Miranda Joy's Blog

Will Writing Ever Be Easy?

Maybe there are some writers out there who consider the process easy, but for most of us, it’s one of the greatest challenges we embark on during our writing lives. Writing can often be creatively defiant, emotionally taxing, time-consuming, and mentally exhausting. And this is all on top of fitting writing into the normal challenges of our day-to-day lives. Will writing ever be easy for those of us who find the process difficult? Probably not, if we’re being honest here. But do not fret! There are things we can do to make minimize the challenges and maximize our writing process. I interviewed eleven self-published authors about their favorite pieces of advice to help their own writing process. Though there is no “one size fits all,” what they had to say was insightful and it reminds us that we’re not alone on this crazy journey we call writing. So, without further ado, I present to you “Writing Made Easier: 11 Indie Authors Share 11 Writing Tips.” 

Ways to Make the Writing Process Easier:

“You Can’t Edit a Blank Page” – T.M. Ledvina, author of Of Blood, Bones, and Truth
 

This piece of advice might be common, but it’s straightforward and worth reminding ourselves of. When asked how this piece of advice impacts her own writing, Ledvina admits she is a pantser (a writer who writes by the “seat of their pants” or does not plan). She says she often overwrites her first draft, but there’s a beauty in that because it gives her more fodder to work with during edits. She says, “reminding myself that the scariest part of drafting is the blank page makes me want to fill it with words. I can make them great later.”

(IG @tiamae.books)
http://tmledvina.com  
“Write What You Love to Read” – Noelle Rayne, author of An Empress of Air & Chaos


Author Noelle Rayne implores us to remember that we were readers long before we were writers. She expresses that “if you write what you love to read, you will always appeal to an audience.” Rayne mentions suffering from imposter syndrome and says that she combats this by writing what she loves to read. She says it has “allowed me to build a fan base without really trying.” She believes that focusing on the stories we love to read, and ultimately love to tell, will not only attract our ideal readers, but it will allow our “passion and talent [to] come through.”

(IG: @authornoellerayne) 
https://www.noellerayne.com/ 
“Have Fun!” – Molly Tullis, author of Consort of Darkness


When asked why this tip is important to her, Tullis says, “I dragged myself over the coals worrying about my first drafts…but I wasn’t having fun.” In conjunction with Rayne’s previous tip, Tullis mentions that it “helps [to] write like a reader” and get in touch with the elements of story that draw us in as readers. Tullis’s writing process was changed by “writing conversations or characters [she] enjoyed depicting…and people fell in love with the story that much more.”

(IG: @thebibliophileblonde)
“Build a Community” – Nicole Platania, author of The Curse of Ophelia


In a writing-adjacent tip, Nicole Platania reminds us of the importance of a writing community. She says, “lean on your author friends, celebrate their wins and your own, and commiserate together when things aren’t going so smoothly.” Being a writer, especially being an indie author, can make us feel secluded or misunderstood. Platania says a community “helps the isolated act of writing feel less lonely” and ultimately enhance the writing experience.

(TikTok & IG: @bynicoleplatania)
https://nicoleplatania.com/ 
“Don’t Force It” – Jordan Dugdale, author of The Tidings of Misfits


Writer’s block—or burnout—is a real fear for most writers. To combat this, Dugdale says she never forces it. Instead, she tries one of three methods: “writing a scene at a different part of the book…writ[ing] a short story that involves the characters …or work[ing] on a different [project] entirely.” She finds that these exercises give her a break and allow her to move forward more than focusing on word count for the sake of hitting numbers would. In fact, she finished her second book in half the time of the first, simply because she eliminated the deadlines she was starting to resent.

(IG: @jordandugdaleauthor) 
http://jordandugdale.com 
“Create Your Own Writing Process” – Cass Geller, author of The Golden Key


Cass Geller brings up an important point: “there is no wrong way to write a book.” She reminds us not to get overwhelmed with utilizing specific writing tips, but rather, finding the process that works best for each of us. Sometimes that involves mixing and matching advice or methods. She encourages us to “try out different methods and [not] be afraid to change the process up.” As with anything in life, our processes will change, and we should embrace those evolutions.

(IG: @wonderlandandwhisky) 
http://www.wonderlandandwhisky.com 
“Use Memory to Write Descriptions” – C.A. Farran, author of Songs of The Wicked


C.A. Farran’s tip is a good lesson in how advice will resonate with each of us differently. Previous writing advice instructed her to write character descriptions a certain way. However, she noted that these tactics didn’t work for her. But when she heard “have your character describe the room from memory,” things clicked. Instead of writing a “grocery list of descriptions,” she was able to dig deep into the character’s memory to describe the surroundings. She even uses her “own memories as examples to see what details stuck out.” 

(TikTok & IG: @c.a.farran) 
http://cafarran.com 
“Use the Enneagram for Character Personalities” – V.B. Lacey, author of Long Live


Regarding the enneagram, V.B. Lacey says “it’s an excellent resource to use when building your characters because it provides lengthy explanations for why each type reacts to the world the way they do” and how their strengths, weaknesses, and other traits influence their lives. After diving deep into her characters’ personalities, she “used the Enneagram Institute” to guide her when she got stuck. She made sure to honor her character’s voices and stories, but she used the “Enneagram as a sounding board.” 

(IG: @vblacey.books) 
http://www.vblaceybooks.com 
“Start a Social Media Presence ASAP” – Jenn Lynn Adams, author of Daughter of the Underworld


Jenn Lynn Adams mentions how important a social media presence is. She says, “not only does it motivate you to keep going, it builds a following of like-minded individuals.” She recommends sharing progress and tracking the journey to publication to connect with others. She notes the added accountability can help during the writing process. And when it came to publish, Adams says, “I already had a following…rooting for me and looking forward to my book.”

(IG: @authorjennlynnadams) 
https://jennlynnadams.com/ 
“Write the Book” – Jenny Hickman, author of A Cursed Kiss


Jenny Hickman touches on something most of us can relate to when she says, “so many people say they have a great idea for a story and even start writing but never finish.” She expresses how easy it is to get lost in ideas or research, especially as a new writer. But ultimately, none of that matters as much as actually writing the book. Hickman says, “it wasn’t until I sat down and put pen to paper, that I really found out how much effort and persistence it takes to craft an entire story.” At the end, revisions and a good editor can help take the story to the next level, but “you’ll never get to that stage if you don’t finish.”

(IG: @authorjennyhickman) 
http://www.jennyhickman.com 
“Go at Your Own Pace” – Alek L. Cristea, author of Breakout


Alek L. Cristea says “it has taken me years to understand my pace.” After getting over the initial fear of not being productive enough, he found what works for him: a series of short, intense writing bursts. Cristea says, “I let myself breathe, and stopped needlessly burning out every other week” simply by honoring his natural rhythm. Cristea reminds us that “a book is written a word, a sentence, a chapter at a time, and sometimes it is written when in the shower or when cooking a meal, or simply when taking the time to breathe, watching the world go by.”
(IG: @cyber_spines) 
https://www.aleklcristea.com/ 

What Can We Learn from These Insights?

The biggest takeaway here is that there is no single answer or piece of advice that will magically solve all of our writing problems. Rather, it’s the reassurance that we’re not alone. All writers struggle with some aspect of their writing at some point in time. There’s a sense of camaraderie there—a shared pain that draws us closer. 

Unfortunately, there is no single way to make the writing process easier. It’s a combination of factors and can take some experimenting to find what works best for you. Not every piece of advice will resonate with every writer, and that’s okay. Sometimes all it takes is finding that one tip that—that “AHA” moment—that clicks everything into place for us. And sometimes, different tips help us during different stages of our life, or during different books.

Though many of my favorite pieces of advice are already mentioned here, another of my favorites is “trust your gut.” Listen to your instinct, follow your heart, and let the story spill from your soul. At the end of the day, YOU know what’s best for the story you’re trying to tell. Stay true to you and your story, and you will shine. 

The post Writing Made Easier: 11 Indie Authors Share 11 Writing Tips:  appeared first on Author Miranda Joy.

When self-publishing a book, there are many additional responsibilities that fall on the author. The author is no longer simply a creator, they are an entrepreneur. They are responsible for a variety of roles and tasks that stretch far beyond writing and include but are not limited to contracting other services or professionals, leading design, marketing, advertising, running a business, and more. Unlike traditionally published authors, independent authors (also known as indie authors) who are self-publishing, do not have a team supporting them. It is possible to build a team of trusted professionals, but they must be sought out and hired by the author. Since I am a self-published author myself (and have another book coming out in only two short weeks), I am very familiar with this process.

