What Stories Would You Like To See On "The A.L.I.C.E. Files"?

As regular readers know, I recently launched a new audio drama YouTube channel in partnership with Alice Liddell called The A.L.I.C.E. Files! While the overarching story of this channel is about the mysterious Carroll Institute and the new "Alice" that's been hired as a witness cataloger, that overarching narrative is punctuated by the stories she finds in the files themselves. These stories come from my and Alice's previously published works, and we're also drawing on public domain books and collections, as well as writing a few fresh stories to add to the collection.

My question for you all this week is a simple one. What stories would you like to see turn up on Alice's desk in Workstation 17?

We have a lot of things to draw on, after all...

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

Lastly, don't forget to check out my Vocal archive for additional fiction, articles, explorations of weird history, and more! And, of course, check me out on Blue Sky, since that's what we're talking about today!

We're Taking Requests Now (Because They Take Time To Make)

When we sat down to start this channel, I had a handful of dramatized story videos already in the bag. I've been updating them with fresh intros and outros so they add to the channel's overarching story, but these were the seeds of the project that we've been steadily planting over the past month and change.

It started with my story Dead Man's Bluff, which came out of my short story collection The Rejects:

And then we moved on to an audio rendition of my 50 Two-Sentence Horror Stories, which was one of the most popular fiction posts in my Vocal.media archive:

And there are a handful of future episodes that we're recording fresh intros for. These include:

- 50 Two-Sentence Horror Stories, Cthulhu Mythos Edition

- 50 Two-Sentence Horror Stories, SCP Edition

- 50 Two-Sentence Horror Stories, Warhammer 40K Edition

- Suffer The Children (also from my collection The Rejects)

- An untitled story from the Exalted tabletop RPG

- A dramatization of my short story Devil's Night, from the Pathfinder adventure path Hell's Rebels

However, once we've finished with those episodes, we'll have a wide open field regarding what shows up on Alice's desk next. And that's why I wanted to take a moment to ask my readers what stories you'd like to see us tackle!

And I'm asking now because we still have some lead time. Because full audio dramas that last between 20 and 30 minutes aren't something we can just make in a single week. We have to check the scripts, corral the voice actors, edit, create the soundscape, create the video... it's a whole process! So we need to start slotting in our new audio dramas now to be sure they're ready in a month or two!

With that said, some of the options available include:

- More published short stories taken from books like The Rejects, or possibly from SNAFU: A Collection of Military Horror, and other anthologies Alice and myself have appeared in over the years.

- Samples of full books, like my novels Old Soldiers or Marked Territory, or some of Alice's books like the period vampire novel Succumb to Darkness or her mermaid fantasy novel Love of The Sea.

- Stories taken from public domain works, such as The King in Yellow, or the works of writers like Lovecraft, Poe, and other classic authors.

- Creepy pastas, such as the stairs in the woods, ritual games, and other instances that might come to the Institute's attention.

- Fresh stories that have never appeared anywhere else before, written just for the channel!

Whatever your vote is, please go to The A.L.I.C.E. Files Trailer, and in the comments leave your vote for the kinds of stories you'd like to see going forward! Please mention that this is in response to the Literary Mercenary post, so that we can keep track of how many folks are actually voting.

Also, if you want to help ensure that we have the momentum to make the episodes you're requesting, please subscribe to The A.L.I.C.E. Files, watch the episodes that are already up (it's only about an hour and a half of stories so far, so it's easy to binge), leave comments, and tell your friends about us! We're still growing, and doing our best to get this thing monetized so we can keep the wheels turning, and telling stories for all of you to listen to!

Support The Literary Mercenary

If you want to see me produce more work, consider some of the following options!

- My Facebook

- My Blue Sky

- My LinkTree

- My Weekly Newsletter

- The Azukail Games YouTube Channel (where I contribute video content)

- The A.L.I.C.E. Files (where many dramatized versions of my stories can be heard for free)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel above!

Like, Follow, and Come Back Again!

That's all for this week's Business of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!

 

And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list.

Undercutting Death Can Undercut Your Story

When I was very young I loved comic books. Don't get me wrong, I still enjoy a good comic these days, but as a child they were my go-to thing I asked for from the store. I read so many of them that concerned adults would whisper to my mother that I should read real books. Fortunately she ignored them, which allowed me to grow up with the heroes (and antiheroes) of the grim and gritty 1990s.

