forever composed, had overheard it all from across the single long room of the Winthrop’s cottage. She’d been standing before the tall, warp-weighted loom at which she wove fine woolen broadcloth to sell. Her hand holding the shuttle stilled at Rowenna’s sharp words, but she’d said nothing—just taken it all in and carried on with her work.

Rowenna knew, though, that this was why Mairead would not teach her craft—the making of stone cairns into wards, and the fashioning of green and growing things into charms or possets. You must have control of yourself in order to work with power, Mairead reminded Rowenna often.

And Rowenna knew Mairead saw no signs of that control in her yet.

“Maybe next year?” Rowenna asked hopefully, and Mairead smiled, her cornflower blue gaze soft with affection.

“Aye, love. Maybe next year.”

~~~~~~~~~~

“Do you think I’m ready now?” Rowenna asked, trying vainly to keep impatience from creeping into her words. It was midsummer of her thirteenth year, and two summers back she’d begun to hear the voice of the wind. It made little sense to her, but Mairead had told Rowenna it was a good sign, that she’d work powerful craft when her time came, for a piece of nature itself had chosen to be her ally.

Yet her time never seemed to come.

Once again, they were on the cliffs, but today they kept near home. The Winthrops’ stone cottage stood a hundred yards away, smoke spiraling from the chimney. A shaggy cow cropped grass at the end of a picket and Rowenna’s youngest brother Finn, who was only two, lay napping on a blanket in the sun.

Mairead, who’d been burying iron nails at intervals in the rich peat soil, straightened and glanced at Rowenna.

“What did George Groom say to you on Sunday after church?” she asked. “I know he can be a difficult lad—Duncan’s fought with him a dozen times if he’s done it once.”

Rowenna looked down at her feet.

“Enna,” Mairead coaxed. “What did the boy say?”

“He said you’re a witch,” Rowenna answered reluctantly. “And that I must be a witch too. Not just that, either—he said…”

She faltered. But Mairead was waiting, her beautiful face mild and expectant.

“He said I must be the spawn of a union between you and the devil himself, because I look nothing like you or my brothers or like Athair,” Rowenna finished, using the Gaidhlig for father as was her practice.

“I’m sorry,” Mairead said. Pity underpinned the words, but with a sickening drop of her stomach, Rowenna guessed what would come next. Her mother was too shrewd and too clever by far.

“What did you say in reply?” Mairead asked. There was no accusation in the question. It was just an inquiry after fact, but Rowenna felt pinned down, like a gutted herring staked out to dry.

“I said he was right and that I’d lay a curse on him,” Rowenna replied. “I told George I’d ask the devil, my father, to drag him down to hell for fighting with Duncan and speaking ill of you.”

Even now, she couldn’t keep a note of anger from ringing out with her words. How dare George say such things, when everyone knew how hard the Winthrops worked, and that the Grooms were shiftless and lazy, the whole lot of them?

“Hm.” Mairead took an iron nail from her apron pocket and set it into the earth. “Go check on Finn, won’t you, love? I think he’s waking.”

And Rowenna knew she should not ask about craft again for some time.

~~~~~~~~~~

“I’m fifteen today,” Rowenna said desperately to Mairead as they stood side by side, washing the breakfast dishes. “Athair reminded me this morning before he left.”

There were English soldiers billeted at a few of the homes in Neadeala, and Rowenna’s father Cam was in a rage about it, though no troops had come to the Winthrop cot on its lonely clifftop. Cam had kissed Rowenna upon waking, and told her happy birthday, and gone straightaway to Laird Sutherland to see what could be done about the redcoats in the village.

Likely nothing, Rowenna knew. Ever since the English king had sent his youngest half-brother to Inverness to be rid of him, small battles and uprisings had sparked intermittently across the Highlands, like so many torches guttering to life only to be snuffed out. The boy in Inverness was ambitious, folk said, and determined to set up a court to rival that of his kin in the south. He’d come with troops of his own, and Rowenna had overheard Cam say time and again that the Highlands were a scapegoat England had used to avoid yet another bloody civil war.

