Thoughts

Life Lessons of the Martial Arts: Revisited

KWhipkey 7 Comments

This week has been a little on the rough side. I’m not going to divulge the details, other than to say it’s not a week that will be remembered fondly. I’m actually still in the process of recovering from the emotional fall-out, and that generally includes a remedy of three things: chocolate, uplifting music that will bolster my shattered confidence, and remembering the lessons I learned while training in the martial arts. To that end, I’m going to do something unprecedented and re-visit a post I did about this time last year.

There’s a stigma in the martial arts that once you stop physically training, you’re no longer a black belt. While there is some merit to that argument — since, without practice, your self-defense skills rapidly become rusty — I humbly disagree. Those that learn the real lessons of the martial arts never lose them. They might not be able to do the most impressive jump spinning kick anymore, and they might not remember all their forms, but they still practice the things that make them better people, that make them black belts. Instead of an outward display, it’s internalized, crossing over into every aspect of their lives. So even though I’m currently on hiatus from my physical training, I don’t consider myself a former black belt. The intangible gifts I was given through Tang Soo Do are ones I’m grateful for every day, and they will continue to shape my life, my relationships, and how I conduct myself, whether or not I ever return to my training.

Which is why I felt this post needed to surface from the archives again. It’s not just an argument for why everyone should train in the martial arts, it’s a reminder to myself. These are things I strive to embody, and I know with absolute certainty that the situations referenced above would have played out quite differently if it weren’t for a few of these qualities. So thanks, Tang Soo Do. Without you, I wouldn’t be the person I am today.

And since I couldn’t say it any better than I did in that original post, I give you:
 

Life Lessons of the Martial Arts

 

by Kisa Whipkey

(Originally posted on 3/1/13)

 
Last week I mentioned how I apply a tenet I learned in the martial arts to my everyday life, and since it’s about time I branched away from writing/publishing to show my other categories some love, I think that’s a topic deserving of elaboration. What I’m about to say won’t be news to any of you that have trained, but to those of you unfamiliar with the martial arts, it may be enlightening.

There are three reasons that automatically come to mind when someone says they want to start training:

  • Discipline
  • Fighting/Self-Defense
  • Exercise

And for the most part, that sums up 90% of anyone’s motivation for enrolling. But there’s a lot more to the martial arts than that. Yes, it will help your unruly child learn to respect their elders and shut their mouth without the aid of duct tape. Yes, you will learn self-defense and how to fight. And yes, you will lose weight and tone muscle from all the exercise. But you’ll also miss the much richer elements of personal growth that society never glorifies if you only focus on those three things.

I learned a long time ago that you can easily spot someone who’s made it to black belt. Partly because all martial artists have a certain way of moving; a certain poise and grounded familiarity with their body that screams “black belt” a mile away. And partly because of the way they conduct themselves. There’s a reason they say martial arts is a way of life. It’s because, by the time you reach black belt, your training has gone beyond the physical techniques and has become an ingrained part of your outlook on the world.

Every style has their own philosophies and tenets, but I think there are several that are universal. Not because they’re part of an unwritten code of martial arts brethren, but because they’re the principles that make someone a better person. Things that should be common sense but that have been lost over the years to the majority of society. What are they? Let’s take a look and find out.

Integrity:

In a world where selfishness reigns, it’s refreshing to find someone that actually understands this word. And I would bet that 9 times out of 10, that person is/was a martial artist. Why? Because this is one of the core principles instilled by training. It’s also one of the first that spills over into everyday life. Integrity can be anything from keeping your word, to doing what’s right even when it’s not easy or for your own benefit, to taking responsibility for your actions. This is an attitude that translates to success in everything from school, to personal relationships, to career. A person with integrity is someone that can be counted on, and that’s a sure-fire way to the top of any pack.

