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As a genre writer it’s inevitable that at some point you will encounter a book that sounds like yours. Even if you stay away from the major trends (cowboy, shifter, vampires) like I do, there are only so many tropes and story lines to go around. At least, that’s what I keep telling myself.

You see, recently I’ve come across several new releases (including one from my own publisher) that, based on blurbs, seem awfully similar to the novel I just completed: disgraced/ down-on-his-luck man returns to the town he grew up in and has to deal with issues from his childhood while embroiled in a mystery and rekindling a relationship with his boyhood love/crush.

I know this is a well-used trope across multiple genres and movies of the week, but still, there is nothing like that lurch in your stomach when you stumble across a work that reads like yours.

My initial reaction was to panic. Followed swiftly by a sense of defeat. Was I going to have to throw away ten months of work? I began to worry about unfavorable comparisons, or worse, that readers would think I somehow copied the idea. And then there was the whole timing issue. Why now? My book has just entered the editing stage; it’s too late to make major changes. And would readers be tired of this trope by the time it drops in June?

I’m not the first writer to go through this, and I won’t be the last. In a crowded genre this must happen all the time. Knowing that hasn’t stopped me from taking a look at the available excerpts and samples for those books for reassurance. It does seemÌýthat there are enough differences to avoid side by side comparisons. Much of my worry is no doubt compounded by my standard pre-release anxiety. In the end, I tell myself, it’s out of my hands. I have to be confident that my characters and style will distinguish my novel from others out there. That’s really all any of us can do.

When it comes to writing, I lean toward realism, both in my characters and in my settings. That’s just my thing. I like doing research. And I’m a stickler for accuracy. I really hate fudging facts to make them fit. But what happens when things just don’t line up the way you want them to?

My latest novel, which I’m just wrapping up, takes place in northern British Columbia along Highway 16. This highway has a troubled history and it plays a pivotal role in the story. The problem is, there are only a specific number of small towns along the route. And in terms of location, none of them worked out perfectly. One was perfect in terms of atmosphere but too far away from the area where I wanted my crime scene to be; another was close to the right marshy area but didn’t have the amenities I needed.

I must have spent days studying satellite maps of the area, searching for the best spot to ditch a car where it wouldn’t be found for two decades. I uncovered lots of places where the topography was ideal but none near the town I had originally chosen as my home base.

Finally it occurred to me, d’uh, why not create a fictional town which combined everything I need? Plenty of authors do this, especially when it comes to smaller towns, so I’m kind of embarrassed that I didn’t think of it before. In fact, as I discovered, writing about a real town is not the same as writing about a large city like Toronto or Vancouver; it’s far more personal, and I worried about misrepresentation or getting something wrong or pissing someone off.

And so blue-collar Alton, BC, nestled in the Bulkley Valley, population 3200 was born. For me it turned out to be the best solution. Alton satisfies my need for realism, because it’s essentially a real place but situated in slightly different surroundings, while allowing me the creative flexibility I need to make the story work. I only wished I’d done it from the beginning.

I’m never quite sure where the time goes. How can it already be July? How can it be two months since I’ve last posted? At this rate, the summer will be over before I know it. I’m going to blame my absentmindedness on the fact I’ve been hunkered down working on my next project in my off hours. Yeah, that’s it.

Next up is a romantic suspense novel about a man who returns to his small town roots to visit his dying estranged father, only to find the feelings he once had for his best friend, and the boy he left behind, reawakened. He is also caught up in a twenty-year old mystery that could end his budding relationship before it even begins. It’s still a work in progress, but I’m hoping to wrap it up in the next couple of months. I’m happy to report I’ve already signed a contract with Riptide for this one and that it will be out in spring 2017.

Until September in audiobook � giveaway

came out in audiobook last month. To celebrate, I have an Audible promo code for a free copy to give away (Note: this is only good for Audible.com).Ìý To enter, all you have to do is leave a comment on this post. The topic is audiobooks. Tell me why you like audiobooks. What’s your favourite/ most memorable? How big a role does the narrator play for you? What killed an audiobook for you?

The giveaway will be open until the end of July. I will draw a random winner on August 1. Don’t forget to put your email address when you post so I can contact you.

It’s impossible to spend one’s career in the corporate world and not absorb some of its key lessons. In business, all major decisions and activities are based on ROI (Return on Investment): essentially this means that whatever you put into something, you need to get as much, or more, out of. The goal is to get the biggest return over time with the least investment. All competing priorities are measured and ranked accordingly.

