- Nightmare Ink by Marcella Burnard ★★☆☆☆
- Consider Phlebas by Iain M. Banks ★★☆☆☆
- The Invisible Library Series ★★★★★
- The Invisible Library by Genevieve Cogman
- The Masked City by Genevieve Cogman
- The Burning Page by Genevieve Cogman
- The Lost Plot by Genevieve Cogman
- The Mortal Word by Genevieve Cogman
- Working Stiff by Rachel Caine ★★★★☆
- Legion Series ★★★★★
- Legion by Brandon Sanderson
- Skin Deep by Brandon Sanderson
- Lies of the Beholder by Brandon Sanderson
- Innkeeper Chronicles ★★★☆☆
- Clean Sweep by Ilona Andrews
- Sweep in Peace by Ilona Andrews
- One Fell Sweep by Ilona Andrews
- Alex Craft Series ★★★☆☆
- Grave Witch by Kalayna Price
- Grave Dance by Kalayna Price
- Grave Memory by Kalayna Price
(But what’s this, two novels with the same title? Stay tuned for a battle of the Night Lives and their goth protagonists.)
Onward to June! What’s on your to-read list?
Today’s blurb is brought to you by sci-fi fantasy sequel The Anmorian Legends: Legacy of the Sentinels by indie author Dhesan Neil Pillay.
Here’s the blurb that landed on our sacrificial altar:
“Following the battle between Thaedis and Rezaaran, The Anmorian Legends: Legacy of the Sentinels sees the young War Mage embark on a journey of redemption. However, in the wake of Thaedis’s victory on Zynoo, the Intergalactic Revolution of Independent Systems (IRIS) has lost a considerable margin against the tyrant’s Obsidian Dominion. The hope of freedom seems ever more distant.
Despite the odds, Rezaaran remains steadfastly determined and endeavours to unite a group of fabled warriors. But will this be enough to save Anmor from the coming darkness and defeat the nefarious villain who has bested him once before?”
The first, feathery impressions:
You can probably tell that I was thoroughly confused. Are Thaedis and Rezaaran names of countries or different factions? Is Zynoo a place? What’s the connection between the young war mage, Thaedis, Rezaaran, Zynoo, Anmor, Obsidian Dominion, and the Intergalactic Revolution of Independent Systems? what is a “journey of redemption” and why? How is finding fabled warriors a redemption plot?
I went back and read the blurb for book one to see if that might help me figure things out. Continue reading
“I am wondering if I lost something in the whittling down of this blurb.”
If you’ve gotta ask…
From that sentence alone, I know author David Wozniak totally knew in his heart of hearts what would happened when he cut his 200-word blurb to his 50-word elevator pitch and sent it into our merciless canary claws. The skies grew dark, women wailed in the streets, old men grew sorrowful and still.
Because, let’s face it, there’s nothing harder than trying to distill the essence of a 50,000+ word story into a few pithy sentences.
But let’s back up and take a look at David’s elevator pitch:
“Each year, Master Voider Democryos sends his brightest student into the war-torn countryside to work magic. But when the young Lady Marine leaves him for another man, he finds his own life ravaged. Forsaking the comfort of the citadel, he seeks to find her–not to gain her back, but to gain understanding.
Nothing goes as planned.”
First thought: The fewer words, the more each word matters.
In such a short piece, every word carries huge weight. Protip: Avoid using words that have no meaning to the reader. An easy example of this is “Master Voider” – I don’t know what it is, and that’s distracting. Continue reading
I’ve been checking the canary review request inbox periodically, browsing around for jewels to catch the eye, but last week, I decided to get serious about it.
The Unread pile had grown to a little over 600 emails since February, and I wanted to do something about it. Over the next hour or so, I cut the pile down to a more manageable 100 review requests that had piqued my interest, then down again to some 50 books to check out and try.
I thought I’d share some general observations about my process and what worked and didn’t work to intrigue me as I powered through the requests. Here are some things that immediately struck emails from consideration:
1. Not the right genre. Poetry anthologies, political thrillers, historical literature. Gone.
2. Couldn’t find the blurb. If I couldn’t immediately see what the book was about, or if it asked me to open an attachment to read the blurb, or if I had to click a link, I moved on. Continue reading
Happy Monday, canaries. We bring you a pitch-slapping to get this week rolling right. Today, we’ll be taking a look at the place that world-building has in blurb-writing. (Because the title of this post clearly isn’t spoiler enough.)
But before I dive into that, here is Heena Patwa’s blurb for her novel, Impossible to Love:
There is an age old story – some call it a myth, some believe it to be history. Nevertheless, the fact remains that there exist three different species who look alike. First are the underwater dwellers – the nymphs. The myth says that they are cursed never to find love. They are all females and mate with humans, killing them after the act. Second are the starlites. They can fly, and their hearts are cold as the snow covered peaks they live in. They are cursed never to feel love or get loved by anyone. The third is the human race. Humans can feel love, get love, cherish it and hence are considered worthy to rule everyone. The guardians are a group of starlites whose job is to protect the humans from the nymphs and they have got a new member- Sophia Antofurota.
Sophia gradually finds out that the royalty is hiding many secrets but never suspects that she can have any part to play in their schemes. Will she find out that the crown-prince is in love with her or will the world keep believing that starlites are impossible to love?
So…guys. Here’s the thing. Stop world-building in your book blurb.
The trivia about the race system in this world might be interesting and relevant to the overall plot, but it’s a problem when we don’t actually find out what the story is about until the tenth sentence in a story summary. In fact, of the 192 words in this blurb, only the last 72 talk about what the characters and plot. That’s the equivalent of having the first 189 pages of a 300-page story be about the details of the world’s myths and geography, and the last 100 pages, the actual story.
I don’t care how clever or unique your world system, or your five-class society, or your alternative reality. At most, you get half a sentence to describe your super special world-concept, and that’s only if it’s super vital to the story.
If I cut the world-building, here’s what we get: Continue reading