Nowadays, there are a variety of online resources that aim to help authors prepare for self-publication. MIBLART and Reedsy are just two examples of websites that offer a plethora of free resources and articles, but also connect authors with professionals directly. They help authors find cover designers, marketing professionals, logo designers, editors, proofreaders, and more. These sites are a great start for new authors. Another way to locate editors or cover designers is by looking at the copyright/informational page inside of other books. Most books list the editor, designer, and other professionals who have worked on the book. Oftentimes, one can easily access their website or social media page, which often lists rates or contact information. Other self-published books are especially good for finding editors/professionals who work with self-publishing authors. I found my professionals through referrals. I asked other indie authors in my genre/network who they recommended, and they provided me with great information. 

The estimated costs for self-publishing can vary wildly depending on which services you hire out, and how experienced your professional is. The Editorial Freelancers Association offers a great rate chart which shows suggested rates for various editorial services. The following rates are just a few examples of services: 

Developmental editing — $.03–$.039/wdCopy editing —$.02–$.029/wdLine editing —$.04–$.049/wdFormatting — $.02–$.029/wdProofreading — $300-2000 $.02–$.029/wd (Editorial Rates).

According to the EFA’s rates, even at the “low” end of each suggested rate, the total runs over $10,000 easily for an 80,000-word project. In my experience, I have found editors and designers that I like for much cheaper. In fact, one of my current editors does a package for copy and edit (two separate passes) for only $.005/wd, which is only $400 total for an 80,000-word project. Editing is not her full-time job, but something she enjoys, so she is extremely selective about the projects she takes on. Since I’ve worked with her on prior projects (and was her first developmental client) she even offers me an additional ongoing deal for developmental edits, copy edits, and line edits altogether for $.007/wd for all three passes, which is $560 total. Granted, I took a risk on her in exchange for the cheap rates at the inception of our relationship, but it was worth it. We’ve developed a strong working relationship and I trust her implicitly with my projects. Not only does she get my vision, communicate well, and understand the ins and outs of editing, but she also has a strong line/copy editing history, as she has worked on other projects and built a portfolio.

I found a similar opportunity with formatting. Another indie author friend of mine started offering formatting/proofreading services last year, and she offered me a steep first-client discount if I would take the risk with her. I knew her work ethic, knew her book, and knew she formatted and proofread her own book which was of high quality. I took the risk and last year she formatted my work and proofread it for only $100. Granted, this year, I paid her normal rate, and it came in at about $350 for formatting the hardcover, paperback, and eBook, plus proofreading—which is still a huge discount. For this same project I’m referencing, my cover was $450 for a hardcover, paperback, and eBook from a popular cover designer with a comprehensive portfolio.

The total price for this referenced project (a 110,000-word fantasy-romance novel) was $770 (for developmental, line, and copy edits at 110,000 x $.007/wd) plus $350 (for formatting and proofreading) plus $450 (for the cover), which totals about $1,570. Granted, there are other costs associated with self-publishing that are not often discussed. For instance, ISBNs cost $125 for one, or $295 for a pack of ten. There are free options for ISBNS depending on which formats you’re uploading or which printers/distributors you used, but I paid $295 for the ten pack so I could enable wide distribution (which gets my book in Barnes & Noble, for example). On top of this, it is $50 per upload to Ingram Spark. A hardcover plus paperback upload is $100 total (and eBook is free since I use Amazon’s KDP).

For this project, since it was my authorial debut, I also hired a marketing company for a book tour on social media. This ran about $200. I also hired a character artist for art of my characters which cost about $300 total. A commissioned map cost another $100. All in all, the “main” costs of $1,570 plus these “accessory” costs (including the ten pack of ISBNs) totaled about $2,565. This is what I would consider the cost-effective end of professional self-publishing. Meaning, though I hired all services out professionally, this is the absolute cheapest I found options for. It could potentially be even cheaper if one does not hire out some services, but then they run the risk of quality decreasing. As shown in the ESA’s rate charts self-publishing, more expensive options/professionals can easily run upwards of $10,000 or more.

For the time commitment, I typically allot one month for each editing step (not including the writing process). This is based on my previous publication experience and my crippling anxiety. For instance, I allot one month for my editor’s developmental edits plus another month to work through them. Then I allot two months for my editor’s copy/line combo. (We have a routine, and she works on a few chapters per night, and I go in behind her and work on edits as we go. One month is dedicated to copy and one to line—she does them back-to-back since I keep up on the edits). For formatting and proofreading, I allot another month. This is about five months total for all the editing steps, formatting, and proofreading. I typically hire the cover designer at the start of the editing process, or even earlier, to use the cover for marketing. (My cover designers allow me to update them with final page counts for the physical book spines once they’re done with formatting.) On top of this, I also like to give myself a month to upload my files and order proofs. Ingram Sparks has a process in which I must approve an e-proof before I can order a physical proof, and this can take a few days to a couple of weeks to process. Then, the book can take a couple more weeks to ship. I like to see my physical copies prior to offering them for sale, to ensure quality is up to par. This is about six months total between “finishing” the book writing-wise and completing all the editing and publication steps.

References

“Editorial Rates.” Editorial Freelancers Association, 10 Dec. 2021, www.the-efa.org/rates/. 

Bowker | Identifier Services, 2 Feb. 2023, www.myidentifiers.com/identify-protec.... 

MIBLART, 17 Feb. 2023, miblart.com/.

Reedsy, reedsy.com/. 

The post Self-Publishing Costs appeared first on Author Miranda Joy.

The Change sits at the intersection of magical realism and mystery, and features a robust cast of badass women in their 30s-40s and beyond.

When young girls show up dead in their small beach town, fate and circumstance thrust Harriet, Jo, and Nessa into an effortless friendship. All three women, tied to the same small town, have inexplicable abilities. Harriet is one with nature, a genius of botany, and can wield plants to heal or harm. Jo boils over with rage—literally—scalding with a touch, and harnessing an insane amount of strength and power. Nessa—poor, sweet Nessa—can see the ghosts of deceased girls, and must help them find peace to move on. We love powerful, intelligent, witchy women, no matter what you label them! The trio has all been through some form of trauma, mostly delivered through the hands of the patriarchy. In their middle ages, they’ve finally come into their own self-confidence and strength, and decided they no longer want to play the docile role society tries to stuff them into.

Upon investigating the mysterious deaths of three young girls—neglected by the same system meant to protect lives—the witchy trio uncovers a horrible reality. Their small beach town hosts an extravagantly ritzy gated area known as Culling Pointe. Home to many rich, powerful, and influential men.

The Change is equal parts hilarious, poignant, sorrowful, and empowering. As a woman who recently turned thirty (as in four days ago), I couldn’t have read this book at a better time. In a world that tries to silence women, belittle them, step on them, and gaslight them, Harriet, Jo, and Nessa are beacons of hope. They represent the divine, feminine power us women hold.

My biggest issue with this book is that it’s almost satirical and melodramatic in its hatred for men. At times, the women come across as less “empowering” and more bitter and filled with hatred. Which, that IS the book’s theme. And it IS making a point. Though I absolutely agree with 99% of the things the women/author had to say about men, the patriarchy, and society, I wish there was more nuance on the topic. I’ve come across many men in my life, and not all of them are violent, rapists, lazy/useless, scumbags, and so forth. Again, this book isn’t meant to show men in a good light, so take that with a grain of salt.

Trigger Warnings: scenes/memories of sexual abuse, reference to sexual abuse, child abuse, childhood SA, violence, death, murder, descriptive details, and more. This is not a “light” read.

The post Feminist Magical Realism Mystery Rec appeared first on Author Miranda Joy.

An Analysis and Critique: 

Linguistic Features of Hamlet and “The Hill We Climb”

1.1 Description of Selected Pieces

Linguistics—the scientific study of language—is a crucial component to understanding humanity. Studying written and spoken word throughout time can offer insights to various cultures, societies, and standards of living. This paper will focus on linguistic features to analyze Shakespeare’s Hamlet—Hamlet’s soliloquy in act 3, scene 1, lines 64-98, specifically— in comparison to Amanda Gorman’s “The Hill We Climb.” Both pieces are known in written and spoken form and reflect their respective time periods and cultures.

Shakespeare’s Hamlet was written as fiction sometime between 1599-1601 and was published a few years later in 1603; though it is published in written form, it was written with the intent to perform as a play in spoken form. Amanda Gorman’s “The Hill We Climb” is also published in written form, though it first gained popularity as a spoken call-to-action, focusing on social justice. Gorman first recited the poem at Joe Biden’s presidential inauguration on January 20, 2021. Despite the similarity of being written in English with intent for speech, over four-hundred years separate the two pieces, resulting in great cultural and linguistic differences. This paper will explore those differences by analyzing historical influences, dialect, and/or the morphological and phonological breakdowns.