Humility:

The second tell-tale sign of someone who’s spent time in the martial arts is humility. People who have learned this have an easier time connecting with others. Nobody likes a braggart, and arrogance is a one-way ticket to alienating all your potential allies. Martial artists learn the fine line of being confident in their abilities without the need to brag. (Well, most do anyway.) And that translates into things like leadership roles, community involvement, and personal satisfaction. Just like integrity, humility is a trait that instantly earns you respect and appreciation, without having to demand it.

Perseverance:

News-flash: life’s hard. It’s all too easy to throw in the towel and just give up, becoming complacent with whatever hand you’ve been dealt. Getting a black belt isn’t easy, either. It involves dedicating yourself to intense workouts, potential injuries and having to hit the floor hard. A lot. You will get knocked down, and you will get hurt. But you also learn how to get back up, how to roll with the punches, and how to achieve any goal you put your mind to, one step at a time. I think the parallel should be obvious. You can apply that same philosophy to anything in life, be that earning a college degree, starting a successful business, or just being present for your family. With a little perseverance, anything is possible.

Situational Awareness:

Self-defense is becoming more and more important, especially for women and young people. So many horrible acts of violence could have been averted if the victim had been more aware of their surroundings, or had avoided putting themselves in danger in the first place. Yes, the martial arts are about fighting, but more importantly, they’re about learning how not to fight. They teach you the self-control to walk away from situations that are turning ugly, and they teach you not to do so many of the stupid things that get people in trouble, like going places alone in the middle of the night, taking drinks from strangers that you didn’t see mixed, or getting in random cars with people you don’t know. The first act of self-defense is knowing how to assess the risks around you; a lesson I wish we taught in schools.

Altruism:

This one may come as a little bit of a surprise to those outside of the martial arts family, but it’s actually a pretty big element in our training, especially the higher ranks. Most styles promote giving back to the community, whether that be the studio itself or the community at large. Some even use it as a criteria for advancement. Which is why you’ll find a lot of black belts volunteering in their communities. The idea of paying forward the time and effort that was given to you, of showing pride and commitment to the people and places around you, is one that translates well into other aspects of life. You don’t have to join the Red Cross, or Habitats for Humanity, or some other grand organization of do-gooders to make a difference. Simply volunteering in your child’s classroom, helping a coworker with a hefty project, or donating your time at a library/care facility will make the world a better place. Wouldn’t it be nice if we all learned that a few moments of selflessness can make all the difference to someone in need? Maybe we wouldn’t see so much violence then.

Those are just a few of the positive affects I’ve seen the martial arts have. Every student will choose the lessons that resonate most sincerely with their own lives, and may not need every one, but you can guarantee they’ll be given the tools just the same. Whether you’re thinking of enrolling your child in the local studio, or whether you’re considering it for yourself, take a moment to think about what I’ve said here. Remember that it’s not just about learning to punch, kick, yell and break things. It’s about learning to be the best version of yourself. If that doesn’t convince you the martial arts are worthwhile, then I’m not sure what will.

And to my fellow martial artists out there, what lessons have you learned in your training? Share the ones I missed in the comments below. 😉

What it Takes to be an Editor

KWhipkey 14 Comments

Now that I’m becoming more known in the literary community, I’ve had people approach me for advice on how to break into an editing career. They all have this bright-eyed illusion of what being an editor entails, envisioning (as I did) days filled with nothing but reading. Sounds glamorous, doesn’t it? Every book lover’s dream job. But let’s have a candid (and snarky!) discussion about the reality of being an editor. Because that pretty image in your head is nothing like the real thing.

A lot of people falsely believe that writing and editing are parallel careers. They’re not. They’re more like distant cousins than the sibling status everyone thinks. If you enjoy the process of creation, editing is not for you. If you love reading, devouring books like life-saving sustenance, editing is not for you. And if you like entertainment that keeps your brain active and stimulated for hours, editing is not for you. If, however, you love puzzles, methodical routines, and helping others, then maybe you’re fit to be an editor.