It’s a principle that guides most of our lives even if we don’t realize it—for us worker bees, our salary is generally the return for the investment of our time. If our return is not enough (or we don’t have satisfaction with the job or elsewhere), we start to get angry, dissatisfied and resentful. The same holds true for other aspects of our lives.

A “return� doesn’t have to be monetary. It’s any benefit. It can be emotional (gratification, happiness, relaxation) or some other benefit like security or stability or even learning a new skill.

It may sound awfully cold-hearted and selfish, but ROI is something I consider in almost everything I do, be it writing, my IT career, or even my relationships. I feel that life is too short to waste time on something that is not going to make me happy, especially when there are so many other things out there that could bring greater enjoyment. Isn’t your time important? It should be.

Sometimes we make an investment (in a person, a career) in the hopes of achieving a good return, only to realize later we may have overestimated it. Things don’t work out the way we planned. This is especially true for writers who tend to dream big. But it takes time to grow your investment, you may say. Of course it does. And your ROI will fluctuate over time too. But a good investor keeps an eye on it and is constantly evaluating, or else you run the risk of it all blowing up in your face. Let’s face it, for most of us indie writers, royalties are not a sufficient return for the amount of time we invest in writing—if you were to only look at the monetary reward, most of us would be operating at a loss. There has to be something else you get out of it. There is no harm in reassessing your ROI when things aren’t working out. Businesses do this all the time and either pull the plug or scale back on projects that aren’t achieving. It doesn’t mean failure. It doesn’t mean you quit. It only means that you didn’t achieve the expected return and respond accordingly. It’s all about balance.

When I first started writing seriously, it was a creative outlet more than anything. It gave me the sense of self-satisfaction and escapism (my return) that I wasn’t getting in my day job, so I didn’t mind sacrificing my evenings and weekends (my investment) to sit at the keyboard for little to no money.

Lately I’ve had a hard time creatively, and it took me a while to figure out it was because my personal ROI had gotten out of balance. I’m investing far more (time, stress, energy, pressure) than I should be in writing right now and my return (enjoyment) is diminishing. It’s time to adjust. Maybe that means taking more breaks to recharge, or taking a couple of nights a week off from writing just to veg or try a new hobby. The important thing is to find the right balance to maximize my return again.

If you’re suffering from burnout, here are some things to consider when evaluating your own personal ROI:

What types of things do you feel like you are putting in to your career right now?
What types of things do you feel like you are getting out of your career right now?
When you write all of those things down side by side, how does it look? Do the inputs outweigh the outputs? If so, what needs to change to balance them out?

Many people think that being a professional [whatever] means you get paid for what you do. But did you know that’s only part of it? There’s another, less rarely discussed and more commonly forgotten, aspect to the term.

Professional:

c (1) : characterized by or conforming to the technical or ethical standards of a profession (2) : exhibiting a courteous, conscientious, and generally businesslike manner in the workplace

Lately I’m finding it increasingly pointless to give advice. I mean why take my advice over his, or hers? Do this. Don’t do that. Everyone’s got an opinion these days. Why bother adding my own to the mix? I’m certainly no bestselling author. I don’t purport to be the voice of authority. In fact, sometimes I think we seem to have too many voices, all clamouring for attention but no one is actually hearing each other.

But here’s a radical piece of advice I do want to share: If you want to be a professional writer, then act like a professional writer.

This doesn’t mean you have to build a fancy website, or have thousands of Facebook friends, or even sell gazillions of copies. Those things have nothing to do with professionalism.

Merriam-Webster defines professionalism as “the conduct, aims, or qualities that characterize or mark a profession or a professional person�. What are those qualities you ask? Here are a few attributes that define a professional:

Specialized knowledge.
Competency.
Honesty and integrity.
Respect.
Accountability.
Self-regulation.
Image.*

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Notice that only the first one is related to the actual skill level of whatever you are doing. The others are all related to you as a person.

“Genuine professionals show respect for the people around them, no matter what their role or situation.� This is my favourite quote and it’s one I try to live by in my day job, as well as my sideline writing career.

Whether you’ve sold one book or one million, or even if you’re just starting out, being a professional writer means respecting your readers and understanding that everyone out there is a potential reader. It means respecting your subject matter and your peers. It means accepting criticism without taking it personally or getting defensive. It means listening to what people have to say and respecting opinions different from yours. It means being accountable for your behaviour as well as what you produce. Above all, it means taking the high road, even if it’s a more difficult path.