1.2 Rationale for Selection 

Over four-hundred years separate the publication of Hamlet and “The Hill We Climb.” this analysis will shed light on the dramatic transformation of the English language. Shakespearean/Elizabethan English (Early Modern English) differs drastically from modern American English, though it’s still recognizable. These various dialects also shed light on the cultural differences of each time period—English Elizabethan era versus contemporary America. Shakespeare—a White male—offers insight into the struggles, concerns, and joys of England during the Elizabethan era whereas Gorman—a Black female—offers insights into the struggles, concerns, and joys of modern America. The reach of the English language is extremely valuable and apparent when compared in these two works.

1.3 Morphological and/or Phonological Perspectives

In Hamlet, Shakespeare uses Early Modern English (not to be confused with Old English) which follows slightly different grammar styles than modern American English. For instance, take the case of proclitic and enclitic usage. Shakespeare commonly uses proclitics, as apparent when he says, “Whether ‘tis nobler in the mind to suffer” (Shakespeare 65). This exemplifies the usage of “‘tis” which is the contraction of “it is” with a reduced pronoun. In contrast, Gorman sticks to enclitics, exemplified when she says, “It’s because being American is more than a pride we inherit,” utilizing modern grammar styles for the “it is” contraction by reducing the verb (Gorman 52). This highlights the differentiations in common contractions between the two time periods. Shakespeare is also known for the creation of new words by combining affixes and/or morphemes in a way that provides new meaning. For instance, Shakespeare was noted as creating words such as dauntless or lackluster, whereas Gorman sticks to commonly used and understood morphemes rather than experimenting with new word combinations.

Interestingly, both works also start with a rhetorical question regarding humanity, with poetic, soft-sounding phonetics. Gorman’s speech focuses on how humanity can do better and persevere as a whole whereas Hamlet’s soliloquy focuses on life versus death, but they both encourage self-reflection of the audience/reader on an individual level. Shakespeare famously starts Hamlet’s soliloquy with, “to be or not to be,” focusing on quick, snappy monomorphemic words that flow. The bilabial stops of / b / in “be” following / u / in “to” gives each word extra phonetic emphasis. Gorman’s opening focuses more on the sound of / k /, a velar consonant in her opening lines. She starts with, “When day comes we ask ourselves, / Where can we find light in this never-ending shade, / the loss we carry, a sea we must wade?’” (1-3). The / k / offers a notably harsher contrast to the otherwise soft surrounding vowels and balances the repetitiveness of the voiced labio-velar approximant of / w /.

Throughout the soliloquy, Shakespeare uses repetitive phrases such as “to die” and “to sleep,” to add morphological emphasis—it’s clear he’s speaking of death. These straightforward, shorter, monomorphemic phrases amidst a plethora of longer, polymorphemic phrases, such as “The heartache and the thousand natural shocks” creates an added weight and dramatizes the shorter counterparts (Shakespeare 70). Gorman, similarly, balances monomorphemes and polymorphemes for emphasis, but she mostly focuses on repetition, alliteration, and rhyme. She says, “We’ve braved the belly of the beast,” focusing on the poetic alliteration of the / b / bilabial stops, choosing metaphors over reality to stress the phonetics (Gorman 4). Overall, Gorman’s piece has phonetic prominence—focusing on sound and flow—whereas Shakespeare’s piece has morphologic importance—focusing on meaning. 

2.1 Semantic Perspective

A semantic shift is apparent in Hamlet and “The Hill We Climb,” in the way both Shakespeare and Gorman use the word dream, but with differing meanings. Shakespeare uses dream as a noun when he says, “For in that sleep of death what dreams may come” (Shakespeare 74): He refers to a dream as “A series of images, thoughts, and emotions, often with a story-like quality, generated by mental activity during sleep; the state in which this occurs” (OED). The definition of this word usage dates back to Middle English, whereas Gorman uses a more modern definition of the word. She refers to dream as a verb when she says she “can dream of becoming president” (Gorman 19). This definition is noted as “A vision or hope for the future; (in early use chiefly) a vain hope or idle fantasy; (now also) an ideal, goal, ambition, or aspiration” (OED). Originally, the word dream was used as a noun, referring to the state occurring in sleep, but as time passed, it came to refer “to an imagined vision or fantasy indulged in reverie or daydreaming” (Word Origin). In 1931, James Truslow Adams, coined the term “American dream” in his work, The Epic of America, which aided in increased usage of the latter definition above. Though both definitions of the word dream are common nowadays, in the Elizabethan Era, it was primarily used to express the state of sleep rather than an abstract ideal or hope for the future. 

It’s further noted that Shakespeare and Gorman use different words to express similar ideas. For instance, Shakespeare writes “Who would fardels bear” (84). Fardels is a figurative noun meaning “A burden or load of sin, sorrow, etc.” (OED). In comparison, Gorman expresses a similar idea in her line, “Our blunders become their burdens” (85). Burdens is also noted as a figurative noun meaning “A load of labour, duty, responsibility, blame, sin, sorrow, etc.” (OED). Fardels is not as common in contemporary times, as it is considered a form of archaic language. Burden is the more commonly used term to express the same idea. Gorman’s poem is written in the form of contemporary Modern English, whereas Shakespeare employs archaic language: orison, fardel, contumely. 

Both authors notably use euphemisms as a way to express otherwise complex concepts. For instance, Shakespeare’s famous “to be or not to be” opening line itself is an example of a euphemism (64). It’s a less direct way of contemplating life versus death, specifically in the case of suicide, as “not to be” softens the otherwise harsh implication of death. Gorman uses phrases such as “never-ending shade” to politely refer to America’s dark period of social injustice, police brutality, and political uproar (2). Though euphemisms and metaphors appear abundantly throughout both pieces, meaning is never lost or muddled. 

2.2 Changes

William Shakespeare and Amanda Gorman have almost four-hundred years separating their works. Hamlet was published in 1603, whereas Gorman’s poem debuted in 2021. Though both works are written in Modern English, Gorman’s language is slightly different from what’s considered “the early Modern English spoken by Shakespeare,” also known as Elizabethan English (Denham 12). Shakespeare’s language is understood by modern speakers of English, however some wording and phrases are archaic. This is illustrated in the following passage from Shakespeare’s Hamlet:

            To sleep, perchance to dream. Ay, there’s the rub,

            For that sleep of death what dreams may come,

            When we have shuffled off this mortal coil,

            Must give us pause. There’s the respect

            That makes calamity of so long life. (73-77)

Though the message is still clear to a modern audience, it indeed reads outdated. In order to modernize the passage, certain words and phrases would need to be exchanged. For instance, perchance would be likely be exchanged for perhaps or maybe. Shakespeare’s coined phrase “Ay, there’s the rub,” would be expressed as “Aha, that’s the catch,” in modern English if it were to target Gorman’s same audience. Catch used as a noun to express the “hidden cost, qualification, etc.; something by which the unwary may be entrapped,” (Catch) wasn’t recorded as slang until 1855, making it a more recent idiom choice than “there’s the rub.” Though “shuffled off this mortal coil,” is seldom used—it feels stiflingly archaic for a modern audience of the general American population. This could instead be said as “gone to the afterlife,” “gone to the great beyond,” or “gone to meet their maker,” if written by Gorman. Modern speakers of informal English often don’t say things such as “must give us pause,” and instead would be inclined to say, “makes us hesitate,” or even “makes us stop and think.” Calamity is another word that still holds meaning yet feels old-fashioned compared to alternative synonyms more commonly used, such as disaster or tragedy, or even catastrophe as Gorman uses in “The Hill We Climb”. Finally, the phrase “so long life” feels a bit awkward and puzzling, considering it’s known modernly as a parting salutation. Gorman would likely write the phrase to better fit her modern audience by saying, “a persistent life,” “an enduring life,” or even something as simple as, “a long life.” Though “so long” is more commonly associated with good-bye rather than the term lingering or “overly long” in modern times, it wasn’t known as a parting salutation until 1860 (So Long).