The truth is, editing’s hard. It’s monotonous, dull, repetitive, and there is absolutely no glory in it. It’s messy, annoying, and time-consuming. And it uses absolutely none of your creative juices. It’s analytical, more than anything, relying on thought processes normally associated with math and logic, rather than those involved with writing. It requires a completely different skill set, and, contrary to popular belief, good writers do not necessarily make good editors. And vice versa.

The literary world is the only one I know of that doesn’t clearly differentiate between its specialized skills, lumping them into one single category — wordsmith. No one would expect a dentist to be able to perform heart surgery, so why can’t we figure out that editing and writing aren’t the same thing? Yes, they’re both grounded in a love for words. And both do conform to the rules of the English language (most of the time). But that’s pretty much where the similarities stop.

So what does it take to be an editor? Let’s find out.
 

Requirement #1: No Life (Workaholic)

 
You know those nights and weekends, holidays, family and friends? Kiss them all goodbye. If you want to be an editor, you better be a workaholic, because otherwise, you’ll be buried up to your eyeballs before you can blink. And don’t think that’s temporary. Oh no, you will never again have a moment to yourself. Your inbox will be filled to the breaking point every time you log in. Your morning run, every meal you eat, and even long car trips will become reading time. And sleep? Yeah, you’d probably get more of that if you’d popped out that baby your mom’s been nagging you to have.

Every single second of every day from the moment you get your first assignment will be filled with something. And if, God forbid, you take so much as an afternoon off, you’ll spend the next two weeks trying to climb back on top of the mountain.

Editors have one of the highest burn-out rates of any job on the market. If you survive past two years, you’re considered hard-core. Because none of us get to do what everyone somehow assumes we do: sit in our offices, leisurely sipping coffee and reading to our heart’s content. In fact, if we get to read at all during the day, it’s probably at home, or crammed into the fifteen empty minutes between tasks. The majority of an editor’s day actually consists of answering emails, planning out structural edits, line edits, project management, more emails and then more line edits. Reading’s at the bottom of the list, unfortunately.

So if you’re an anti-social, agoraphobic insomniac with a workaholic tendency, editing will be the perfect job for you. The rest of us have to learn how to juggle life and work. And sadly, life almost always loses.
 

Requirement #2: OCD (Detail-Oriented)

 
Editing is highly detail-oriented. It’s slow and tedious, and during the course of a single project, you’ll read each chapter so many times you could nearly recite the thing verbatim by the end. So being slightly OCD helps.

There’s a strange (as in sick) sense of satisfaction to be found in surgically removing and altering the smallest things (things normal humans don’t notice) in a sentence. As an editor, you don’t just gloss over everything, you hone it, until there’s absolutely no better way that statement could be phrased. There’s not an ounce of fluff left in the entire manuscript, and, by George, you made sure that thing sings! How long did it take you to do it? Here’s the kicker: about 6-8 months (that includes the amount of time spent back and forth in revisions with the actual author. Because, you know, editors don’t actually write the books). And how long does it take a reader to read those beautifully honed words? About a week, if you’re lucky. I actually watched someone breeze through a project I’d slaved on for nearly a year in a single afternoon!

The point here is that editors are a strange breed of OCD (ahem, I mean detail-oriented) individuals who hold themselves and their authors to a crazy standard of perfect, and will accept nothing less. If you’re not willing to read a manuscript 52 times, invest upwards of 6 months of your life into someone else’s work, then walk away. You’re not one of us.
 

Requirement #3: Skills (Not Just Grammar, Folks)

 
This should be a no-brainer. Clearly, an editor needs skills, right? But which skills?