On March 30, my newest novella, Happy, will be released by Dreamspinner Press. This will be my second book launch in three months, and while of course I’m excited, I’m also exhausted from back to back promos, which is not my strong suit on a good day.

Happy is a spin-off from an earlier novella called . Now, usually I stay away from series and sequels, but in this case a minor character kept nagging at me to create a story for him. So two years later, I finally gave in and let Peter Georgiou have his way.

Growing up Greek-Canadian, Peter Georgiou always knew his duty was to his family, for whom twenty-first century rules don’t apply. In his early thirties, Peter still lives at home, dates who his parents tell him to, and works at the family restaurant. But watching his two best friends find happiness in each other’s arms has made him worry over his destiny.

When Louie Papadakis returns home to nurse his broken heart and start a new life, he can’t believe his sister is dating his high school crush, Peter. There’s a sadness behind Peter’s eyes that draws him in, and a chemistry he wishes he could ignore. After his closeted ex broke his heart, Louie is afraid to fall in love again, especially with a man who’s keeping secrets.

As Peter finds himself drawn to Louie in unexpected ways, old and new worlds collide. Then a family crisis forces Peter’s hand, and he must decide if he’s willing to sacrifice his happiness for family duty.

Happy can be read as a completely stand-alone story. To read an excerpt or pre-order, head to .

Blog Tour Dates:

March 24th � MM Good Book Reviews

March 28th � Open Skye Book Reviews

March 29th � Two Chicks Obsessed with Books and Eye Candy

March 30th � Hearts on Fire

March 30th � Divine Magazine

March 31st � Love Bytes

March 31st � The Novel Approach

April 1st � Scattered Thoughts and Rogue Words

One of the cons to writing part-time is that you can’t keep to a regular release schedule and in an indie market full of rabid readers, this can be a strike against you. By the time I’ve put out something new, any headway I had from the last release is long gone. But such is publishing; I simply can’t go any faster. I’m lucky to have some very loyal readers. My own personal goal is to release at least one book a year. And while it seems like forever since I’ve published something, in actuality I am writing constantly. With rewrites and publishing schedules, it has taken over a year to get Until September to print. But it’s finally here.

I am so proud of this book. With rewrites and revisions numbering in the double digits, it’s the hardest I’ve ever worked on anything, and it’s the closest I’ve come so far to representing �the author I want to be�.

Until September releases February 8 from Riptide Publishing

As a teenager, Archie Noblesse clawed his way out of the poverty, heartache, and abuse of the reservation and left his family behind. Desperate to shake the shadow of his past, he reinvents himself as Archer Noble, an outspoken blogger and controversial author who lives only for himself. But when his beloved sister dies, Archer is saddled with guardianship of his niece and nephew.

Elementary school teacher Ryan Eriksson is devastated when his best friend Marguerite is killed, leaving her two young children orphaned. Helping Archer with his new responsibilities eases his grief, but when Archer offers him custody of the children, Ryan’s left with an impossible choice: get the family he’s always wanted, or respect Margie’s wishes and convince Archer to give parenting—and his heritage—a chance.

To buy time, Ryan promises to stay for the summer, hoping that Archer will change his mind and fall for the kids. But Archer’s reluctant, and the growing attraction between him and Ryan complicates matters. Legal decisions must be made, and soon, before Ryan returns to school. But with hearts involved, more than just the children’s future is on the line.

To pre-order and read an extended excerpt see:

More details on the blog tour and contests coming soon.

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In my , I summarized some of the benefits of registering copyright for your work. Those benefits are largely monetary and applicable mostly in the event you take legal action against copyright infringers.

Berne convention countries do not require copyright registration for a work to be protected, and in fact many of the countries don’t even have an established process for it. The United States is different, and since many of us write for American-based publishers, registration becomes a bigger concern. In the US system, you can sue for actual damages [the monetary loss caused by the infringement], the infringer’s additional profits on the use of your work, statutory damages [up to a limit of $150,000], and attorneys� fees.* US-based writers must have registered copyright in order to sue. Non–US-based writers have slightly more flexibility, but would still require registration in the US to go after statutory damages and attorneys� fees.