2.3 Register Levels

Despite the seemingly formal writing of Shakespeare’s archaic version of early Middle English, he uses informal writing—a mix of both casual and intimate registers—in the “to be or not to be” soliloquy. The repetitive usage of ’tis and th’ as contractions is informal. The usage of ay as an interjection in “Ay, there’s the rub” works as almost as a type of slang in the casual register (Shakespeare 73). Furthermore, the entire soliloquy is written as if Hamlet is having an epiphany. He speaks his deepest thoughts of life, death, and suicide, aloud in a seemingly personal manner which alludes to an intimate register alongside the casual. This is further apparent when Hamlet says “Soft you now” to himself, as if reminding himself to end the soliloquy before Ophelia hears his thoughts. Since it is a stream of consciousness and Hamlet is addressing himself, the tone is kept informal. On top of this, Shakespeare’s overall register is frozen, as it remains unchanged though language has shifted through time.

Though Gorman’s poem was recited at the presidential inauguration, she does not use a formal register. Her poem is addressing both the president and the American people congruently—two varying audiences—in a neutral register that leans more informal than formal. For instance, she uses contractions such as we’ve, we’re, and isn’t which indicate an informal tone. A formal tone would refrain from the usage of contractions, opting to use we have, we are, and is notinstead. The poem is also recited in first-person—rather than third-person as most formal registers are. This is apparent through Gorman’s repetitive usage of we: “When day comes we ask ourselves” (1). Though the poem reads as informal, Gorman’s delivery is on the formal end of the neutral register. She verbally recites the poem in a formal manner, with the same crisp, clear, annunciation in proper speech.

2.4 Dialects

Shakespeare notably speaks with Original Pronunciation which combines accents from many regions across the U.K. His works rose to prominence during Chaucer’s great vowel shift—where much debate on vowel phonetics was occurring. Though Shakespeare’s vowel pronunciations are similar to present Modern English, the original plays still held a hint of Chaucer’s long vowel pronunciation. Shakespeare’s dialect was essentially a meeting point between the original and shifted vowel sounds. In Hamlet’s soliloquy specifically, dialect is expressed through apostrophes. The accent is apparent through contractions such a th’ which omitts the final vowel, and o’er omitting the / ʋ / sound all together to sound more like a one-syllable or rather than the two-syllable over.

Gorman’s dialect in “The Hill We Climb,” is that of present-day Modern English. In her speech, Amanda keeps a neutral, Standard American English accent, with a focus on annunciating the syllable of each word clearly. Though she uses contractions such as don’t or isn’t, she sticks to standard grammatical practices and does not omit any consonants or drop or shorten any vowels. The poem’s neutral dialect reflects that of a modern, educated American when read.

2.5 Stylistic Elements

Both Shakespeare and Amanda Gorman rely heavily on figurative language to express abstract thoughts or emotions. Gorman uses metaphor extensively in “The Hill We Climb,” as apparent in the title of the poem itself. Further examples of her use of metaphor are seen in, “the loss we carry, a sea we must wade,” and in “And yet the dawn is ours” (Gorman 3-4,10). Likewise, Shakespeare uses metaphor when he writes, “Or to take arms against a sea of troubles” (Shakespeare 67). Despite the hundreds of years separating their writing, both authors use a metaphor of the word seaspecifically to represent a large obstacle that can be overcome by man.

Both authors also use rhetorical questions similarly. Hamlet questions himself during the “to be or not to be” soliloquy, asking “Than fly to others that we know not of?” (90). Meanwhile, Gorman implores the entire nation when she asks, “where can we find light in this never-ending shade?” (2). Shakespeare questions the complementary antonyms of life and death whereas Gorman questions the rhetorical location of peace in our nation. Gorman’s metaphorical usage of light and shade also reflects usage of complementary antonyms. Both Shakespeare and Gorman are beseeching the audience to contemplate heavy topics, through metaphorical expressions of otherwise complex concepts. In another bout of similarity, both authors also employ enjambment, flowing their lines without pause for most of the recited poem for added emphasis.

Gorman also notably uses repetition throughout her poem, in order to emphasize the importance of togetherness. She uses we—or a contraction containing it—over fifty total times. This is to stress the idea of the American people coming together as one; it highlights her point that the citizens of the country are not separate identities, but one same group of people made up of individuals. Her poem is meant to spark hope for forging a new and better future, by using we she brings herself, the president, the government, and the people together.

2.6 Use of Language

Shakespeare markedly uses archaic language and Elizabethan English (a form of Modern English). He uses excessive count nouns such as slings, arrows, shocks, whips, scorns, etc. to express a harsh, almost shocking tone. In conjunction with this, he uses a plethora of abstract nouns such as question, fortune, troubles, heartache, dream, respect to encourage introspection. His usage of words such as suffer, to die, troubles, pangs, insolence, dread, heartache, etc. all belong to a semantic field of emotions—negative emotions specifically. This language usage not only sets a tone of desperation and angst, but also evokes emotion from the audience. 

Gorman uses Modern English, but a more contemporary form rather than an archaic version. She, too, aims to evoke emotion in her audience, but that of hope rather despair—unlike Shakespeare. She employs count nouns in the form of notions, norms, slaves, etc. to encompass society’s thoughts and feelings as a whole and encourage togetherness. Her usage of abstract nouns is similarly apparent to Shakespeare’s, though hers are used in a more metaphorical manner. For instance, she refers to shade, sea, dawn, nation, dream, belly, individually as non-literal locations or concepts. While Shakespeare focus on the semantic field of emotion, Gorman focuses on that of humanity. Her usage of girl, mother, president, slaves, man, children, American, all fall under the umbrella of person, or a being. This usage of language creates a form of togetherness. Though Gorman is specifying the various types of individuals in our country, she ties them together with the repetitive usage of we: “We the successors of a country and a time” (16). This cohesive language and repetition stress the importance of togetherness, inspiring hope. 

Though both pieces utilize an informal register with contractions, both follow grammar rules for the most part. There are a few bits of non-standard grammatical choices of run-on sentences and punctuation. For instance, Shakespeare employs an uncommon combination of periods with em-dashes, as seen in “And lose the name of action.—Soft you now, The fair Ophelia.—Nymph, in thy orisons” (96-97). His excessive usage of commas connects sentence fragments in an informal manner. Gorman also employs non-standard grammar with her usage of commas to connect sentence fragments in a unique pattern and emphasize thoughts as seen in:

“Let the globe, if nothing else, say this is true,

that even as we grieved, we grew,

that even as we hurt, we hoped,

that even as we tired, we tried,

that we’ll forever be tied together, victorious.” (36-40).

Though hundreds of years, race, gender, and an ocean separate Shakespeare and Amanda Gorman, both authors employ similar components of language to express thoughts in an artful manner and provoke their audience to contemplate life in a deeper manner. Shakespeare’s provocation is notably bleaker, whereas Gorman’s is that of optimism, but both use language skillfully to conjure such emotion.

3.1 Intended Message

The aforementioned updates to Shakespeare’s piece would better target the same modern audience as Gorman’s. Though Shakespeare’s syntax and idiom usage was in line for his own Elizabethan audience, the message feels antiquated for a contemporary audience. This new rephrasing feels more streamlined, less confusing, and more straight-forward. The intended message is still kept intact: Hamlet is contemplating suicide—weighing the pros and cons while questioning what awaits him after death. However, the updated idioms and syntax clarify the message immediately, rather than forcing the audience to think critically about the message and translate certain archaic phrases. The revision allows for a quicker reading and understanding, and ultimately holds more weight since the impact is immediate. 

3.2 Recommendations to Align with Standard Language & Linguistic Principles

To better reach a contemporary audience and better align with standard language and linguistic principles, certain clitics and words in Hamlet would need to be updated. Though Shakespeare uses informal English with contractions—just as Gorman does in “The Hill We Climb”—his chosen proclitics are not in line with modern day English. For instance, the proclitic‘tis is more commonly accepted as the enclitic it’s to shorten it is. Certain contractions such as th’ are not commonly used at all and should be written fully as the instead. These are not grammatically incorrect, but rather uncommon in terms of modern language usage. Shakespeare also uses a plethora of archaic words such as quietus, bodkin, fardels. Alone, the words might simply seem old-fashioned, but together they create a puzzle for the modern reader to interpret: “When he himself might his quietus make / With a bare bodkin? Who would fardels bear” (Shakespeare 83-83). Both bodkin and fardels are from Middle English, with usage weaning tremendously over the years (Bodkin). Quietus is the most recent of the three words—still considered in use—but still archaic compared to modern synonyms. More modernly understood counterparts would need to replace these terms for ease of understanding. These changes would sacrifice the poetic, worldly feel of Shakespeare’s writing, but would better suit the modern American population that Gorman targets.