There’s an assumption out there that editing consists of one thing — fixing grammar. Editors are all a bunch of pompous English professors who couldn’t sell their own writing, and so, bitterly hand down judgement on everyone’s inability to follow the rules of the English language. In short, we’re grammar Nazis, and that’s it. That assumption is incorrect. And why so many writers get taken advantage of by shoddy editors who do nothing but fix superficial punctuation and spelling mistakes. (**Ducks from the impending barrage of hatred.**)

A real editor does so much more than fix your grammar. They’ll do that too, but more importantly, they’ll fix your story in its entirety. From plot holes, character development, and timeline re-sequencing, to sentence smoothing, and fact/detail cross-referencing, an editor is a master storyteller. Not only do they fully understand the various narrative methods and their uses, but they do all this without compromising the writer’s voice. They’re chameleons, morphing into a version of the author and enhancing that person’s style so that no trace of the editor is visible to the outside world. (I mentioned there was no glory in editing, right? All the applause and accolades go solely to the author — as they should. You don’t exist to the world of readers.)

True editors can hold an entire book in their heads, shifting and reorganizing the narrative threads as needed. And the really good ones can do this with multiple projects at once. It’s a rare skill, and one that will instantly mark a professional from an amateur. This is the thing that the writers-turned-editors can’t compete with. What the grammar Nazis can’t ever hope to provide. This is the true skill of an editor. So the question is, does this sound like you? If yes, then congratulations, you’re an editor. If what I’ve said sounds like mumbo-jumbo or makes you cringe even the tiniest bit, then adios! You’re better off doing something else.
 

Requirement #4: Passion (Passion Trumps the Suckage)

 
This is the last requirement for becoming an editor, but I’d dare say it’s the most important one. Why? Because passion is what makes it all worthwhile; it’s what trumps all the suckage. As you can see, editing is kind of a sucky job. I mean, for some of us, it’s a calling, and we love it through and through. But to the outside world, it looks brutal, horrible, and leaves you wondering why, in God’s name, anyone would ever want to do it. The answer is pretty simple though: passion. Passion for storytelling, for books, and for the people who write them. If you don’t have this, you’ll never make it as an editor. You might survive for a little while. You may even enjoy it at first. But eventually, the incessant schedule will wear you down and you’ll walk away.

How do you know if you have it? The passion? I’m not sure. I don’t think there’s a quantifiable way to tell. But I’ll leave you with this to ponder:

Writers often talk about how writing is the best part of their day. How it’s a cathartic release, a joy. For them, the creation process is the most beautiful thing. But for an editor, a 100% born-to-be editor, it’s not. That joy will come from the part of the process every writer loathes. Where writers find relaxation pouring words onto a page, you’ll find it in rearranging those words. Where they find joy breathing life into new stories, you’ll find it in fixing them. To you, the best part will be feeling all those intricate puzzle pieces click into place, and then watching, like a proud teacher, as your author and their book graduate to take their place in the world of success.

It’s not a job for everyone, but if you have the skills and the passion, (if you can’t imagine yourself doing anything else,) then it just might be for you. I’m definitely 100% editor. Are you?

A Writer’s Resolutions: 2014 Edition

KWhipkey 4 Comments

I’m back! Did you miss me? 😉

Last year, I wrote a post about resolutions. This year, I’ve decided to continue that tradition and start an annual feature where I’ll detail my goals for the coming year, and look back on what I accomplished (or didn’t, more likely) from the previous list. I’m not talking about the usual suspects — the “I want to lose weight” (although, that is high on my list this year), “I want to be debt free” (a girl can dream right?), “I want to marry a prince and live on a floating island in the clouds” type of resolutions. No, I’m talking about the specific list that all writers make.

If you write, chances are this one features prominently: “I want to be published”. But like I pointed out in last year’s post, that has about as much chance of success as marrying that prince with the floating island. You need to be more specific than that. When you break a resolution into the individual steps you’ll need to accomplish it, it starts to look more real. To prove a point, I tried my own advice and created these resolutions for 2013:
 

Writing Resolutions 2013

 

  • Finish the rough draft of Unmoving
  • Upload Chapters of Unmoving every two weeks to Wattpad & Authonomy
  • Revise and Re-publish The Bardach, Spinning & Confessions via Createspace/Amazon KDP
  • Compile brief synopses of all plot bunnies
  • Write, Edit & Publish one new short story