But they were not used to servitude in this wild and free place. Fealty to a laird was one thing. The tyranny of a distant king’s inconvenient relation and the yoke of bondage that came with him was quite another. In the Highlands, that could not be borne.

“Fifteen today!” Mairead gasped, her face lighting at the reminder. “So you are. I’m sorry it slipped my mind with all that’s going on. Poor Enna, scrubbing the porridge pot on her birthday. Dry your hands and come sit a moment with me—the dishes will keep.”

Obediently, Rowenna wiped her hands and let herself be drawn over to the hearth, where Mairead settled into a rocking chair and Rowenna sat on the floor, resting her head against her mother’s knees. Mairead ran one hand over Rowenna’s black hair and the girl shut her eyes, knowing what would come next. It was tradition between them, that every year Mairead would recount the story of Rowenna’s birth.

“The night you were born, the sea raged at our shores,” Mairead began, and Rowenna smiled. She knew this story by heart, but loved to hear it told. “I’d never seen weather to match it—the waves beat so hard at the cliffs that their spray hit against our windows, along with the rain. It was as if the ocean and I had chosen to make war with each other, both of us laboring away as the night dragged on. Finally, near dawn, you slipped into the world. But as you did, the breakers below the cliffs surged so high and the wind gusted so fiercely, one of the storm shutters tore from its hinges. When the midwife held you up to the lantern to look at you, salt spray caught you full in the face. You squalled at the sea and the sea squalled back, and that was your first baptism, by the wind and the ocean, before ever a priest laid hands on you.”

Mairead’s touch was gentle as she combed through Rowenna’s hair. Opening her eyes, Rowenna stared at the peat embers burning on the hearth, and gathered her courage.

“All I want this year is for you to teach me our craft,” she said, and regretted the words the moment they’d left her. Once she’d spoken her heart’s wish, it could not be unsaid.

Mairead’s hands stilled, and Rowenna knew at once that the answer would be no again.

“I saw you,” Mairead told her, and a hint of reproach crept into her mother’s gentle voice. “I saw you in the village, Rowenna, when that redcoat passed you by.”

Ice lodged itself in the pit of Rowenna’s stomach. Only the day before she’d gone into Neadeala with Mairead, to buy sugar and lamp oil. One of the billeted redcoats had brushed against Rowenna and said something foul as he did.

The wind had been rustling about her, restless and longing, murmuring over and over to itself in its senseless way.

Rowenna Rowenna Rowenna, our love, our own, our light.

And Rowenna, who had not yet received a moment’s instruction in craft, yielded to temptation and tried to curse the redcoat. With one piece of her, she reached out to the wind, and with the other she focused all her hurt and spite and shame on the retreating soldier. What she wanted to bring about with her unschooled craft, she didn’t know. But she longed to sting, as she had been stung. She’d found herself spineless and powerless, though, and that had cut her deeper than even the redcoat’s words.

“I can’t teach you yet,” Mairead said decidedly. “But you must keep asking, my saltwater girl.”

Her hands began to move again, once more running through Rowenna’s hair. “Even rock wears away before saltwater in the end. One day, you’ll be ready.”

Rowenna was relieved to have her mother at her back, so that Mairead could not see the hot tears yet another dismissal brought to her eyes. For the first time, despair washed over the girl. She would never be free of anger. If that was the requirement for learning craft, then she’d have to live all her life in ignorance, and cut off this part of herself entirely.

“Yes, Mathair,” she said dully. “I can wait.”

But in her heart of hearts, Rowenna knew she would not be able to bring herself to ask for her mother’s help again.

Chapter One

Three Years Later

Rowenna found her mother on the clifftops to the northeast of the Winthrop cottage. It was a storm-tossed March night—the sky was a boil of approaching thunderheads, and Mairead Winthrop crouched on her hands and knees, scrabbling for stones in the scant, unyielding earth of the cliffs.

It hadn’t been hard for Rowenna to find Mairead. A nameless something, a pull at her bones, had alerted her to the fact that her mother was missing and drawn her here. The untapped craft within Rowenna led her places of its own accord with increasing frequency now, but she said nothing of it to anyone, and ignored the call when she could. Mairead had made it clear enough that Rowenna was ill-suited for this sort of work, and too undisciplined for power. And Rowenna had resolved not to grasp for power if that was so. If she had to wait a lifetime to be taught her craft, then wait she would, even if the wordless pulls and yearnings within her tore her apart.