3.3 Contrast of Language Elements Due to the Different Time Periods

The same year Hamlet was published—in 1603—Queen Elizabeth of the prominent Elizabethan Era died. Hamlet’s life or death soliloquy was likely popularly accepted due to the nation’s own acceptance of their ruler’s death. England historically was also ravaged by a plague—The Black Death—which had fluctuating outbreaks between the 14thand 19th centuries. Death was a household topic and fear, and Shakespeare’s Hamlet openly questioned the purpose of living versus dying, and sparked conversations about what happens in the afterlife.

Though both pieces are understood by a contemporary audience, the initial target audience varies. Shakespeare’s Hamlet was originally published in 1603, meant to target a theater audience—upper middle class to the rich, and mostly white males—of England (Who). Shakespeare likely uses an informal style of writing to allow the audience to feel closer to the play happenings. In Hamlet’s soliloquy specifically, the style even wavers more towards the intimate side, likely in an attempt to evoke emotion and inspire the audience’s own introspection. Despite both the intimate and informal nature of Shakespeare’s writing, he utilizes a sophisticated, poetic style of writing that illustrates his rare education and literacy. In fact, “Most of the population of Europe between the fourth and the eighteenth centuries was unable to read or write in any language,” (Sanders). This likely contributes to why Shakespeare chose to entertain through playwriting and theater—to target a greater population than just the literate. His work was available to view and hear, rather than just be read. However, only those who could afford the entertainment—upper middle class and beyond—were privy to his works initially.

Almost four-hundred years later, “The Hill We Climb” was published in 2021 by Amanda Gorman. The poem was recited to the entire American population—the entire world—amidst a global pandemic and on the tail-end of heightened racial conflict and racially-driven police brutality. Lines such as “where can we find light in this never-ending shade?” allude to American society looking for positivity among the emotionally and physically draining toll of the COVID-19 pandemic (Gorman 2). Lines such as “We’ve learned that quiet isn’t always peace,” reflects on racial turmoil and injustices that alighted during 2020 protests—notably the protests following George Floyd—and how the American people are no longer staying silent in the face of injustice (Gorman 6).

Her target audience is much wider, targeting many various types of people. Considering almost seventy-four percent of households—or 121 million homes—have televisions in America (Stoll), that gives Gorman an incredibly large reach (not including the other countries who viewed or read her work). She uses an informal register to appeal to the majority of English-speaking citizens, without swaying too heavily towards advanced language or regionally specific dialect or slang. Similarly, Gorman utilizes an informal register to reach the widest possible audience, though referencing “Americans” specifically throughout the poem as they are her intended audience. While Shakespeare writes mostly in iambic pentameter and verse, Gorman writes in free verse—though there is no deigned structure, there is often a rhythmic feel.

3.4 Possible Environmental, Historical & Cultural Factors of the Time Period

Many environmental, historical, and cultural factors contribute to both Shakespeare’s and Gorman’s works. For Shakespeare, in the late 1500s to the early 1600s, playwriting and theater blossomed in England. In fact, the Elizabethan Era is often referred to as the Elizabethan Theatre Era—or the English Renaissance as it’s properly known. It’s a time when playwriting became widespread in order to “express the complexities of contemporary identities” (Aebischer). Shakespeare was also influenced by Elizabeth’s reign in the face of an outwardly patriarchal society, as well as widespread Catholicism which influenced many of the religious undertones. This new entertainment outlet combined with the social and political pressures of the time influenced Shakespeare to explore the intricacies of humanity and ask controversial questions such as, “to be or not to be” regarding the contemplation of life and suicide, and what it could mean on a deeper level.

Gorman was similarly influenced by environmental, historical, and cultural factors. “The Hill We Climb” is highly political in the sense that it speaks of democracy and the presidency—quite literally spoken to the president and American people during the inauguration. Lines such as “where a skinny Black girl / descended from slaves and raised by a single mother” highlight influences from America’s history of slavery and oppression, as well as Gorman’s own personal environment (Gorman 17-18). Following the third and fourth waves of feminism, Gorman’s words hold more impact, as women were previously oppressed and not likely to be found reciting at a presidential inauguration. Gorman standing before the nation—as a Black female American—following heighted racial and gender protests, signifies the beginning of a new America and offers a promise to the people in itself. Lines such as, “We are striving to forge a union with purpose, / to compose a country committed to all cultures, colors, / characters and /conditions of man” reflect on the recent racial, cultural, and political turmoil of modern America such as the George Floyd protests, the recent attacks on Asian Americans during the COVID-19 pandemic, and more (Gorman 24-27). Gorman’s poem speaks about forging a new, better future regardless of race or color, which refer not only to historically oppressed citizens, but modern cultural oppression that is prevalent in the country. Her call to action is inspired by her observations of the people in the nation, as well as a call to do better than previous presidencies and generations.

3.5 Influences of These Factors on the Language Usage in the Two Selections

Shakespeare was a prominent playwright of his time, so influential in fact, that many of his works have persisted over four-hundred years into modern times. He was known to coin terms, such as “there’s the rub” which likely influenced the modern-day versions of the idiom such as “what’s the catch?” (73). He was also known to add suffixes to words, creating new derivatives. He also commonly changed the form of words to coin new terms—using nouns as verbs, verbs as adjectives, so on so forth to create new usages for previously defined words (Macrone). This was a necessity in order to better express the complexities of the human mind and experience; Shakespeare created phrases, idioms, and terms to describe ideas that previously weren’t expressed fluently or efficiently. As a product intended for theater, his writing is often dramatic. This dramatization is expressed through extremes and binaries such as “to be or not to be” (64) or love/hate, life/death, etc. 

Amanda Gorman’s usage of first-person and repetition of “we” is likely influenced by the American political state and its history, just as Shakespeare’s writing was influenced by European politics at the time. The United States Constitution starts with “we the People,” while Gorman’s poem starts off with “when day comes we ask ourselves” (1). These parallels of “we” are likely purposeful, to emphasize the importance of the American people sticking together as one. Metaphors such as “we’ve braved the belly of the beast” are kept simple to impact people of all backgrounds and educations (5). Her language is extremely straightforward which is effective for relaying such a passionate, complex message to as many people as possible, without alienating people of certain economical or educational standing. Though it’s in an informal register, it is still recited with annunciation and emphasis in a poetic flow to appeal to the more sophisticated audience—the president and government. By keeping her syntax rudimentary, dialect neutral, and speech proper, she targets both the undereducated listeners and the leaders of the nation, while appealing to everyone in between.

Works Cited

Aebischer, Pascale. “Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation/The English Renaissance in Popular Culture: An Age for All Time/Filming and Performing Renaissance History.” Shakespeare Quarterly, vol. 63, no. 2, Summer 2012, pp. 283–287. EBSCOhost, doi:10.1353/shq.2012.0018.

“American Dream.” Index, www.etymonline.com/word/american+dream.

“Bodkin, n.” OED Online, Oxford University Press, June 2021, www.oed.com/view/Entry/20925. Accessed 29 July 2021.

“Catch (v.).” Index, www.etymonline.com/word/catch. 

Denham, Kristin. Linguistics for Everyone: An Introduction Second Edition. United States: Wadsworth Cengage Learning, 2012.

Gorman, Amanda (2021). The hill we climb: an inaugural poem for the country. Viking, an imprint of Penguin Random House LLC.

Macrone, Michael. “‘Household Words’: Common and Uncommon Words Coined by Shakespeare, Part II.” Shakespeare Oxford Newsletter, vol. 39, no. 2, Mar. 2003. EBSCOhost, search-ebscohost-com.ezproxy.snhu.edu/login.aspx?direc....

OED. OED Online. n.d. 13 July 2021.

Sanders, Eve Rachelle, and Margaret W. Ferguson. “Literacies in Early Modern England.” Critical Survey, vol. 14, no. 1, Jan. 2002, p. 1. EBSCOhost, doi:10.3167/001115702782352169.

Shakespeare, William. Hamlet from The Folger Shakespeare. Ed. Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Folger Shakespeare Library, July 9, 2021. https://shakespeare.folger.edu/shakespeares-works/hamlet/act-3-scene-1/

“So Long (Interj.).” Index, www.etymonline.com/word/so%20long. 

Stoll, Julia. “TV Households in U.S.” Statista, 13 July 2021, www.statista.com/statistics/243789/nu.... 

“Who Were These People? Audiences in Shakespeare’s Day.” Seattle Shakespeare Company, 23 Jan. 2018, www.seattleshakespeare.org/who-were-t....

“Word Origin of ‘Dream’.” Merriam-Webster, Merriam-Webster, www.merriam-webster.com/words-at-play.... 

The post An Analysis & Critique: Linguistic Features of Hamlet and “The Hill We Climb” appeared first on Author Miranda Joy.

