Tell Me Why? Villainous Motivations

As readers we are eternally curious about the characters who populate stories. But it’s not the surface stuff that intrigues us, is it? It’s the stuff underneath that has moulded them, formed their perspectives – the stuff that drives them. These deeply buried things are what makes a character intriguing.

Villains by definition often top that ‘intriguing character’ list.

villain-2103500__340

Villains do bad things and sure, we want to know ‘who?’ and ‘how?’ but that fades to insignificance beside the question ‘why?’. Why did he poison the cat? Why did she try to destroy Anya’s reputation? Why is he determined to terrify her to the point that she believes she’s insane? The answers to those questions are what will allow us readers to sleep well after closing the last page. We will be sated, satisfied, content.

So, is it ever enough for an author to brush that question away with a cavalier: ‘He/she is just a bad person’?

Short answer? No. Long answer? Never, nil, nada. Hardly ever. 🙂 

Why? (See? You wanted to know ‘why?’ 😉 ). Short answer: Readers want more. They’ll feel cheated. And, just quietly, be really, really ticked off with the author.

villain 3Long answer: True psychopaths are the scariest people ever. And yes, successful books have been written featuring them. But, at the risk of lighting a fuse under any psychopaths reading this, in the literary sense they’re kind of boring. Kill or torture for the sake of killing or torturing? Not going to hold my attention for long. If I’m not wondering ‘why’ then I’m out. You see, very few people are born bad, so the whole psychopath thing can often be a bit unrealistic and harder for the reader to relate. In fact studies back from the 1980s to the present all agree that a fair equation is that around 1% of western world people are true psychopaths – people who act without empathy or conscience.

Okay, so a more favourable equation would be nil%, but I’ll still take 1% over anything higher. Relatively speaking, it’s a low number. (Actually it’s terrifying if I say it in numbers – but it IS low really. Like 13 million psychopaths in 1.3 billion people. Whaaat!!! No, wait. Honestly, rest assured, despite that scary figure you’re unlikely to meet one walking down the street today. Or maybe not. Feeling lucky? Um, excuse me while I just nip out & lock my doors.)

So, what about all the other people – let’s call them villains –  who continue to star in our villain 2news reports or populate our gaols?  The non psychopaths. These people weren’t born bad. For the vast majority, things happened in their lives that affected their perspective and culminated in poorly made decisions to cause havoc and break laws (sociopaths). Or regular people who’ve got some kind of issue that burns them or has turned them.  These ‘things’ are called motivations. I.e,  a motive or reason for their decisions or behaviour.

Like everything else in life, villains come in all shapes and sizes. Moreover, they come in all manner of villainy from the sneaky troublemaker to the morally bankrupt multi murderer/serial killer. Some are charming (in their own evil way). Some slip into the shadowy background and exist in that disregarded no man’s land ‘under the radar’. And some will make our skin crawl. As authors and readers, we’ve met them all because fiction has an unfathomably higher percentage of villains of all kinds than real life. Thank goodness, yeah?

To recap that: In real life, ordinary people will do bad things. Just as in fiction, ordinary people will do bad things. The one thing these non psychopathic villains have in common is motivation; the reason that drives their actions.

Let’s look at some. Caveat: The list below is not comprehensive and there are heaps of lists on the net. However these are all motivations – and all open to your own twists and interpretation –  that I have either used or read, where used successfully, in YA novels.

  • Romance/jealousy.
  • Revenge for a perceived injustice
  • Repayment of past treatment.
  • Desperation
  • Peer acceptance
  • Peer domination
  • Need for Power (based on villains own suppressed power by others in his life)
  • Rivalry
  • Grief/Loss
  • Fear of Discovery
  • Fear
  • Pride
  • Greed

Don’t forget your villain can also have noble motivations – or motivations that began as noble. Most superhero villains were once good guys with noble motivations who somehow got off track. A villain with a noble/likeable side is most intriguing.

villain superheroes

Mix up your villains motivations to add more interest. Maybe your villain can’t help being a villain because he’s trapped?

Motivations are one of the major keystones to your story. They:

  • Reveal & distinguish character
  • Drive plot
  • Build drama
  • Give your story authenticity
  • Provide the impetus for character growth arc.

Motivations apply to every character, not just the villain. They drive the story. Dare I say they are the story. Every action and every reaction of your characters will be the result of their reasoning. And all reasoning is tempered by motivation.