However, there was something that I learned reading comics that I felt was a unique lesson more writers should take to heart. Generally speaking, death is the end. If you are planning on circumventing death (and especially if you're installing a revolving door in the afterlife) then you have to do a lot of work to keep your readers invested, as you just drastically altered the stakes of your conflicts in a manner that can make life-and-death struggles seem pretty trivial when all is said and done.

Welcome to hell... oh... getting resurrected? Nevermind, I guess.

But before I get into the meat of today's post, remember, don't forget to sign up for my newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

It's All About Cost and Consequences

If you've ever played the fantasy roleplaying game Dungeons and Dragons (or any of the other games that pattern themselves after it), then you're likely familiar with the concept of resurrection spells. The general idea is that, once you reach a certain level of power in the game, you should be able to bring back a fallen comrade to continue the quest. The cost for such an action tends to be quite high (thousands of gold pieces in diamond dust, and either being or finding a spellcaster powerful enough to invoke the rite), but there will come a point where it's almost a joke to the players because their characters die and come back so often. Some players might even start a session with, "What happened last game? I was dead at the time."

This is one end of the Resurrection Scale, where death has been rendered relatively trivial (at least by a certain point in the story), and it's the opposite of the other end where death is permanent and irrevocable. And while stories and properties might move back and forth on this scale, it's important for you to ask why resurrection is happening in your storyline. It's also important for you to ask what the cost for such a resurrection is, because the cost (and the difficulty that comes with it) is what is going to maintain the threat and challenge in your story going forward.

Rise my son... today is not the day you die!

For example, let's say a character dies in your story. Tragic. You want to resurrect them, but you don't want it to feel cheap, or to undermine that emotional resonance you built with that death scene. The key here is to think about both how difficult resurrection is, how rare it is, and what it actually costs one to perform... or what it might cost to have it done to you.

Let's return to the fantasy gaming example. Making it essentially a financial and time cost makes reversing death functional as a game mechanic, but it can be pretty underwhelming as a story element. So how do you move the scale a little closer to the less trivial side of things? Well, perhaps a person can only be resurrected once, and if death comes again there is nothing that can bring them back. Alternatively, someone might have to make a deal with an outsider, giving up a part of their body, or a piece of their soul, to return (and if one does this often enough they might end up with the monstrous trope Came Back Wrong). It might even require performing some dire rite, and sacrificing something (or someone) in order to pay the cost; death for death, and life for life.

It's important to remember that cheating death (or just flat-out reversing it) should be its own element of drama and danger. And sometimes the reversing of death can be even more interesting than the death itself.

As a different example, consider The Widowmaker; a heinously corrupt six gun found in my recently-published supplement The Blade Itself for the game Hunter: The Vigil. A cursed weapon, the Widowmaker seeks to wipe the corrupt and the wicked from the face of the earth. However, it tends to be wielded by the desperate, and the mad. Why? Because if the one bound to the gun dies they spend 1 day in hell before being resurrected in the burned out ghost town where the gun was given to its first bearer. However, in exchange for this dark resurrection, the gun takes the life of someone close to the wielder; a mother, a brother, a lover, a friend... and only when they have lost everyone and everything can they truly die.

This is an example of a dear resurrection price... and it still has the stakes of death; it's just the death of others, rather than the character.

This Applies To Villains As Well

It's important to look at the other side of the coin, because resurrection for villains is extremely common as a tactic. Maybe it's that they made a deal with the devil to get out of hell, they were blessed by a dark god with a terrible form of immortality, or they have vat-grown clones of themselves that are updated to make sure they have all the memories and abilities of the last version of themselves that died a horrible death.

Villains get some latitude here, because their ability to cheat death increases the stakes when that is not a power that the protagonists have. However, your villains also have to have some kind of scale and cost for this power in order for it to not become eye-rolling and predictable.

In other words, make sure Palpatine doesn't just return for no reason.

Through the Mirror of Death Sight, all things are possible!

If your antagonists are resurrected there should either be a great cost to them (Darth Vader's cybernetic existence of pain and rage is a good example), or if it's treated as a power then that power needs to come with some kind of weakness (they must maintain the favor of a malevolent force, it requires a costly technology, etc.). Being able to endlessly respawn can lead to some short-term scares if you know that a foe cannot be permanently killed, but if that's the case then it needs to become part of their mythos.