The following is an excerpt of my full-length novel, These Wicked Lies. It is a new adult fantasy-romance with mature content. It’s available in e-book, paperback, or hardcover, and is also free to read on Kindle Unlimited! Check it out here:

These Wicked Lies

Chapter One

I’m not in the mood to murder someone tonight, but I must. 

My pulse quickens as I gaze at the dozens of sweat-slicked bodies filling the sandy beach, twirling and touching beneath the moon’s glow.

I wonder which one I will absorb the life force from.

Palm trees line the jagged edge where sand meets jungle, standing crooked from years of braving summer storms. Though the night air is heavy with moisture, the sky is clear. Stars litter the space overhead, shimmering off the equally dark sea. A raging bonfire sits at the center of the revelry on pale sand, bathing those who dance around it in a warm hue. 

Off to the side, closer to the dense forest than the water, I watch from an enclosed ruby-colored tent as bodies squirm in tune to rhythmic drums and string instruments. Squeals and chatter battle with the music, filling the air. Some folks wear the finest garments they own—silk slacks or breezy gossamer skirts in every shade imaginable—but the majority wear only their skin.

Tonight’s bacchanal is especially rambunctious. The pleasant weather allows for celebrating on the beach rather than in the palace, like we’ve been limited to in the weeks past, and the joy is contagious. 

I fan myself with one hand, lifting a heavy curtain of hair off my neck with the other. 

“I don’t know how they stand to have a fire in this heat,” Ilona says, her freckled face moist from the humidity. She pulls her fiery red curls off her shoulders, tying them with a strip of cloth. “That cannot be comfortable.” 

“It’s not about their comfort. It’s all about the atmosphere,” I say, reciting my mother’s words with an eye roll. 

Mother prefers to go all out for the events she hosts; she has a flair for the extravagant. Though she’s uncharacteristically late tonight.

It’s just Ilona and me sitting on a blanket littered with snacks, in a grand tent watching the revelers. Our stomachs are filled to the brim, and our bare toes wander off the blanket’s edge, digging into the cool sand as we watch the night’s events. The tent’s opaque material is special—a one-way viewing fabric. We can see out onto the beach, but no one can see in. 

“Don’t you pity them?” Ilona asks, stuffing a chunk of cheese in her mouth, moaning at how good it tastes. “Goddess above, save their poor souls.” 

I grab a piece of bread off the wicker platter and chuck it at her. She ducks just in time, and it misses, hitting the cloth behind her. Her pale cheeks flush as she swallows her mouthful.

“Oh gosh, Astrid. You know that’s not what I meant. I meant save them from the heat, not from you. The poor things will probably die of heat stroke or dehydration long before you even—” 

She catches herself rambling and trails off. I snicker. Ilona might be my best friend—my only friend—but she fears my mother and me. There isn’t any real reason for it, at least not one she’s aware of. It’s not like we’ve ever used our magic on her. Mother only uses her myndox powers on her enemies and disobedient servants—persuading them to do her bidding with mental manipulation—and I only use my vygora powers once a week at these bacchanals, when I absorb the life force energy of a willing participant to transfer to Mother.

It’s dirty, useless magic that I neither want nor need.

But if Ilona knew I was responsible for her mother’s death, she would have true reason to fear me. Her sentiments would transform to hate in the blink of an eye. 

It was an accident. I discovered what I was in that moment, in the most unfortunate of ways, when I was nothing more than an innocent six-year-old with a proud, gap-tooth grin.

I only remember a plump, redheaded woman hugging me—Mother’s handmaiden. The hug was enchanting, like warm sunshine on my bare skin. Until the woman went still and the feeling washed away. She went slack in my arms, and I didn’t have the strength to hold her upright as she toppled to the ground, shriveled beyond her years as if she had aged decades in those brief moments.

Hours later, Mother found me sobbing on my bony knees at the woman’s side, fists clutching her skirts. She took one look at the desiccated face before me, those unseeing eyes, and recoiled. 

That was the day we learned I’m a vygora—an energy reader and life force absorber—but not a regular vygora. Transference is unheard of, yet I can absorb and transfer energy from one body to another, much to Mother’s delight. 

At first, Mother only brought me prisoners to practice my ability on. When the well of prisoners ran dry, she sought volunteers to come to the palace grounds under the guise of these weekly festivities. Over the years, the gatherings have become larger and more exciting—the islanders eager to partake in a bacchanal with their queen. As for Ilona, she never learned the truth about her mother’s death. We took her in, and she’s been like a sister to me—proof that my callous mother does indeed have a heart despite what the masses assume. 

“They’re well aware of their potential sacrifice. They choose to be here, Ilona,” I say, fingering a frayed edge of the blanket. “I’m not the monster here.” 

“I love you, I do, but I just find it hard to believe so many people willingly show up each week, knowing they might die.” She sighs, but her emerald eyes don’t waver from my face. As irrationally fearful as she can be, Ilona always says what’s on her mind and keeps it straight with me. At least someone does.

“It’s their choice.” I shrug, not wanting to get worked up over something I can’t change.

“Are you sure your mother doesn’t… you know, influence them?”

I sigh. This again? 

Mother doesn’t use her abilities on innocents. I may have had my doubts in the past, but she’s denied it any time I’ve asked. I truly hope she doesn’t invade the minds of others out of selfishness. Then again, she hosts these weekly sacrifices purely for her benefit. She has me drain a willing participant of their life force, only to transfer it to her so she can stay young, beautiful, and powerful.

She is known among the people of the island—and even those living across the Insipid Sea—for making morally ambiguous decisions. Like executing all the island prisoners when I was young. Nobody knows the truth—that she rounded them up for me to practice my powers on. 

It worked for us both: she became infamous, and I was protected.

Crime rates certainly dropped after that decree. They began calling her the Dead Queen because of her supposed ruthlessness. It’s a nickname she now wears proudly. But she is capable of compassion. Why else would she take in a young Ilona and shelter her from the truth of her own mother’s death?

As uncomfortable as I am with murdering people on a weekly basis to allow Mother to stay young and powerful, I truly believe the island of Hakran is safer with her as their queen. Our rule is better than the alternatives.

For example, the countries on the mainland, like Stellaris, are strict and old-fashioned. They don’t let women rule or join the guard. They marry off their heirs to other countries for political alliances. It’s barbaric and oppressive, especially considering our magic came from the original goddess long ago.

Despite her vices, Mother has been a good ruler. Her mental powers help her rule effectively.

 “Of course she doesn’t use her power on them.” I pluck a purple grape and toss it up to catch. I miss, and it bounces off my nose before rolling into the sand. “She wouldn’t do that.”

“How sure are you? What if she’s manipulating them into thinking they want to be a sacrifice?”

“She’s not that powerful. You know she can’t affect people beyond her immediate proximity, let alone control the entire village like you’re suggesting.”

“What if that’s what she wants you to think? What if she’s got a hold on you too, and you’re doing her bidding against your will?” Her voice drops an octave. “I know she’s your mother. I mean, she’s practically mine as well, and she’s the queen, but I can’t help it. I find it hard to trust myndoxes.” 

“Why are you doing this again? Is this your way of justifying my choices instead of accepting me the way I am? Am I not good enough for the perfect Ilona? Too dark, too broken, too willing to do my duty and protect my people that you have to change my narrative?”

“Gosh, no,” she whispers. 

“Then let it go. Stop making me feel bad about completing my duty.”

“I just… I’ve been having this recurring dream… It feels so real. And in it, you’re confronting your mother about her lies. I’m not really sure what the full extent of it was… I can’t remember. But I have this weird feeling, and then—” 

“It’s a dream,” I say in a flat voice. “A nightmare. Whatever you want to call it. It isn’t real.”

“But it feels so real. And it’s recurring. I keep having the same one!”

“Just because it feels real doesn’t mean it is. You of all people should know this.”

“Maybe. Or maybe Enira is capable of more than you think. Do you truly believe her power—”

“Oh, does it truly matter, dear Ilona?” Mother’s monotone voice reaches my ears, and I look over my shoulder to see her parting the tent’s flap and entering. Her ebony eyes pierce me, and her blood-red lips curve up on the side. Tonight, she wears a dress—if that’s what it can be called—that matches her eyes. It’s constructed of thin swatches of burgundy, which barely cover her sensitive bits.

Ilona wipes her hands on her slacks and stands, eyes on the ground. “I’m s-sorry, Queen Enira. I didn’t mean it.”