Good Luck and Happy villaining!

kaz-profiles-022Multi award winning author Kaz Delaney has published 72 novels for kids, teens & adults over a 20 year period, many of them  published in several languages. Thirteen are YA novels and every one features a romance. Her latest is The Reluctant Jillaroo, Allen & Unwin, 2016 .  She is repped by JDM Management.

7 Tips to Ace Your School Author Visit

April has seen Aussie Owned and Read talk about all things marketing. So far, the focus has been on online marketing strategies, but today I’d like to take a look at a face-to-face strategy particularly useful for YA authors – school visits.

IMG_3261 by Kian McKellar via Flickr https://flic.kr/p/qzBhBH

Image by Kian McKellar Flickr CC

“Word of mouth is the best kind of marketing there is”

In my role as a high-school teacher librarian I have been lucky enough to attend numerous school author visits. Authors LOVE to talk about their books, BUT there’s no quicker way to send a class of teens into a coma than to wax lyrical about every detail of your publication journey and current book baby. There’s a good chance most of your audience haven’t even read your book, so your mission is to make your story sparkle brighter than Edward Cullen on a cloudless midsummer scorcher and give them good reason to give up six to nine hours of watching funny cat videos on YouTube to want to read it.

So, how do you grab their attention, you ask?

Make connections. Establishing a relevant context for students by drawing connections between your experience and the students’ can leave them with a more rewarding experience. Try these ideas:

1. Tie into the syllabus content covered in class. Speak to the group’s teachers / teacher librarian before the visit and ask about the units the class is currently studying in different subjects. You’d be surprised where you can find crossover content to help make your novel’s subject matter relevant. English, yes, but also, History, Science, PDHPE.

2. Talk about your research. High school students are familiar with different research strategies for school assignments. Ask about their surprising / funny / unexpected research experiences then tell them about yours:

  • How did you go about your research?
  • Did you go anywhere special?
  • Did you meet / interview anyone in particular?

A visiting author I once saw had a hall of ninth graders in the palm of her hand when she told them about the time she was set on fire (under controlled conditions!) in the name of research.

3. Unpack the revision process. Talking about the evolution of your manuscript and all the challenges along the way can be effective if discussed in the context of the students’ creative writing.

  • Bring visuals of marked up pages – scrawls and scribbles of red by you and suggestions by your editor.
  • Show students the different stages of editing, allowing them to see all the work that goes into the finished product. If nothing else, the English staff will love you, because you’ve vindicated them in their constant mantra of ‘writing is re-writing’.

Image by Laura Ritchie via Flickr CC

Now, all this talking is fine and good, but to make your author visit a success you’ll need to balance your gabbing with something else, namely …

Less words, more action. One repeated negative piece of feedback I hear from students and teachers is that the author spent most of the session talking at them. To mitigate your audience tuning out, try the following:

4. Break up your presentation into segments. Five to ten minute segments are best, each with a different focus but with clear transitions linking one to the next.

5. ‘Activity’ is king. Involve your audience as much as possible!

  • Got a YA fantasy involving martial arts? Have students learn some basic martial arts moves.
  • Got a YA contemporary featuring dance? Get the kids grooving with a ten second dance routine.
  • No martial arts or dancing in your novel? No problem. Pick a bunch of students to act out a short scene from your book while you read out the excerpt.

Anything that involves the audience will make for a better experience. Even something as simple as …

Props and visuals. Everyone has a dominant learning style, be it visual, kinesthetic or auditory, so it’s good to include visual and hands-on material in your author talk, such as:

6. Slide-shows.

  • If you’re reading out a passage from your novel, have a slide-show ready to help set the mood or introduce the physical setting.
  • You could show pictures (hello Pinterest!) of your ‘cast’ of characters using actors.
  • Share images or video related to your research – people, places, activities.

7. Relevant props.

  • So your novel features martial arts, but your attempt at a roundhouse kick is likely to land you in emergency? Bring in a mannequin dressed in a dobok instead and show some video footage you came across during your research.
  • Is your novel a YA historical? Try to source some replica artefacts linked to your story that students can touch and examine.

The idea is to bring alive aspects of your story world to spark your audience’s interest.