 
How did I stack up? Well, I didn’t. According to that list, I accomplished exactly . . . nothing. Unmoving still isn’t finished (in fact, I technically haven’t written on it since July), it’s not featured on Wattpad or Authonomy (yet), my short stories languish somewhere in forgotten-land, and the only new thing I wrote was 1/16th of a novel that’s probably the worst quality ever thanks to Camp Nano. But that doesn’t mean the resolutions themselves were bad. It just means that I suck at following my own advice. 😉

2013 was actually riddled with writing-related achievements, they just weren’t the ones I expected. I’m now the Editorial Director for REUTS Publications; I’ve reviewed so many amazing (and unpublished) manuscripts I’ve lost count; I’ve been involved in numerous writing contests, Twitter events, and saw a couple of the books I helped edit reach publication; I’ve made invaluable connections with others in the industry, many of whom I now view as friends; and most importantly, I created a way to share Unmoving while it’s still being written! So 2013 was by no means a dull year on the creativity front. In fact, I think it was the busiest I’ve ever been. And I loved every minute of it!

Where does that leave me as we head into 2014? Optimistic as always. The new year sparkles with possibility, and I’m nothing if not superb at creating to-do lists. (It’s the finishing them part I’m not so great at.) So, in true New Year’s fashion, here’s my ambitious list for the coming year:
 

Writing Resolutions 2014

 

  • Finish Unmoving (Kind of inevitable now, since I have a bi-weekly deadline to keep my hiney motivated.)
  • Revise and Re-publish The Bardach, Spinning & Confessions via Createspace/Amazon KDP (Yep, I’m recycling, what of it?)
  • Compile brief synopses of all plot bunnies (I really need to get this one done. Some of those little buggers are starting to escape!)
  • Write, Edit & Publish one new short story (Really not sure why I failed at this one. It’s not an insanely difficult thing to do . . .)
  • Quit The Dreaded Day Job so I can focus on editing & writing full time (Probably not likely, but I’m shooting for the stars. They say if you write it down, it’ll happen. So hear that, writing gods? Make it happen!)

 
There’s a plethora of other things I could add to that list, but then I’d start straying from the realistic goals to the ones I know I’ll never complete. 5 seems to be a comfortable level of possible for me, anything beyond that and I may as well crumple the whole thing up and chuck it now. I’d love to say that I’ll finish more than one novel, that I’ll write a new short story every week, or that I’ll manage to do any of the other things full-time writers do. But the reality is that none of that can happen until I achieve resolution #5. Thankfully, I do see that happening in my near future, thanks to the support of my freelance clients (you guys rock!) and my work with REUTS. Will it happen this year, though? That remains to be seen. 😉

Okay, it’s your turn! What feat of writing greatness do you want to accomplish this year? And how did you do with your resolutions from last?

(P.S. Thank you to everyone who entered my 2013 Holiday Giveaway. Your support made it, by far, the most successful giveaway I’ve ever done. Unfortunately, there can only be 3 winners though. So please give a big round of congratulations to those lucky people: Alexandra Perchanidou, Carly Drake, & Rachel Oestreich! You’ll be receiving a paperback copy of Echoes of Balance by Cally Ryanne. To everyone else, don’t worry, there will be more chances to win something awesome coming May 2014. So stick around! I’ll try to make it worth your while. 😉 )

The Anatomy of a Successful Short Story

KWhipkey 2 Comments

Short stories. Some people love them, others can’t stand them. But no one can deny they’re an entirely different creature from novels.

This week, I’ve been judging entries for the ProjectREUTSway competition held during the month of November. Buried amid 144 short stories, I started to think about what exactly makes one “successful”. I think most of you know by now that I, myself, published 3, so this is a topic that hits very close to home. It’s also one I’ve never really stopped to think about. Until now. Because, let’s face it, short stories are strange. Similar to novels and yet completely dissimilar, they require a certain — almost magic — recipe to really shine. I don’t believe in the undefinable though, (at least not when it comes to writing) so let’s see if we can’t identify the exact ingredients that make short stories such a unique form of storytelling.