Publishing seems to be the wild west these days. While publishers have generally been diligent about verifying and respecting copyright, making their authors sign a contract vouching that they are the copyright holder and originator of the work, the same cannot be said for some self-published authors who don’t abide by the same professional courtesy, likely because they don’t risk losing as much. I’ve already seen a growth in reported plagiarism by authors who are either willful or ignorant violators.

Remember, if you were writing for a big publisher, they would automatically register the work for you. Clearly it’s important. For indie and self-published authors though, the decision to register is a personal one, and one that has a cost as well. As I go through my own evaluation of whether or not to register, here are some of the factors I’m considering:

How likely are you to take action and sue someone?

In my opinion, there are two aspects to this: the first is obviously financial, but the second is around reputation. Are we somehow less talented or deserving because we don’t have the luxury of a big publisher behind us? No. If you’re an indie author trying to build a long-term serious reputation, would you sue to protect it? I think I would. While you might not be inclined to take legal action on your own as a self-published author, if you’re fortunate enough to have an indie publisher who would sue on your (and their) behalf, the chances are higher that some form of litigation would occur. Remember it’s not just your lost royalties at stake, but their earnings as well.

Consider the cost of litigation:

Legal proceedings are expensive. If you plan to sue, do you have the 50K to initiate proceedings? Many lawyers won’t even touch a case unless they are guaranteed to recover fees as part of the settlement (which requires you to be registered). If you are with a publisher, they may cover the cost, but if you are self-published can you afford it? Would you actually realize any damages from the other party? It’s one thing if your action is against another publisher, but these days anyone can be their own publisher, so the question of whether you will actually be able to get any money out of the infringer is a valid one.

Do a cost/ benefit analysis:

If you are writing short books that sell for .99 cents, it might not be worth registering the work(s) because the cost to register might be a significant chunk of your potential profits. Also your actual damages/ potential lost income might not even offset the legal fees. Your infringer would have to have sold a large number of copies. In addition, if you are a prolific author, registering each work (at $50-75 each) can get costly so you might want to pick and choose which get registered.

The good news is that you can register copyright (in the US) up to five years after the initial publication. If you discover your published work has been infringed, you can still register it, provided it’s within those initial five years. But you won’t be able to claim damages for that period in which it wasn’t registered.

Hopefully some of these points have helped you make an educated decision about registering copyright in the US or in your home country. Don’t let others steal the words and worlds you’ve worked so hard to produce.

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As a former librarian, I thought I was well-versed in Canadian copyright law but knowing what you can and can’t reproduce is only half the story. As authors we have to worry about defending ourselves from accusations of plagiarism, or worse, dealing with those who infringe on our copyright. I’ve never really worried about defending a claim against me (I keep lots of records), but in the wake of yet another scandal in this genre I realized I was a little fuzzy on what I would do if someone infringed on my copy rights. As a Canadian, was I protected outside Canada? There was also this pesky issue of registering copyright I didn’t fully understand. I’d always understood copyright to be automatic, so why would I pay to register my novel? I was especially concerned because I write for American publishers who would likely defend/ initiate proceedings in the US, so how did that affect me as a non-US citizen? This sent me on a research binge, the results of which I’ve summarized here for others who might be interested. This is not intended to be legal advice. If you are in doubt about your rights talk to a copyright/ intellectual property lawyer in your country.

First up some copyright basics

Copyright belongs to the creator (unless you sign it over). All respect the copyright of participating countries.
Across countries that are part of the Berne Convention, copyright is automatic starting at the moment of creation. It is important to keep all drafts (with timestamps) and any email correspondence in the event you need to prove creation date. Mailing yourself a hard copy of your manuscript is not valid evidence. You do not need to register with your local copyright office in order for copyright to apply.
Major publishers generally register copyright on behalf of their authors, however in the indie or self-publishing world this is usually left to the authors themselves. If in doubt, check your contract for details about who is responsible for what.
Registering copyright (which can cost $50-75 per item depending on where you register) is not necessary but it gives you some “advantages�, mostly around litigation and the amount of damages you can recover. “� It’s important to note any advantages are only good in the country in which you registered. Registering won’t stop anyone claiming against you, and if they can prove their stuff pre-dates yours, you are SOL, but registered copyright holders are generally favoured by the courts.
You can register in multiple countries. Many Canadian authors register in both Canada and US, especially if the work is marketed in the US.