Black Beauty by Carol VanHook

Image by Carol VanHook Flickr CC

If you include props and visual media, make sure your audience has plenty of opportunity to be involved, and you draw connections between your writing and their experience, you’re set for a successful author visit.

But how exactly is one successful author visit a marketing tool, you ask? Teachers and teacher librarians have wide reaching professional networks and word of mouth is the best kind of marketing there is. One successful author visit will likely result in invites from other schools.

Let us know what has and hasn’t worked for you when visiting schools. Leave your comments below.


Kat Colmer AuthorKat Colmer is a Young and New Adult author and high-school teacher librarian who writes coming-of-age stories with humour and heart. She lives with her husband and two children in Sydney, Australia. Her debut YA is due out with ENTANGLED TEEN in August 2017. Learn more on her website, or come say hi on Facebook, Twitter and Instagram!

Marketing and the Potato

443851_93714104

As we’re talking about marketing this month, Rebecca and Heather are going to look at what different mediums have done to successfully gain viral attention. In doing so, we will break down what it was about these marketing ideas that we found so memorable, and look at how they would translate to literary world.

We’ve broken these marketing ploys down into four key areas.

curiosity

Curiosity

These were the ideas that piqued the interest of the target audience by withholding information. By only providing part of the picture, the consumers were left searching for more pieces of the puzzle which generated hype and global reach across social media.

Cards Against Humanity’s 30 second Super Bowl ad that was a single shot of a potato with the word ‘Advertisement’ etched into it. It sent Twitter into a frenzy as people tried to decipher what it was about.

wsj0kg7

Yes this is the real ad

The Matrix and u: hygiene products used a similar concept. The Matrix advertising posed a single question–‘What is the Matrix?’ and had a site set up devoted to the furthering the riddle.

 

Every question needs an answer.

deanmitchell-vip-logo-web-1

The VIP Experience

Making your consumer feel extra special is a great promotional tool and can create lifetime loyal followers. Everyone loves exclusivity, we all want to be a part of that little club. As a whole, people have the ‘keeping up with the Joneses’ mentality, we all want more, and when given the opportunity to get something extra that no one else has, we more often than not jump at that chance. So using this main trait to your marketing advantage would be wise.

For example, Skyrim offered up free games for life, but the catch was you had to name your baby that happened to be born on the games release day the main protagonists name… Dovahkiin. You didn’t need to be one of the two people who actually went ahead and won this prize to be drawn to the weirdness of it.

You don’t have to offer up anything this dramatic, limited editions, and VIP tickets are also great draws, with youtube unboxing a few simple extras thrown in with your advanced copy can be the star of the show.

scavengerhunt2

Interactive

Get people involved. Get them out looking, talking, generating excitement. Your audience are the ones who can get word of mouth happening in a big way and usually drive awareness the most.

A great example of this was Bioshock 2s launch when they created ten promotional images and hid them in wine bottles. These bottle were placed on ten random beaches worldwide with clues for their fandom on where to find them. Kind of like what Willie Wonka did with his golden tickets.

You could do something as simple as a blog post scavenger hunt with a prize for the winner. Facebook launch parties get the word out there, and Instagram is a good tool to get people taking pictures with your book on launch day.

Resident Evil utilised a gruesome scavenger hunt where the winner would receive a trip to Africa. Which leads us into our next point.

shock

Shock Value (Trigger Warning for extreme gore)

Resident Evil rules shock value. Shocking your consumer either works for or against you, but either way it generates conversation.

With the scavenger hunt, body parts were scattered around Trafalgar Square in London. This gained media attention, and freaked out the onlookers who weren’t involved in the stunt.

Resident Evil 6 went a step further with a butcher’s shop in London’s famous meat-market Smithfield, selling ‘human meat’. The proceeds of these sales went to the Limbless Associate, a U.K. charity for amputees and other who have lost limbs.

rebutchers

Now, obviously you don’t need to go to these extremes, but pushing the envelope so your marketing ideas go against the grain of what society deems ‘acceptable’ or ‘expected’ is one way to get people talking.

The most important part of marketing is to be memorable.

tumblr_lrjfq4lzdx1ql0adio1_500

Beginning where the story starts

To celebrate the new year, most of this month’s posts will have a theme of “new beginnings”. 