Put another way, killing Jason Voorhees permanently may not be possible, but it's tense as hell as we wait to see whether the kids on the campground manage to get him under the waters of Crystal Lake. But when they take him into space, and that containment is no longer an option, things get ridiculous in a big, big hurry.

Final Thoughts: Match The Scale To Your Tone

The important thing to remember is that resurrection (or the lack thereof) is a mechanic in a story, and you can use it however you want. However, it's important to ask what it means for challenge, for the stakes, and for how interested your readers are going to be.

In a story like The Crow, where a character comes back from the dead as a nearly-unkillable revenant, the very invulnerability of their resurrection is a power fantasy that makes them akin to a slasher. In a story where people can die and resurrect over and over again, death may have become meaningless... but what takes its place if that's the case? And if someone knows they can die and return, but not how often they can do that, it leaves us wondering if this is going to be the death that really matters.

Your setup means a lot here... don't just bring characters back because you didn't want them to be dead for too long.

Support The Literary Mercenary

If you want to see me produce more work, consider some of the following options!

- My Facebook

- My Blue Sky

- My LinkTree

- My Weekly Newsletter

- The Azukail Games YouTube Channel (where I contribute video content)

- The A.L.I.C.E. Files (a channel full of short stories, many of which are mine)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel!

Like, Follow, and Come Back Again!

That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!

 

And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list. 

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!

A Single, Viral Success Can Make A Huge Difference For Creators

A majority of writing advice when it comes to the business side of things is to remind authors that their career is a marathon, not a sprint. Generally speaking you get a lot more out of just putting one foot in front of the other, writing one story, and one book, after another so that you can build up your archive over time. Because the bigger your archive gets, the more your readers can consume, and the more people will have to enjoy when they discover you exist.

With that said, though, it's important to understand the effect that a single, big success can have for a writer... especially if they're depending on modern digital infrastructure and algorithms to work in their favor.

Because sometimes that single bump has long-reaching impacts.

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

Lastly, don't forget to check out my Vocal archive for additional fiction, articles, explorations of weird history, and more! And, of course, check me out on Blue Sky, since that's what we're talking about today!

Engaging The Machinery That Moves More Books

Authors have to worry about a lot of different numbers. So, I want to take a moment to talk about the kinds of numbers authors have to contend with, and the effects they can have on your career. And while a lot of these numbers are very small (especially in terms of the Internet), these goals can be hard as hell to actually reach. So if you have authors out there whose work you enjoy, keep some of these things in mind. And if you're an author who is looking for a call to action for your audience, consider trying to rope them into some of these options to see if it will give your career a bit of a boost!

Book Reviews

Book reviews are one of the most basic numbers authors are generally concerned with. After all, reviews mean that people are reading your books, and it provides a running commentary that might get new readers interested. However, consider that when a book receives at least 50 reviews on Amazon, this causes the algorithm to start advertising it to other users who are looking for similar books. And the more reviews someone gets, the higher up their book will show in searches, with the possibility of it being on the front page.

And while these numbers are for Amazon, remember that whatever digital platform you prefer, the more reviews a book has, the better off it is for you as the author.

Now consider the impact that receiving a few hundred reviews on your book might get. Perhaps you sold a bunch of books at a convention, or you had a Kindle Unlimited giveaway and readers chose to rate and review as a way of paying you back. This essentially kicks off the website's algorithm, which both gives you a permanently higher rating than books that don't have as many reviews as yours does, but it also provides you a jump in attention. Because when the site sees that your book is doing well, the machine registers that it is currently popular, and it starts pushing it to other people browsing the site, doing a bunch of free advertising for you.

Free advertising which could lead to you finding more readers, and making even more sales, than you otherwise would have without that boost from a big review number.

Social Media

Social media platforms are the lifeblood of all sorts of creators because they let us reach our audience... in theory, at least. And the algorithms that govern social media work very similarly to the ones that run the online bookstores. After all, these websites want to promote things that are popular, because that keeps people on the website and scrolling through their feed.

So what happens when you start acquiring big numbers on social media platforms as an author? Whether it's for your book, one of your other projects, or just sharing some of your thoughts on the issue of the day?