“Your chatter is bordering on treasonous today. You know how I handle treason, regardless of the mouth from which it spills,” Mother says. She waggles a finger before gliding to my side, skirt swishing around her thighs. Pausing behind me, she rakes her ruby nails through my sleek hair. “Darling, you are goddess-blessed with such luxurious locks. Have I informed you of how lucky you are?” 

Fighting a scowl, I keep my eyes locked on the revelers outside the tent instead. A droopy-eyed brunette with sun-crisped skin takes off her top. She’s so close to us that her elbow swipes the tent’s fabric. Her large, bare breasts hang heavily. Reddish-brown nipples stare at me like lopsided eyes, as if they can see me through the opaque fabric after all. “Yes. You have, Mother.”

“Oh, what I would give for such hair.” Her voice is sharp as glass as she pulls her hands away, reaching for the pile of scarlet fabric on the ground by my side—the veyl I wear during these ceremonies. Tutting with dismay, she shakes out the sand and crumbs. “Ilona, run along, dear. Astrid must tend to her duties. You two have dallied long enough.” 

“Yes, Queen.” Ilona gives an awkward half bow. She’s been with us seventeen years now, since we were both six, and still isn’t sure how to address Mother. I’d laugh if I wasn’t so annoyed at her. Despite our quarrel, she reaches in to hug me, whispering in my ear, “I’ll see you later. Remember who you are. The most incredibly strong woman I know.” 

With a quick wave, she parts the tent’s slit and darts away. She’ll likely head up the trail to the palace rather than stick around the beach. Like me, she enjoys watching the debauchery but doesn’t care to take part. I bet I’ll find her sipping a cup of ginger tea and reading a steamy novel up in her suite after the ceremony. 

“Was that necessary, Mother?” I snatch the veyl from her hands, not looking forward to putting it on. The people don’t know I’m the one who performs the transference. Mother keeps me covered, referring to me only as “the vessel” during the bacchanal and transference ceremony. She says it’s safer this way, so people don’t know what their princess is truly capable of. Plus, it makes her look even more commanding to be fully in control of a being with such dangerous power. 

Vain.

Other than Ilona and Mother, and perhaps a few of the queen’s closest advisors, no one knows I’m the one underneath these concealing drabs each week. 

“It was,” she says. “You two have spent more than enough time on gluttony this evening. She distracts you.” 

“No, actually she keeps me grounded and makes me feel more human, Mother.” Unlike you, I want to add, but I keep my mouth shut.

“Quit with the dramatics.” With her porcelain-smooth skin and severe black bob, she looks like my  sister rather than my mother. Perks of receiving the extra life force energy. Though the texture of our hair is similar, my skin is a deeper olive than hers, my eyes a unique shade of teal. Where her features are sharp and angular, mine are softer. Attributes from my father, I’d assume, though I’ve never met the man. In my twenty-three years, my mother and I have only spoken about the topic a handful of times. Mother claims she had many lovers around the time she conceived me and that it makes no difference which male sponsored my creation. Crass. 

“Go. The energy is resplendent tonight. Do not let it go to waste.”

It’s only one night a week.

It’s not all the time.

I’m goddess-blessed. 

I can do this.

“Yes, Mother.” Groaning inwardly, I stand, slipping the veyl over my head. The heavy fabric covers all five feet of me from head to toe, falling in a pool by my sandy feet. Not a single millimeter of flesh peeks through; there’s not even a cut out for my eyes. Like the tent’s fabric, the veyl allows me to see out, but nobody can see in.

“Go, Astrid!” She grabs my shoulders, steering me to the tent’s slit and pushing me out into the night.

Outside the tent, the air is only a few insignificant degrees cooler. My thick thighs stick together. Salt from the sea wafts through the air, mingling with the fire’s smoky scent.

As I round the tent, making my way toward the bonfire on the beach, my feet drag. Bacchanals awaken my guilt. I don’t want to steal the life force of others to keep Mother young and healthy. But I also know it’s our best way to protect our rule on the island. The sacrifice of one life keeps many others safe.

Mother once said, “People can fear you, or they can love you, Astrid. One offers protection, while the other makes you weaker. Let them fear you.”

If they fear Mother, her power, no one will question her rule. The other countries stay away; we’re protected from their potential invasions. The islanders are safe because they remain obedient. Crime is nonexistent. The palace servants stay loyal. Everything runs efficiently.

Turning back toward the tent, I see my mother standing with hands folded delicately in front of her. Elegant. Graceful. She’s a stunning woman, but one look at her face reminds me of what she is capable of. 

She’s the only person I know of who can enter someone’s mind and influence their thoughts, shaping their reality until they submit to her control. I obey her because I value my freedom. Some might say that makes me selfish or weak, but I say it makes me smart.

In the past, she’s threatened to force me into line if I disobey, but she’s never actually used her powers on me.

At least, not that I’m aware of.

I’d know.

Or would I?

Ilona’s words haunt me, and I curse her under my breath. 

Bodies sway in circles around the bonfire, succumbing to the trance-like rhythm of the drums as I draw nearer, dragging my feet through the sand. Cheers and chatter litter the air, and the energy is ecstatic. Ilona is right. It’s strange that each person is so joyous at the prospect of possibly sacrificing their life. It’s common knowledge this isn’t a normal party, yet they’re always utterly delighted.

But there’s no way they’re all under Mother’s influence. Nobody’s magic is that strong.

Countless bobble-headed partygoers thrash against one another. Scanning the crowd of sticky flesh, I look for someone highly energetic—someone young, with much life to give. On the other side of the fire, near the water, a group of six is fully engrossed in one another as their lips mash and their hands explore. People get carried away during Mother’s bacchanals, which works perfectly. Sexual energy is one of the strongest and easiest to absorb because of its intensity.

My cheeks no longer blaze with heat like they did when I was young.

I start in their direction, but movement farther down the beach catches my eye. Moonlight gilds the brunette I saw earlier, the one with the observant breasts, as she straddles a man with thick eyebrows, their mouths merging ravenously. 

She will do.

Heading in her direction, I pass the bulk of dancers, thankful to leave the heat of the fire behind, as I slink toward the pair. 

“Vessel! May the original goddess bless you!” someone yells over the ruckus. A few more people turn, regarding me with awe. Conversation picks up a notch as they recognize the symbolic red veyl. A few people bow their heads in a show of respect, and it’s quite humorous, considering many are stark naked. 

If only they could see it was their princess under this garb. That would be a priceless reaction.

Others dance faster, moan louder, thrash against each other harder, all in a desperate bid for me to acknowledge them. To choose them. They want me to see how lively they are, that they’re worthy of sacrificing their life for their queen.

Ilona’s words make me view it all through a new lens tonight, and it looks sad. Pathetic. They truly want to be the reason their queen is young, beautiful, and forever powerful. Week after week, I see so many of the same faces. A few are even nobles from the village.

Ilona’s voice haunts my mind: “What if she’s manipulating them into thinking they want to be a sacrifice?”

Balling my hands into fists beneath my veyl, I brush off the thought. There’s no way Mother could manipulate this many people for so long, and from such a distance. Her power doesn’t work like that. As odd as it may seem to Ilona that people would choose to die for their queen, she needs to accept it’s true.

My lungs burn for fresh air as I close in on the brunette and her thick-browed man. Their exposed, overlapping thighs are slick with humidity and pleasure. Averting my eyes, I reach one bare hand through the only slit in my veyl, planting it on the woman’s back.

She shudders at my touch.

“Forgive me,” I mumble, knowing she can’t hear me. Even if she could, she wouldn’t accept my apology. They always find honor in their sacrifice.

Focusing on pulling her energy into my body, my hand tingles, emanating a soft golden glow where it meets her flesh. The woman gasps at the sensation, throwing her head back with a throaty moan and thrusting her hips forward, as if my touch is as pleasurable as the man’s lips were on her neck a moment prior.

My own eyes roll back in my head as a wave of synchronized pleasure consumes me too. There’s no denying how good it feels. For us both. I can’t stop, can’t pull away. The sensation is incredible. Energy absorption is pure indulgence for me. I hate that something so cruel feels so good—and that I like it.

The surge rushes through my veins as I pull all the energy out of her body with a single touch. It continues to pour into me until she’s left dry and unconscious, and the connection between us fades away. Drained of her youth, all that remains is a shriveled shell of a human. Her head flops forward, hanging limp, and I’m grateful I can’t see her withered cheeks or the final gaze of her vacant eyes. 

“Thank you for choosing her, vessel.” The thick-browed man places her limp body on the sand before bowing to me and taking off into the crowd. 

Waves lap the shore a few feet away, almost inaudible over the chaotic music and shrill revelry around me. I’m tempted to close that distance. To step deep enough into the ocean that it wraps its liquid arms around me, absolving me of my guilt.