One bit of advice you’ll often hear from agents and various other bookish folks — such as editors and competition judges — is to make sure your book starts in the right place. People are time-poor and there are a lot of competing entertainments, more than there were when I was a wee lass. Smart phones! Augmented reality! Reality-cooking-soap-TV shows! You need to hook the reader from the outset, draw them into the story. Start where the story actually stars, with the inciting event — not beforehand.

I’m basically giving you that same message, but thought I’d do it with song an example.

The inciting event — the first big, life-changing incident that triggers the plot — in my first novel, Isla’s Inheritance, happens at a Halloween party. That event is in the first chapter of the novel, and always was … but the first draft of that chapter started with Isla and her cousin Sarah receiving the party invitation and sorting out costumes. I’m still fond of that scene, because it sets up the relationship between the two characters, and Sarah is a lot of fun to write. But it wasn’t the best place. Isla thinking about whether she had time to get her homework done before the party wasn’t exactly the sort of thing that hooked the reader.

In my defence, it was my first novel, and I learned by making the mistake. :p

The fact my opening sucked bugged me all through drafting the book, so after I’d finished and taken the time to get a bit of distance from the writing, I went back again. (The distance is crucial. As I said, I was fond of the costume-choosing scene, which meant I needed to take the time to see it for what it was.) I cut the first part, and started the scene instead with the two girls and Sarah’s older brother, Ryan, arriving at the party. Fixed it!

Yeah, nah.

That was the version of the book I started querying. I entered it in PitchWars at the end of 2012, and the feedback I got from mentors really shook me. I was still starting in the wrong place, dammit! Again, I was still taking time to establish the characters. I had Sarah and Isla giggle over an old school crush. Dance. I thought I was setting the scene, but it was still slow.

I went back and amputated even more from the scene. By this point I’d probably removed around 2000 words (sob). Now it starts with Isla, at the party, meeting Dominic — her eventual boyfriend — and getting invited to participate in a séance. Sarah doesn’t even appear until the end of the chapter.

If you’re getting told your book starts too slowly, have a look at what you’re trying to show the reader in your opening scene. For example, say you start with your character jogging, thinking about their life (apparently this is a very common beginning, as is staring into a mirror). You want the reader to see upfront that your main character is a physical creature who has problems that need pondering. Instead, why not start with the manifestation of the problems. You can always have the character jog later, or mention the athletics trophies being knocked to the ground during the zombie attack — that sort of thing.

Obviously there are exceptions to every rule, such as if your character is doing a marathon and they rupture their Achilles tendon on the first page or get hit by a car, because the rest of the story is about their healing journey.

I’d like to think I’ve learned this lesson now. I’ve started (and finished; OMG!) five other novels, and all of them have a much quicker beginning to the plot. But I learned it the hard way. Avoid my mistake, grasshopper!

Cassandra Page is a speculative fiction writer. Her first novel, Isla’s Inheritance, is currently free in ebook format at all good (and some dubious) ebook retailers. You know, if you want to find out what happens next. 😉

Note: the featured image at the top of this post is from Shutterstock.

Cassandra Page

Four ways to see your writing anew

Source: Shutterstock

Source: Shutterstock

Drafting a novel is like hiking through a huge forest. Your approach to the impending journey may vary: some of us come up with a detailed map, set their feet on the path and power on through, while others see the edge of the trees, think “let’s see what’s in there”, and wander in. Most of us have approaches somewhere in the middle: we might know where we want to end up, but not have a specific path in mind. Almost all of us get distracted by things along the way; sometimes the distractions turn out to be just that, while other times they are a valuable addition to your journey.

But there’s an idiom that also applies to a writer who is in the middle of or has just finished drafting a novel.

I can’t see the forest for the trees.

Whether you love your work or hate it, when you type THE END, you are not seeing it clearly. Everything from being able to discern the dead wood — those scenes, characters or chapters that don’t move the story forward — to spotting typos is harder. You don’t have the altitude. You’re still in the trees.

So here are four ways to see your work differently. To get a Google maps perspective on your forest.

1. DO SOMETHING ELSE

This is the first and most important, which is why I gave it shouty caps. If you can possibly avoid it, don’t jump straight back into editing. Give the manuscript a few weeks to stew. Read a book (or five). Write something else. Go on holiday. Spend some time with the loved ones you’ve been neglecting. You’ve written a novel, which is a thing to be proud of. Celebrate, but not by re-reading it.