When you make a post that gets popular on a social media platform (particularly a big platform like Facebook or Reddit, but this also applies to Blue Sky and similar upstarts), the algorithm starts up and begins boosting your signal. For Facebook or Twitter, it's more likely to show up in the For You feeds for users who may not know you, since the algorithm is showing it around to people that are statistically likely to have a reaction to those posts. And on Reddit your post may show up on the front page of the site, meaning that anyone who shows up might see exactly what it is you were posting about. This exposes you to more people, and makes it very likely you're going to pick up a lot of fresh subscribers and followers.

And what does that do for you? I'm glad you asked!

Social media platforms favor people who have a large number of followers. So if you had 1,000 followers one day, and then after a successful post you found yourself with 10,000 followers, you'll find that your posts are now getting more distance, and being seen far more widely than they were before. The reason for that is the algorithm supports you in ways it didn't before, because one of the major priorities for the algorithm, and how it treats you, is the size of your audience. This, at least in part, determines your reach.

If you do very well you can even get paid by the platform, but I gave details on that in Can You Get Paid By Social Media Platforms As A Writer? Probably Not.

YouTube

Not every author is on YouTube, but there are a lot of us over there who are trying to court an audience by making book commercials, audio adaptations of our work, or just talking about the behind-the-scenes of being an author. Speaking of, shout out to Alice The Author, whose channel is packed with great writing advice and information!

However, a single viral (or even nearly viral) success on this platform also shows how a big splash can lead to permanent changes!

For those who haven't read my older entries on this platform, YouTube requires creators to have a minimum of 1,000 subscribers and 4,000 hours of watched content within a single 365 day span before the site shares ad revenue with you. That is both a tiny number in terms of the Internet, and an impossible number in terms of what most creators can accomplish. And this is something I have some experience with, because I was with Azukail Games for their journey.

Because while Azukail Games had subscribers aplenty, the channel just could not get the view hours. Videos kept going nowhere thanks to changes to the site's algorithm, and it kept losing ground because the channel was several years old... this meant with every passing day it was having hours taken off the total view count.

What put us over the top (netting us over 1,000 hours) was a single video, The Problem With Pentex. This video essay about a niche aspect of the RPG Werewolf: The Apocalypse garnered a lot of interest (perhaps for the mention of the infamous copper merchant Ea Nasir), but more importantly the boost it provided to the channel's view hours (and to our subscriber count) permanently boosted the channel up to a new tier.

So while this one video didn't launch the channel into the stratosphere (it got 10,000 views, not a million), it put us on a whole other level that we have been climbing from ever since.

Your Numbers Make A Difference (Especially En Masse)

I've said this before, and I'm saying it again because more people need to know this. What determines the success of an author (or really a creator of any stripe) is how many people show up for them. It's your purchases of our books that determine whether or not we get royalty checks, it's your views and listens that determine whether we earn any ad revenue, and it's your likes, shares, and subscribes that determine whether social media websites are actively restraining our signals, or boosting them because the machine believes our posts will keep more people on the platform.

And while having an engaged and growing audience is great, those big jumps when something gets popular can be a serious hand-up.

Now, that doesn't mean that as an author you should bend all of your attention and will toward going viral, and that you should only make posts, write books, etc. that are geared toward said virality. Generally speaking, going viral isn't something you can really engineer (without a lot of money and effort, at least). However, a lot of folks don't realize that those kinds of successes have long-term effects, even if the initial event seems like nothing more than a flash in the pan at the time.

The Reason This Is All On My Mind Lately...

The reason this has all been on my mind of late is (shameless self-plug) that I've been hammering hard on a new ongoing audio drama channel over on YouTube called The A.L.I.C.E. Files. A dark sci-fi reimagining of Alice in Wonderland, the channel will feature an ongoing narrative about the events happening inside the mysterious Carroll Institute, as well as smaller, independent stories that act as stand-alones.

And those numbers I mentioned earlier, the 1,000 subscribers and 4,000 watch hours? That's proving EXTRA hard to manage.

Which is why I wanted to ask everyone who read this far to please do me a favor. If you could subscribe to the channel, and listen to the stories we've posted so far (but especially the most recent installment, 50 Two-Sentence Horror Stories where we meet Dormouse), I would greatly appreciate the effort.

Because while we're doing our best to get as much great stuff out there as we can, we basically need something to go 10,000+ views viral to boost us up to the level we need to be at. And every click, view, and comment on the video gets us that much closer!