Now for the Important Stuff

I’m oversimplifying things, but if you are making a claim of infringement there are essentially 2 parts to it:

Making a claim: this could be an email, a letter, an official cease and desist notice. In many cases this is all that is required to get infringing product removed. Guilty parties (fortunately) have tended to fold quickly. Janet Dailey fessed up as soon as she was outed by Nora Roberts. Many online retailers will pull items until a dispute is resolved because they don’t want to be a party to it. Sometimes proof will be required. If you’re lucky enough to have a publisher, they will likely do all this on your behalf. You don’t need to be registered to do this, however things tend to happen more speedily if you are.
Legal action: this is where you (or your publisher) will actually sue for copyright infringement and damages (actual and/or statutory). If you have a publisher, it is generally their responsibility but check your contract. This is usually done if there is a substantial loss of income.


In the US, you can only sue someone for infringement if copyright is registered with the US Copyright Office (you can bring a claim without registration, but you won’t be able to initiate a law suit or recover damages). This is only a requirement if the work originates in the US. For now, non-US citizens protected under Berne have a slight advantage here. However, even for non-US citizens, the work must be registered in order to claim statutory damages and/or award attorneys fees. This is a for Canadians of statutory and actual damages and American copyright law.
In Canada, statutory damages “may not exceed $ 20,000, nor is registration a prerequisite to their availability.�

In short, registration seems to be an insurance policy. While you can still prove copyright ownership and take action to have product removed, without registration you have very few options to recover damages. Does that mean registration is worth it?

In my next post I’ll cover some of the things to consider when deciding whether to register copyright.

[Note: several dangerous changes are being proposed to US Copyright law which would force creators to register all works or essentially waive copyright. of some of the planned changes]

Key References:

Canadian Intellectual Property Office. A Guide To Copyright.

US Copyright Office. Copyright Basics:

Copyrightlaws.com. 10 Myths About Canadian Copyright Law.

** Hofbauer Professional Law. Registration of Copyright.

SFWA. Copyright.

When I first stumbled upon the m/m genre and then decided to write in it, it was because I was tired of the same old mainstream romantic tropes: cowboys and millionaires and plucky heroines and syrupy dialogue. I was drawn to the more intimate, character-based stories I found here and hadn’t really heard before. I’d tried my hand at traditional romance and felt too constrained by the rules. Here I thought, was a new genre where I could be creative. There was so much potential to break boundaries. How naive I was.

Once I began to publish, I became increasingly baffled by some of the things I saw going on. The whole troll thing was a shock to me, as was how mean and unprofessional some writers could be to each other. Since I never came from the slash fiction world that spawned this genre, I had no idea of the “rules� of the game or how things worked. It’s taken me three years to understand it.

Maybe it’s due to the shift in attitudes toward sexuality in the world at large, but it’s becoming clear that this genre is in the midst of an ugly identity crisis. Many times it’s made me wonder what I’m doing here and if it’s worth it to continue. In this over saturated and oftentimes hostile market I sometimes think it’s not worth the hassle or the effort. Then I realize none of it matters to me. I’m low [wo]man on the ladder. I write for me, I’ve always written for me, so I’ll just be over here sitting quietly in my corner, and I’ll continue to write the stories I want to write, regardless of how they sell.

Lately I’ve read the FB and blog posts with fascination. The thing is, mixed with all the insults and defensiveness, many of the arguments being tossed about, on all sides, are totally valid. It’s too bad that people don’t actually listen to them instead of getting all defensive; if they did, we might be able to have a meaningful discussion about the future of the genre.

You see, genres don’t belong to any one group, least of all authors. Genres evolve. The mainstream romance genre certainly is not the same as it was 20 or even 10 years ago. Maybe the m/m genre was founded in one tradition, but it doesn’t mean it stays that way. Narrow boundaries were meant to be broken. We, the readers and writers, make the genre, but we don’t own it, so let’s start thinking outside the narrow boxes we set for ourselves. Why does something have to be either one thing or the other? And if it’s something you don’t like, why on earth do you have to put it down?

For you budding or struggling authors who don’t fit the box, keep trying. Write what you want to write. The way you want to write. Listen to the advice of other authors on what has or hasn’t worked for them, but don’t feel pressured to take it. And don’t be intimidated. Yes it may be harder to get noticed. The big publishers are focused on the bottom line and the current market. But the only way to really effect change is from within, even if it’s only one copy at a time.

We need your voices. We want to hear them.