Mathair, come inside,” Rowenna begged. “This is no weather to be out in.”

Anxious things clawed at the insides of her ribcage at the sight of Mairead. The oncoming storm hadn’t yet swallowed up the last grey light of dusk, and she could see that her mother was filthy. Dark soil stained Mairead’s clothes and clung to her skin, and her nails were broken and bloodied from wrestling with rocks she’d dug up and built into a lopsided cairn. Far below them, the angry sea worried away at the cliffs, its constant muttering having built up to a discontented roar.

Whatever Mairead was doing, Rowenna did not understand it. All her life she’d sat by observing her mother’s craft, trying to still the shards of it that lurked beneath her own skin until such a time as she was deemed ready. An all too familiar sense of frustration and confusion washed over Rowenna, bitter enough for her to choke on.

“Go home, Enna,” Mairead pleaded. “There’s nothing you can do to help.”

Rowenna stayed as she was, wracked with indecision.

You’re not ready yet, Mairead had told her so many times, with or without words. Perhaps you never will be.

But there was hunger in Rowenna Winthrop, no matter how she strove to keep it in check. A hunger to know her inexplicable pieces better. A starveling desire to be whole and understood, even if only by herself.

“Enna!” Mairead insisted.

Rather than do as she was bid, Rowenna sank to her knees at her mother’s side. A cold, fitful rain was starting up, and she knew if her father, Cam, had been there, he’d have dealt with this very differently. If he’d been home, he’d have coaxed Mairead in out of this weather, taking her back to the Winthrop cot and warming her by the fire. He’d have soothed her with quiet words and his steadfast presence, the way he’d done for all of the Winthrops at one time or another.

But Cam was gone and had been for months. The English tyrant in Inverness still kept his upstart and unwanted court, and the disparate sparks of rebellion had been fanned to full flame by his cruelty. Cam had left to join the Highlands uprising, and in his absence, there was only Rowenna to manage Mairead’s fey moods, for her brothers found them entirely unnerving. Well, so did Rowenna, but she did not have the luxury of casting off her mother’s care onto someone else.

Setting her lantern down, Rowenna pushed up the sleeves of her oilskin and slowly began to dig at Mairead’s side. It seemed simple enough—to pull rocks from the earth. There was no craft in that on its own. No witchwork. Her mother was sobbing with fear, the whites of her eyes gleaming in the lantern’s feeble glow. It was catching, that fear, and however benign the work, soon Rowenna’s belly roiled with nerves. She’d seen Mairead compelled to do things before—to build her cairns on the clifftops at the solstices and equinoxes; to spin yarn and knit new pullovers for every one of the Winthrop boys well before their old clothes had worn out.

But none of it had ever been like this.

This wasn’t just a compulsion. This was raw panic.

The wind died down for a moment, and Rowenna realized with a chill that the strange, rhythmic sound she’d heard beneath the gale was not the omnipresent sea, breaking against the shore, but Mairead herself. Her lips moved constantly as she muttered the words of the Our Father, over and over again as she worked.

Our Father, who art in Heaven
Hallowed be Thy name
Thy kingdom come, Thy will be done…
Deliver us from evil
Deliver us from evil
Deliver us from evil


Mathair?” Rowenna finally managed to get the word out. She pried a rock free from the iron-hard earth and handed it to Mairead, who took it with a shamefaced look. “What is it you’re afraid of? What are you doing? And how can I help?”

It was the first time in three years that Rowenna had put a question to her mother about the nature of her work.

Mairead glanced towards the sea, her eyes owl-like in the gloom.

“I’m making a ward,” she said. “A hedge against the devil and his creatures. A work of protection, built of hard stone and unshakeable intent.”

Rowenna’s throat tightened and she let the mud-slick rock she held fall from her hands. “I can’t help you then. I don’t know how to make a ward. You know that.”

“Just go,” Mairead ordered, her voice ragged with despair. “Please, Enna. There’s nothing you can do here.”