This point should be applied in conjunction with one or more of the other suggestions, below. The only exception is if you’re up against a hard deadline that doesn’t give you the luxury of time. I’m not talking about a pitching contest you want to enter — there will always be more pitching contests — but something with legal ramifications, like a contractual requirement.

2. Read it in hard copy

Speaking of trees (sorry about that, forests of the world)… This is my favoured approach. I wish I could get the necessary distance while still reading my words on a screen, but that’s the place where I drafted it, and I just can’t. On paper I can see misspelled or misused words, tracts of exposition — they all leap out at me. Usually I do a dirty word search before I hit print and make those amendments to the soft copy. Then I sit down with a pen and have at it.

This does have the drawback that I have to enter my edits onto the soft copy afterwards. It’s tedious but, for me, worth it.

3. Change the appearance of the words

If you draft in Arial, try looking at your manuscript in Times New Roman. Or Comic Sans MS, if that’s what floats your boat — just remember to change it back before you submit it to any agents or publishing houses. I know some people who actually format their book and read it on their Kindle, to try and put themselves into the role of a reader rather than the author.

As an aside, I do this with all my blog posts. I write them in Word, do one proofread in the WordPress data entry screen, and then do a final check in the blog preview screen.

4. Read it aloud

Obviously this is better for picking up line edit problems — passive sentences, overused words, that sort of thing — rather than structural problems. Although if you get bored reading a scene maybe that’s a sign the scene could go. There are also text-to-speech programs that you could use if you don’t want to read your 150,000-word opus aloud for fear of never being able to speak again. (And, um, if that’s your first novel I also recommend reconsidering the length…)

I’m tempted to add a fifth point here that says “see point one”, but I won’t. You get the idea.

Do you have other tricks that you use to let you see your words afresh?

Cassandra Page is a speculative fiction author and professional editor who has almost finished drafting her sixth novel and is itching to get stuck into the edits. 

Cassandra Page

Pitching Contests: Yes or No?

PitchWars-Logo

This month here on Aussie Owned and Read, we’re talking pitching. Make sure you stay tuned for our best pitch info and advice coming all throughout the month.

There are a lot of different types of competition authors can look at as a way to give their work industry attention, but today I’m talking pitching contests. Two of the biggest pitching contests that come around every year — which you may have heard of if you have a Twitter account and follow any authors at all — are Pitch Madness and Pitch Wars. The latter is on right now.

Both of these are organised by contest queen Brenda Drake. The ultimate goal is to have your pitch and/or manuscript chosen, polished, and put in front of participating agents for consideration. To do this, you need to first be selected by one of a number of mentors, who are generally editors, published or agented authors, or others with publishing experience but who aren’t actually publishers or agents themselves.

My experience: the positives

I am not an expert on the inner workings of either of these particular competitions. For that, you’ll have to ask Sharon, who is an experienced Pitch Wars mentor. But I have participated from the other side.

When I first joined Twitter back in 2012 I didn’t have any experienced critique partners. The only people who’d read my manuscript at that point were friends, who were enthusiastic but either didn’t see problems with the story as it stood or were too kind to tell me.

Pitch Wars was on about a month later, so I decided to give it a shot. I didn’t win, or even get picked for the final three by my mentors, although apparently I made some shortlists. It turned out that my query letter blew chunks. Several kinds, in new and interesting colours. Disheartening, much? But there were some definite positives from the experience.

  • I received some lovely compliments back on my writing. Yay, validation!
  • I got some specific, constructive feedback on the query and opening pages — all of which ultimately led to me improving both and selling that manuscript to a small publishing house.
  • I befriended many other entrants and a few of the mentors. I wouldn’t be an Aussie Owned and Read co-blogger now if it weren’t for that first Pitch Wars, and that’s how I met my critique partners.

My experience: the negatives

Of course, there are also a couple of big downsides to these sorts of contests.

They are yet another way to experience rejection, and some people will be disheartened to the point where they give up altogether. (Julie Hutchings, an author I adore, posted a rant last week that touched on exactly that; it’s worth a read if you want the other perspective.) I remember how gutted I was, receiving those “no thanks” emails after my first Pitch Wars. I’d never received a real, non-form rejection letter before, and it hurt — though I believe it’s better to have received that email from a fellow author than from an agent.

