Deborah Reads from "Eagle's Beak and Wings of Bronze, or Something Unusual Happens to Allis"

 Hope you enjoy this snippet:

When sweet, slow-witted Alis gets shipped off to be the bride of the Duke’s son, she isn’t quite sure what to make of her situation, especially the changes that happen to her during the full moon. Soon she’s holding her own in conversation with a sonnet-composing dragon and a contentious two-headed roc. Is she cursed to become a were-gryphon or is the world finally making sense?

Release date is September 1. Pre-order it from Amazon; or Barnes & Noble, Kobo, Overdrive, and other vendors.

Deborah Reads From "Four Paws To Light My Way"

 

"Four Paws To Light My Way" will release on May 1, 2021, and is available now for pre-order. The others will follow at monthly intervals.

Four Paws To Light My Way (May 1, 2021)
The Poisoned Crown (June 1, 2021)
"The Fallen Man" (July 1, 2021)
The Girl From Black Point Rock (August 1, 2021)
Sage Mountain (September 1, 2021 -- not yet available for pre-order)

BayCon 2017 Report

BayCon is my local science fiction convention, one I have attended regularly for quite a few years now. At first, the hotel venue was within commuting distance, so long as I did not indulge in too many late night events that left me driving twisty mountain roads when I was already fatigued. But as the convention moved to different hotels, as conventions sometimes do, each successive move took it farther away until I was faced with either driving over an hour in either direction or shelling out for a hotel room. Fortunately, a dear friend and writer colleague offered me a guest bedroom and the chance to carpool from her house. Her adolescent children attended the con, too, so my own experience was colored by becoming a temporary part of her family and also the rhythms and accommodations of young folks. Among other things, I heard about the teen track programs, the gaming room, and other aspects of conventions I otherwise would be oblivious to. The kids reminded me that although conventions are primarily work for me, they can and should be play, as well.

The other difference in this convention is that Book View Café had one of two tables in “author’s alley,” near guest registration (the other was Tachyon Books, featuring Peter S. Beagle). Although the various attending members were not particularly organized, it was a somewhat successful learning experience and some of us sold books, talked about BVC, and chatted with fans.

We arrived at the hotel Friday afternoon, in time to hear both Juliette Wade and Chaz Brenchley read. Listening to authors read their work, sometimes work in progress or yet unpublished, is a special treat. When I have a heavy schedule of panels, I regret not being able to attend, so this was a great beginning to a convention. Not only did I get to hear two very different but equally wonderful stories but sitting quietly in a convention atmosphere helped with the transition.

It seems the older I get and the longer I live in the redwoods, the more difficult it is for me to “shift gears” into convention mode. I’ve become accustomed to long, deep silences, not to mention a slower pace of conversation. I always feel as if I’m moving (and speaking) too fast, which of course increases the risk of mis-speaking or not listening carefully enough to what the other person is saying. Most of the time, no one seems to notice. Being so aware of my own limitations, however, does make it easier for me to respond with gratitude when I am called out on an error. I appreciate not getting backed into a defensive posture.

Adventures in Author Readings

Over the decades, I’ve done many readings, and each one has a story behind it.

All kinds of things can go wrong at readings. Nobody shows up – that’s the classic “worst fear” of newer (and experienced!) writers. Sooner or later, it happens to all of us. I consider the experience part of being a working writer interacting with the public. It’s not a reflection on my work or me personally, it’s just the way things go. I wait for a reasonable amount of time to accommodate late-comers before deciding it’s a no-go. What’s reasonable depends; I’ve had people come in as late as five minutes before the next reading. The important thing then is to be gracious and friendly. Conventions are busy places, and I appreciate any effort to get to my reading, particularly if it’s scheduled in an out-of-the-way place or at the same time as something really popular.

Then there are solo readings where only a few people come and half of them leave, and those who stay have the pained expressions of those who find themselves in the wrong place but are too polite to leave you with no audience at all. At times like these, I don’t plod through what I’ve planned (unless, of course, those stalwart few are perking up in surprised delight). I may cut it short or do something outrageous to liven it up, like interspersing paragraphs with interpretive dance. Or I pass the manuscript or book around, round-robin style, asking for dialog to be read in silly voices. In other words, I try to make the reading a fun experience, even if my audience is there by mistake. If I’m reading from a print-out, I’ll autograph it and offer it to a lucky winner.