Slowly, Rowenna got to her feet and looked down at Mairead. And despite her own ignorance, despite the mistrust that had driven a wedge between them, Rowenna loved her. Loved Mairead with a fierceness and wildness made sharper by the tension of knowing her mother saw her as too quick-tempered to help in this work.

“Come with me,” Rowenna pleaded. “Whatever you’re doing can wait. No one’s asked you to take on the burden of protecting this land—it’s too much, and you’ll get no thanks for it in the end. Leave it, and come home.”

When Mairead looked up, there were tears shining in her eyes, but she shook her head. “I can’t, Enna. I just can’t. Someday you’ll understand.”

That cut Rowenna to the quick, because were it not for Mairead’s resistance, she’d understand already. All around them, the wind keened across the moorland, repeating stormy words in a hollow, rain-sodden lament.

She comes, she comes, she comes.

Scrambling to her feet, Mairead disappeared into the deepening twilight. Wind howled over the cliffs and set the rain to stinging like bees by the time she returned. Rowenna glanced up and a strangled gasp escaped her, for under one arm her mother bore an incongruous burden—a great white trumpeter swan, the creature oddly quiescent with Mairead’s hand covering its eyes. Rain beaded off its soft plumage, and its neck arched gracefully.

“What are you—” Rowenna began, but Mairead shook her head. She set the swan down atop the completed cairn, and the bird stood up, ruffling its feathers.

Eala,” Mairead said, calling the bird by its name in Gaidhlig. “For years I’ve helped your kind on their long journeys across the sea. Now I stand here in need of an offering from something wild and pure to make fast my ward, and protect this land. Will you do as I ask? Will you help me?”

Rowenna shivered as the swan bowed low. Since she was a child, she’d fed the swans with her mother when they stopped in their wandering from north to south. A handful of times, when birds arrived exhausted or injured, she and Mairead had taken them in, tending to them at the Winthrop hearth until they were well enough to carry on.

Mairead bowed back. “Thank you, beloved.”

But when Mairead reached into the pocket of her overskirt and pulled out a sheathed gutting knife, Rowenna could watch no longer. It was one thing to be up on the cliffs laying out wards in a gathering storm. To do harm to a living creature with this strange work, though—that was more than even Rowenna with her hunger had ever wanted. That felt like darkness.

Her eldest brother Liam with his priest’s leanings would have a thing or two to say about all this. Ungodly, he’d call it. Unforgivable.

“No, Mathair,” Rowenna said breathlessly, hurrying forward and taking hold of Mairead’s arm. “Surely there’s another way to finish your work.”

“Enna, I asked you to go for a reason. But it’s only a little blood,” Mairead assured her, quieter and calmer now that her work seemed to be near-finished. “Just a drop or two. The swan will be fine, love. We’ve done it before, the swans and me.”

“You’ve done this before?” The knowing that her mother had repeated this ritual in secret burned through Rowenna. It was as if an entire other life existed, beyond the one Rowenna knew, and Mairead had struggled to keep her out of it. Yet it should be hers by rights—didn’t her bones cry out for power and craft, just as her mother’s did?

Betrayal made Rowenna angry, and she chose her words with the intent of wounding.

“I didn’t realize that all this time, you’ve been just what they say you are in the village.” Rowenna spoke with defiance, and for the first time that she could remember, Mairead met her sharpness with answering anger.

“Say the word if you’re bent on doing harm,” Rowenna’s mother snapped.

“You know what it is,” Rowenna answered.

“I do. But I want you to speak it.”

Rowenna drew herself up. “They call you a witch. And they call me a witch too, though I’ve none of the craft of one. I bear all the blame, and none of the power.”

Her voice wavered a little at the last, and Mairead winced.

“Enna, I’m sorry,” she said, her words hardly audible over the wind’s cries. “I’m sorry I was cross with you and I’m sorry for what they say. I didn’t want any of this for you. Believe me when I tell you that all I’ve ever wanted is to keep you and our village safe.”

“Then let me help in earnest,” Rowenna pleaded. “Show me what needs to be done. Teach me. We’ll finish this work together, and when it’s complete we can go home together, too. The boys are waiting. Finn’s asleep, but Liam will read aloud, and you and I can help Duncan untangle his nets. Then in the morning, let me keep helping you, Mathair. Stop trying to cut me off from who we are and what we can do.”