Short stories are often considered a novelist’s training wheels; the idea being that someone can learn the basics of storytelling through short stories and then graduate into novels. But that’s not exactly what happens. Because, in reality, they require two different skill sets to pull off well. A short story is not a truncated novel, nor is a novel an elongated, rambling short story. Rarely can the concept for one be turned successfully into the other. And yet people still try. Why? Because short stories have been given a bad rap. Novels take all the glory, leaving short stories to rot in creative writing jail like fiction offenders. They’re looked down on as an inferior form of narrative, an eighth grade diploma to the novel’s PHD. After all, the only difference between them is length, right?

Wrong.

There are three things a successful short story must have: brevity, focus, and telling. Yes, you heard me, telling. But before you get your knickers in a bunch, let me explain further.
 

1. Brevity

 
Novelists are taught the value of brevity. But even the most refined novels still sprawl, meandering through details and settings and other things short story authors simply can’t afford. Literally every word matters in a short story. No detail is extraneous. If we mention the light blue collar on a random cat, you can bet that collar is important somehow.

The same holds true for the words themselves. Novelists are allowed to write sentences like this:

She paused, grabbing the handle of the stainless steel refrigerator and pulling it open with a subtle flick of her wrist.

(Hey, no comments on the quality. Clearly, I know that sentence is atrocious. I’m proving a point. 😉 )

That’s 21 words to say this:

She opened the refrigerator door.

Yes, that may be a bit exaggerated, but you see what I mean, I hope. When you only have maybe 5000 words of space, every letter has to serve a purpose. Successful short stories know this, and the language/storytelling is as finely honed as a scalpel. If it doesn’t somehow move the plot along, impart valuable information or absolutely have to exist, it doesn’t.
 

2. Focus

 
I’m a firm believer that every story should have a message, a reason for existing. But maybe that’s because I started out as a short story author. Whenever I come up with an idea, I identify the core message first, before the setting, characters, or even plot. For example, The Bardach is a story about identity, Spinning is about fate, and Confessions is about losing faith. Even Unmoving has a focal point. At its core, its about compassion. This type of focused narrative is one of the more notable differences between a short story and a novel.

Short stories are single-minded. Like a starving man spotting food, they keep their eyes on the prize. None of this wandering off into detours, flashbacks, subplots or other shenanigans that novels get away with. Nope, they have one message, one plot, one climatic moment that everything points to. And, interestingly enough, short stories are typically driven by an event, rather than a character. The focus is on the action, not the person doing it.

How does this translate into our recipe for success? Well, you’ll be able to feel the underlying drive in a really good short story. You’ll walk away from it remembering the message, not necessarily the characters. So make darn sure you know what you’re saying, both literally and subtextually.
 

3. Telling

 
All right. I know this is the one you were waiting for. After all the times “show, don’t tell” has been beaten into your head, you simply can’t believe I’d actually stand here and advocate telling, can you? Well, I’m not really.

See, the thing is, showing is still 100% better than telling. But, telling is allowed in a short story. Due to the limited amount of time you have to impart your narrative, there’s really no way around it. You don’t have the luxury of wasting thousands of words, or even hundreds, showing us the back-story. Nor can you illustrate anything directly outside the timeline of the main event, regardless how important it may be. So that only leaves one option — telling. You should still avoid the dreaded info-dump if you can, but slipping in the occasional line of summary, or a paragraph of back-story, won’t automatically earn you peer derision. Well, most of the time, anyway.

Successful short story authors are masters of knowing when to tell and when to show. (Which, by the way, I am not. Just wanted to clarify that in case anyone thought I was going to be cocky and throw myself on that list.) They give you just enough information — typically in the form of telling — to make their worlds/characters feel as fleshed out as a novel’s, but not so much that you really notice. They cover a lot of ground in a really short amount of time, making this the hardest skill on the list. It actually requires mastery of the other two to pull off, which is why I listed it last.