The other downside to these contests is that the mentors, as wonderful and giving as they are, are third parties. I can see that some authors, even those who don’t necessarily need the feedback anymore, might use pitching contests as yet another procrastination tool. If you have a query-ready manuscript that has been beta read and critiqued and edited, and you have a polished query letter all ready to go, do you really need to take a month or two out before querying in order to enter a contest? Why not hit up MSWL (Manuscript Wish List, my favourite agent-finding site) and put that baby out there all by yourself?

Are pitching contests right for you?

I’ve haven’t entered a pitching contest in a couple of years now. (I do love an enthusiastic Twitter pitch party, though!) There are a few reasons for that, but primarily it boils down to the fact that I have those awesome, experienced critique partners now, and I’m comfortable with the idea of querying directly to agents and publishing houses rather than going through what is essentially another set of gatekeepers. (I mean that in the nicest possible way!)

I’ve also been a mentor-equivalent in other, smaller contests — NestPitch and Pitcharama — so I’ve seen the slush pile from the other side. I’m not so arrogant as to suggest that I wouldn’t benefit from the insight of the current contest mentors, but I also know I don’t need that help as badly as I did in 2012. Back then I didn’t even know where to find a list of agents to query!

Ultimately, my advice is this: see what the contest is offering you. Not just the ultimate reward of an offer from an agent or publishing house, but all the other benefits, which are potentially available regardless of whether you’re selected. Pitching contests can be an excellent way to receive another perspective on your work from someone other than your bestie or your mother. They can teach you how to research a mentor’s preferences (a skill that will be invaluable when querying agents). And they can introduce you to a new circle of writers, who — if you’re as lucky as I was — might become an invaluable support network.

Whatever you decide to do, may the odds be ever in your favour.

Cassandra Page is an urban fantasy writer whose first book, the manuscript she entered back in that 2012 Pitch Wars, is now available as a free ebook!

Cassandra Page

 

Finding Time in a Busy Life

Source: Shutterstock

Source: Shutterstock

I forgot today was my day to post here. Usually we try to have our posts up in the morning, and it was dinnertime when I had an OHNOES moment and realised I hadn’t done anything. Then my son and I had a karate class to go to, so here I am: it’s after 9pm, my legs are tired from kicking invisible bad guys, and I’m drinking tea from a Lady Rainicorn mug and eating crackers and olive dip.

It’s not my finest moment.

I know I should go easy on myself — I have a load of excuses I could give you for why I forgot (single mother working full time, yadda yadda yadda) — but the thing is that, despite everything going on in my life, I am usually pretty good with stuff like this.

How do I do it? I’m glad you asked. 😉

I set reasonable goals. My standard word count goal per week when I’m drafting is only 2000 words. This count excludes writing-related things that aren’t actually writing. I accumulate my word count over two or maybe three writing sessions of up to an hour each, either in between washing and other chores on a weekend or on a week night once the boy is in bed but before I pass out. I don’t watch TV pretty much ever, which helps.

If I want to slack off and do something for fun, I bribe myself. Last month I blogged about rewarding yourself for good behaviour. Sometimes, for me, it’s more like extortion. “Want to play Minecraft? You need to write at least 500 words. GO!” (Yes, I play Minecraft. My friends moved interstate and we have a server; it’s actually a relaxing way to spend an evening, building ridiculous things made of one-metre-square blocks.)

If I can’t write when I should, I do another productive thing. This ties into the previous point. There are always other things I could be doing: blog posts, reviews, synopses, queries, advertising, researching, plotting, scheming… you get the idea.

I schedule things. I don’t mean appointments and whatnot, though I do that too; I mean on social media. WordPress lets you schedule blog posts (and I expect Blogger does too). Tweetdeck lets you schedule tweets. Facebook lets you schedule posts to pages (though not to personal accounts — not yet). Hootsuite lets you schedule posts to a bunch of social media pages (currently Twitter, Facebook, Google+, LinkedIn, WordPress, Instagram and YouTube). This functionality is great if I have a blogging afternoon, where I write two or three posts and want to space them out rather than spamming my readers.

It is also how I manage to post my blog posts on schedule … today notwithstanding.

Are you a writer, a parent, or both? How do you manage to keep everything straight? Do you make lists? Plan obsessively? Wing it and hope for the best? I’d love to know I’m not alone!

Cassandra Page is an urban fantasy author who just forgot, okay?! :p

Cassandra Page