Mairead hesitated, glancing from the swan to Rowenna and back again.

“You’re a good lass, Enna,” she said. “Truly you are. I don’t know what your father and I have done to deserve you, my saltwater girl.”

Rowenna swallowed back tears and waited, hardly daring to breathe.

“Alright,” Mairead said at last. “I need you to show me your courage now, if you’re to be a help.”
Still standing on the cairn, the swan regarded them both with knowing dark eyes. But as Mairead and Rowenna turned to it, something startled the creature. It half-ran, half-flew past them, wings buffeting the air as it fled.

Eala!” Mairead called, and started after the swan. “Don’t leave me. Our work’s not done!”

From somewhere in the gathering dark, the creature let out a riotous trumpeting which echoed off the stormy cliffsides. Rowenna ran after Mairead who chased the swan, until abruptly, the clamorous sounds of the white bird were cut off. Mairead froze, and Rowenna fell still at her side.

“What is it, Mathair?” Rowenna asked, her voice little more than a whisper that the wind caught and carried away.

“I don’t know.” Mairead shook her head. “I don’t know, but my work will have to stay unfinished. We’ll be safest at home now. Come with me, and hurry.”

She grasped Rowenna’s hand and pulled her along, and Rowenna went willingly, heart beating so hard within her that it hurt.

They were just passing Iteag Burn, where a stream rushed over the cliff face and down a steep track to the sea, when Rowenna tripped and nearly stumbled. Pausing, she lowered her lantern only to find one of Mairead’s cairns in a scattered heap. Atop what remained of it lay a shapeless white and crimson object.

Rowenna’s pulse quickened, and for a moment her breath refused to come.

“Is that your swan?” she finally managed to get out.

Without answering, Mairead stepped forward. When she set a hand on the white shape, the once-elegant head and neck of the swan lolled over her broken ward. The creature’s breast feathers were sodden with gore, for it had been torn apart, its ribcage split and all the soft and vital pieces inside stolen, so that it was no more than an empty husk. No more than the twisted idea of a bird, rather than the thing itself.

“What did this, Mathair?

She comes, she comes, she comes, the wind sang desperately to Rowenna, as unreasoning fear woke inside the girl.

“I won’t speak the name of the thing that’s done this. Not here, not tonight,” Rowenna’s mother said with a tense shake of her head. “But I mustn’t leave the bird, not when it would have offered me blood to keep us safe. I must at least give it back to the sea.”

Mairead glanced at Rowenna, and the girl’s chest ached with fierce devotion, and with familiar hunger and longing.

“I think I’ve been wrong, to keep you in the dark,” Mairead said slowly. “And I think you’re ready. You are who you are, and there’s no changing that. We’ll work together from now on, my saltwater girl. Just as soon as we get through this night.”

When she pressed a kiss to Rowenna’s forehead, it felt like a benediction. Like a new beginning. Like the moment Rowenna had waited for all her life.

Mairead bundled up the broken swan and carried it to the edge of the cliff. There she lingered, murmuring something to the lifeless bird, but her voice was stolen by the wind. Toeing blank space with the breakers pounding endlessly against the shore below, she let the dead swan slip from her arms. There was a flash of white, and the darkness and the distance swallowed the creature up.

At last Mairead turned back to her daughter, and to the blur of the Highlands, shrouded in stinging rain. She reached out, and for the briefest, tantalizing moment, her fingers brushed warm against Rowenna’s own.

In spite of the storm, Rowenna smiled, overcome by a surge of pure relief. Things would be better now that they’d come to an understanding. Mairead smiled back, and for a moment Rowenna’s fear quieted.

Then with a strangled cry Mairead was torn away, as something reached out of the darkness and dragged her down the wet and treacherous track of the burn.

I hope you enjoyed this sneak peek at A Rush of Wings! As we head towards fall, I’ll be running an exciting preorder campaign, so keep watching this space or subscribe to my newsletter for updates.

Wishing you love and light, health and happiness,
~Laura