And there you have it; the anatomy of a successful short story. Learn how to control these three elements and your short fiction will stand out in a pile like little beacons. And let’s all try to stop viewing short stories as the lesser form of fiction. They’re not inferior. Just different.

From the Editor’s Desk: Echoes of Balance by Cally Ryanne

KWhipkey Leave a comment

As an editor, (both freelance and under REUTS Publications), I have the wonderful opportunity to see amazing novels during their developmental phase. And I wanted to find a way to share them with all of you as they became available. (I also wanted to find a way to help support the authors that trusted me with their manuscripts.) So think of these posts as my own personal book recommendations, straight from the editor’s desk.

This week, I’m excited to bring you the first title releasing under the REUTS Publications name:
 

Echoes of Balance

by Cally Ryanne

 

Echoes of Balance by Cally Ryanne

 

For Chloe Moraine, fighting wild bears — and the occasional vampire — is a better pastime than the tediousness of keeping the universe in balance. But balancing is the family business. It comes with being one of the last in the ancient line of Naimei.

So when the impending return of the Original Demons threatens global harmony, Chloe is obligated to help. Even when that means the dull-as-dirt task of following a human girl who “might be involved, maybe,” instead of the thrilling hunt she craves.

With their powerful magic and ancient Ways, Chloe’s family is unconcerned, certain they’ll quickly fix the imbalance while she’s preoccupied with human high school. But when the Ways start to fail, the threat becomes more serious, and the only person that seems to know anything is a debonair vampire with an offer to help.

If Chloe chooses to trust him, and the darker side of the supernatural he represents, she’ll betray her family and risk losing them, and herself, in the process. But if he’s right, he may just be their only chance to stop the return of the Originals and save the world.

Maybe high school won’t be so boring after all.

 
Echoes of Balance is the first in The Ways Trilogy. Featuring a cast of sarcastic, quick-witted characters, and an interesting twist on the paranormal creatures we all know and love, this YA, urban fantasy debut is fast-paced and fun. It introduces us to Chloe, one the few remaining Naimei (a new race of paranormal creature unique to Cally’s world) who passes her time as a vampire hunter. At least, until a grievous injury to her arm leaves her sidelined and her cousin shows up with sinister news. The Ways (an instrument the Naimei use to predict world events and maintain the balance of the universe) are severely unbalanced, pointing to the catastrophic return of demons that had been banished from the world centuries ago. And they (the Naimei) need Chloe’s help to stop it.

However, what they have in mind isn’t quite what Chloe expects, and instead of being sent on a high-intensity mission, she finds herself in high school, charged with following a human girl who may be involved. Frustrated at being benched yet again, Chloe decides to find her own information on the scenario, leading her to Sam — a young vampire who’s more puppy-dog than anything else; Josef — the debonair vampire who speaks in riddles and mystery; and Ducante — a wise-cracking bar owner and bona fide demon. All while navigating the social landmines of high school.

Cally’s style is smooth, with a simplicity and elegance that allows readers to become engrossed in Chloe’s world, and her storytelling is deceptively straightforward. Like Chloe, readers will find themselves unraveling an intricate web of plot lines and clues, until finally, everything falls into place. Do Chloe and the Naimei figure it out in time to stop the impending demons’ return? You’ll have to read and find out. 😉

And, because today is Black Friday, REUTS has decided to honor the shopping tradition by offering the chance to pre-order Echoes of Balance. The official release date is December 17th, but you can reserve your copy now through the REUTS Publications website. This is exclusive to the REUTS site, so don’t miss out! (Echoes will be available via the regular online channels after 12/17/13). Head on over to the book’s page, check out the first chapter for free and reserve your copy!

You can also learn more about the series and Cally by visiting her website: Ducante Originals.

Cally, it’s been a pleasure working with you. Thank you for letting me be a part of your book’s journey. I wish you all the success it deserves and look forward to the next installment! 🙂