Support The Literary Mercenary

If you want to see me produce more work, consider some of the following options!

- My Facebook

- My Blue Sky

- My LinkTree

- My Weekly Newsletter

- The Azukail Games YouTube Channel (where I contribute video content)

- The A.L.I.C.E. Files (where many dramatized versions of my stories can be heard for free)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel above!

Like, Follow, and Come Back Again!

That's all for this week's Business of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!

 

And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list.

Follow The First Draft Sprint With An Editorial Amble

There's an old phrase that most folks who write for a living (or just a passion) have heard before. That phrase is Write drunk, edit sober. And the spirit of that phrase is good, since I feel it's a smart thing to go in with all the gusto, enthusiasm, and creativity you can muster, and only once it's all out to go back in with an eye toward tightening things up, and making your writing smoother and slicker.

However, I wanted to look at a different facet of this sentiment this week. Because the first draft is a breakneck run as you cut the path and just try to get from point A to point B. Editing, though? Editing can't be rushed, or put off until later. Editing is all the detail work you didn't necessarily have time and energy for during that initial rough draft run.

You need to slow down during editorial... take your time. Because your readers will be taking time to stop and smell the roses, which is why you should make sure you fill in the sights, smells, and textures of every bouquet they pass along the way.

It's a lot, I'm not going to lie.

But before I get into the meat of today's post, remember, don't forget to sign up for my newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Editorial Has Different Goals

There are a few other well-thumbed pearls of writing advice floating around I want to rope in here. The first is The only thing a rough draft has to do is exist, and the other is You can't edit a blank page. The interaction of these sentiments embodies the necessary gear change that too many of us neglect to do when it comes to our writing, and our stories can suffer from it.

In short, the rough draft's goal is to get from the beginning to the end as fast as possible. It's the sketch layer of your drawing. There are some good vibes, sharp pieces of dialogue and fun action scenes, but you probably aren't stopping to detail every flower, scent, and sensation in every scene. There's also going to be quite a few things just left dangling, or not fully fleshed out. Some of them might even be, "Protagonist has snappy comeback here."

You run into difficulty, though, when you treat your editorial stages with the same attitude as your rough draft. Because once the draft is done, and you're going back over it, that's when attention to detail matters. That's where you're making placement corrections, shifting the colors, and smoothing out awkward flow in your plot. But if you approach your editing sweeps with the attitude of trying to get it done as fast as possible, you're going to wind up with a slapdash story that's going to need even more editing to fix it.

Getting all the layers is REALLY important, here.

Too often we think of writing as a one-and-done. You put the words on the page, you hit the end, and maybe you read it over for spelling mistakes, but then you're done. That is not, in fact, the way it works. Instead, it's better to think of writing a story as similar to painting. You generally lay down a sketch of the work to get the general thrust onto your canvas. Then once the sketch is done, you may add darker lines, creating a more hard-edged, final outline. At that point you start layering in paint. And it is that layering that gives you the final result as you build it one layer after another, until it creates the optical illusion that this is all just a single, seamless image.

That is what you're doing in editorial with your story. Yes, you got the rough sketch layer done. Maybe you were even efficient, and you go the dark edges done as well. But editorial is where you start adding in those color layers to really make the image pop, to draw the eye, and to do things that you simply could not have done earlier in the process. This is where you're really looking at building the finished product.

Some stories, like some paintings, are relatively simple. Maybe they only need a couple of layers (or just two coats and a sealant) before they're done and ready to hang. Others need a lot of attention to detail because there are complicated things going on here, and each layer adds into the next layer in a way that needs to be deliberate.

At the end of the day, though, you can do a little rushing on the rough draft. You can leave some blank spaces, and a few Fill This In Later sticky notes as long as it keeps the story flowing. But when editorial comes around you need to roll up your sleeves and get that part done instead of just spackling over it because you want to be done for realsies.

That, too, is part of the process.

Support The Literary Mercenary

If you want to see me produce more work, consider some of the following options!

- My Facebook

- My Blue Sky

- My LinkTree

- My Weekly Newsletter

- The Azukail Games YouTube Channel (where I contribute video content)

- The A.L.I.C.E. Files (a channel full of short stories, many of which are mine)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel!

Like, Follow, and Come Back Again!

That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!

 

And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list. 

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!