But I don’t.

Mother’s waiting for me. 

The sacrifice is over, but the celebration is not. As the wine flows and fire burns, so will the activities of the night. The people will continue to party, thanking their queen and the original goddess for blessing them, while I curse her for damning me.

I hope you enjoyed the first chapter of my debut novel, These Wicked Lies.

You can continue reading These Wicked Lies here.
There are also some goodies (such as a map and character art) here.

The post New Adult Fantasy: These Wicked Lies Excerpt appeared first on Author Miranda Joy.

Little Bird by Tiffany Meuret is weird, ya’ll. In the best way.

Have you ever read something that made you question your life in a “what the hell am I doing in this realm as a corporeal meatsack” type of way? Cause this book is one of those subtle reminders that we’re all bones and stardust occupying a life-infested flying space rock.

Anway, I came for the cover, but I stayed for the writing. Meuret’s prose borders on literary, but in an entirely no-frills, uncomplicated manner. It reminds me slightly of that parody mystery show with Kristen Bell, “The Woman in the House Across the Street from the Girl in the Window” on Netflix, with our alcoholic, homebody main character, but swap out the parody elements for supernatural elements. 

This is one of those books not everyone will appreciate, but for those of us who do, it is a VIBE. I’d almost classify this as literary speculative fiction. It’s a book that makes you really contemplate life and THINK, if you can get into it. This book is so delightfully odd with a fairy-tale-esque storytelling. 

Well, what’s it about, you ask? Underneath the enthralling prose is a sad story about a lonely woman who favors alcohol as a numbing agent. She works from home, avoiding any interactions that aren’t with her dog, Po. One day, she meets an animated skeleton, and that being changes her life. 

The ending is unexpected, yet fittingly strange and somehow satisfying. I recommend this if you appreciate literary/speculative works or books that make you think.

The post An Odd and Enlightening Speculative Fiction Read appeared first on Author Miranda Joy.

(Expected publication: August 23rd 2022 by Rising Action Publishing Collective)

I feel spoiled lately with so many amazing ARCs. Lindsay Maple’s Not Your Basic Love Story, was no exception to this awesome streak I have going.

When I say I was pleasantly surprised…. Y’ALL.

Going in, I had low expectations and had no idea what to expect. It ended up hitting me deep in the feels and I absolutely adored every second of it. As a white woman in an interracial relationship, I relate heavily to Becky and Dev’s struggles. Granted, I married into a Venezuelan family, not an Indian family, but many of the components such as merging cultures, religions, and languages, feels very realistic. I appreciate how Becky realizes her white privilege, calls her brother out on his racial microaggressions, and made a genuine effort to learn about the culture she was marrying into. I applaud her for respecting Dev’s differences, even though she found them challenging to navigate. This book navigates a lot of heavier topics in a way that feels authentic rather than forced for the sake of including them.

I LOVE seeing a real relationship.

Everything from the beginning (when Dev puked on Becky) to them trying (and failing) to take it slow, to having insecurities, arguments, and problems, is all so refreshing for a romance novel. Instead of a perfect heroine and hero, we see two real people and their flawed love story. I absolutely adore how their love prevailed, and how they learned to make compromises for one another.

I read in the author’s note that Lindsay Maple almost quit this story. I am SO GLAD SHE DIDN’T, because this has probably been one of the most relatable romances I’ve ever read in my life, and I adore it. Thank you for this beautiful story.

The post Romance Books: 5-Stars for (Not) Your Basic Love Story appeared first on Author Miranda Joy.

Mhairi McFarlane has such a way with words—her books are always a treat, and Mad About You is no exception to her obvious talent. (I will say, this book sways more toward women’s fiction/contemporary fiction than it does “romance” in the traditional sense, but there IS romance.) Her books are more character-based than romance-oriented, and this is no different, but honestly, that makes them SO GREAT! The characters in Mad About You are so complex and deep, even the smaller side characters, in a way that makes them feel so full of life. McFarlane writes some of the BEST characters (even the ones we love to hate). It’s a huge strength of hers, and Mad About You hits the nail on the head.

Harriet is one of my favorite contemporary fiction protagonists, and maybe it’s simply because she’s in her mid-thirties and mature as hell, but I would love to be her friend. Even when those around her act immature (Jon, Scott, Kit) she keeps her head level and navigates the drama skillfully. I loved seeing toxic relationship rep, and how it effects people for years to come. Mad About You features relationship abuse and trauma, but in a way that we rarely see—emotional and mental rather than a physical manifestation.

In the end, the way the three exes came together to take Scott down at his own wedding was spectacular; we love to see women supporting women!!! The feminist undertones in this book are a joy, and it’s so refreshing to see females have each other’s back with maturity. Also, it was adorable watching Cal fall for Hats while they awkwardly shared a house together. (I’m still bummed she moved out, but hey, I get it. Girl needs space to grow and breathe after all that!)

I recommend this one!

The post Mad About Mhairi McFarlane’s Characters appeared first on Author Miranda Joy.

Romance books have a way of weaseling their way into our cold, cold hearts and thawing them out. Oh wait, that’s just me? Maybe it’s this cold winter front blowing through Southern California and my lack of appropriate outerwear.

Anyway, whether you need romance books to thaw your icy heart or provide a temporary distraction from an otherwise wonderful life, here’s a new recommendation for 2022:

The Fixer Upper by Lauren Forsythe

Click the link/image above to pre-order now! Available August 2, 2022

Have you ever been in love? Aly has. Fifteen years ago to be exact. With her best friend… well, former best friend. See, she declared her love before speeding away faster than a shooting star, totally ghosting the poor guy. So, imagine her surprise when a social media superstar hires Aly to fix up her boyfriend–because that’s what Aly does as a fixer upper–only to discover it’s the one and only man she loved and left.

What does Aly do?
Option one: Apologize for the past and communicate her feelings.
Option two: Pretend not to know him as she “fixes him up.”
Any guesses?

No spoilers, but I will say hilarity and awkwardness ensue as the two fall back into orbit together. Luckily, Aly has a couple of friends to keep her in check… and by in check, I mean condone these nonsensical boyfriend-fixing shenanigans. I wish I had friends like this to be honest. I’d never be bored! I can confirm there is a happily ever after for all you folks who need something to look forward to.

This was a delight spin on classic, sweet, yet moderately formulaic romance. (It’s also worth mentioning it’s a clean romance without any down-n-dirty scenes. SFW).

Click here to pre-order on kindle or paperback!

The post Romance Books: 4-Stars for The Fixer Upper appeared first on Author Miranda Joy.

Fantasy books are the best… okay, maybe that’s debatable, but you’re obviously here because you love fantasy too! Maybe you’re like me and enjoy a mix of fantasy and romance–a delicious two-for-one combo of excitement and love. Well, have I got the book for you.

You know those stories that suck you in from the start? The ones with such beautiful writing that you feel like you’re truly involved in the story? THIS is one of those rare gems.

Behold: Fire Heart, by Emma Hamm!

Click the image/link above to pre-order now for just $4.99 on kindle!

Emma’s writing is a dream. Her prose is eloquent, descriptive, and easy to read. The third-person POV works well here, and Emma does a great job of showcasing her small cast of important characters with distinguishable voices.

Our MC Lorelai is a half-elf who lives secretly among humans… and yes, she has pointy ears! Good thing her hair is long enough to keep them hidden, because magical creatures are sentenced to slavery or death in this world. She might be non-confrontational and kind at first glance, but turns out, she doesn’t take any BS from her oppressors and easily falls into the role of assassin. No big deal or anything. I won’t spoil the story for you, but I will say that Lore is definitely a Fire Heart.  

Then we have Abraxas, the misunderstood dragon. This man-beast won my heart over. His unwavering loyalty to his bloodline, and subsequently, to Lore, is swoon-worthy. The sweet, slow-burn romance offers a gratifying layer to the book, and is a reminder that not everything is how it first appears. 

Now, I patiently wait for book two so I can finish Lore and Abraxas’ story, because yes, there was a cliffhanger. It was just enough of a cliffhanger to hook me on the idea of book two, without totally crushing my heart or dreams… so, thank you, Emma!

Fire Heart is out on January 31st, but is available for pre-order NOW (click here to get it on kindle!) I highly recommend this elf & dragon love story to anyone who loves fantasy books!

Disclaimer: I received a free copy of this book via Booksprout and am voluntarily leaving a review. This review is 100% of my own opinions. 

The post Fantasy Books: 5-Stars for Fire Heart (ARC Review) appeared first on Author Miranda Joy.