Good Angel Exerpt

His skin was the blue Iofiel had changed her hair to, a deep and oceanic hue dotted with dapples of gold and shades of other colors, like he had dozed too long in the sunlight and the sunbeams had stuck. His hair was teal and his six eyes were closed in permanent exasperation, his fingers interlocked, dark black nails digging into sapphire skin. He dressed like a nomad, not a soldier, but Michael was Michael— the Archangel, the one who would conquer the beast on Judgement Day.

He sat on the desk in the headmasters’ office, and towered. Amariah sung for him, while Adramelek faced the ground, perhaps remembering an old wound that still marked his body.

Iofiel was trying to regale him with the tale of her utter betrayal, but every few words she struggled to continue. She felt sick in his presence, not afflicted but affected. He really was dreamy, drearily beautiful and utterly swoon worthy, but it felt like if you fell into his arms he’d lead you away to death’s embrace. That the dream he reminded you of was born in a fever, and every ounce of him was not supposed to exist on an earthly plain like this.

And this was true. His Grace, his Greatness— it leaked out of every pore. He was more galaxy than flesh.

He was hard to talk to, and he had to yet to speak a single word.

“So you see, in a way I was doing the divine way, helping those who needed it… I was just made with a flawed sense of empathy.” She swallowed. She’d tried to ask Maalik about him— as if he’d know— but her roommate had refused to speak the second he’d read that name. Rightfully concerned he’d already knew about the two of them. “I would never do anything bad. I’m too g-g-good, too… good to betray Our G-Good…”

She really wished Michael would respond in some way, but he was still. Not breathing, because he didn’t need to. Not responding, because what would be the point? He wasn’t always this blue, this inhuman— the poster in her room had him human-tone, still six-eyed and still with bright teal hair. But he was manageable that way, his golden freckles more like stubborn glitter than ink drops on water.

“How much do I need to say?” she asked, but despite the small room being quite stuffed with beings capable of answering, she felt alone. Like she was confessing her mistakes to the ocean while she was swimming a hundred feet down inside it, very alone, and very far from anything warm. “If I made a mistake, then put me back. I will do whatever you want— I’ll— I can— I could be a soldier, even. Take me off Earth, and I’ll fight tomorrow. I’ll die in that way, so that the next Iofiel can live a better life. But please don’t…”

For the second time in her life, Iofiel was crying.

“I have one rule for you.” Michael spoke, grave and grim but utterly higher than expected. In many ways he sounded like Maalik; if he were a human he would not quite be a man, but not a child either. “One promise, and this may continue. Your affairs are not mine. If you die, none the matter. If you survive, you must stand by this: Take an oath. Swear fidelity to me. Promise you’ll be on my side.”

“Y-Your side…?” Like she hadn’t already known the end was coming, like others hadn’t alluded it might be due, Iofiel felt truly heartsick at the concept, her blood pulsing through her veins with— well, blood did not have emotions, did not respond to hers, but suddenly she was more aware of how her heart was beating. The world, which she was too young to have known well, would be over. Soon. But in the terms of angels, this could still be a hundred years yet. “Of course.” She placed a few fingers against her throat. “Until the end, and into the beyond, I will be on your side. No matter what, I am pledged to you.”

Michael did not stir.

“Not like I’m ever going to be a threat, you know?” Not even a joke, it was in poor timing, capped off with an awkward laugh. Michael’s stony gaze suggested a worrying possibility that fate had other plans.

He really was beautiful, in every sort of way. Her quick dive into sin with Maalik seemed to help her realize this, how lovely he was, how bioluminescent and impossible. But he frowned deeply, with very real bags under his eyes, and a deep, red cut stretching up from under his tunic. His brother’s sin had been pride, so he had embraced humility.

He stood up and walked over to her, the formless shapes of his clothes finally falling into a somewhat passable robe of muddy green and brown, his pink and grey wings merely an impression upon the air behind him. He gently touched her face, closing her eyes, and in a strike of heat he was gone entirely.

Back to Heaven. Iofiel hoped, sincerely, that she’d never see him again in any other place but above her bedpost.

That night she’d return again to Maalik pretending to sleep, and consider taking the poster of the Archangel down. But instead she reached into her bag and with a thick black marker wrote:

“Always on his side.”

And again, in Angelic, she wrote mantra:

“Always on his side.”

And then one more time, in shaky Infernal. Because it was time she started embracing that, too.


(this is copyright @ A M Blaushild, 2017, exclusive text, etc, etc)


I have a new book coming out. And it’s going to rock

I figured I should make a post about this: Good Angel. It’s happening! Soon, though the release date is still TBD.

Angels, demons, university life, and maybe the apocalypse. a too nice angel befriends a too weak demon and maybe lands a role in the apocalypse. It’s fun, cute, funny, with later pain and some cool worldbuilding. And cool angels! If you know me, you know I like angels and lgbt+ stuff. GA is the best of both worlds.

Hope you’ll like it…

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Tips on writing a book pitch/query

This is cross-posted with RiverMooseBooks, they were looking for a guest post and I wrote this up. I’m posting it here as well, since I feel it’s relevant and Pretty Okay.

Many readers are aspiring writers themselves, and it feels like nearly everyone I’ve met has mentioned they one day dream of publishing a book. I’ve been lately surprised by how little anyone seems to know about the publishing industry, even those who want to get in on it, and wanted to share some quick suggestions on writing a good query letter. Or more specifically, the pitching aspect of it.

Queries are pitches, both for you and your book. And they need to be good. Agents and publishers get too many to count, and only have so much room.

For agents, taking on an author is a large commitment, and they often can only handle so many. A small-press publisher can only afford to sign a few books a year. It is a tight, tight race, made suffocatingly so because you’ll never quite know what you’re up against.

Sometimes books aren’t taken because of trends in the market, or coming changes- your great book about dragon warfare in egypt might be given up on because a mediocre dragon warfare in rome book is currently in the pipeline. A dragon book you’ve never heard of which had a lot of money put in it may have recently flopped, and publishers are nervous to take on anything similar. Maybe the dragon genre is dying out, or too niche. Maybe they just signed a book about dragons, and you have bad timing.

It’s rough, but that’s how these things work.


A good pitch:

-Is selling your book, not talking about it

-Highlights what matters, leaves what doesn’t

-Immediately to the point


-Thoroughly proof-read

One thing to highlight: A query is the whole ordeal, a query letter, while the pitch is specifically the part about the book. Will cover later on.

Here’s the thing. Publishing is a business. Agents are funny little go-betweens in the business, taking advantage of the breathing room. Both are in it to make money. They will not publish something out of goodwill, or because you seem to really care about it. They will publish what they think will sell, or have lasting appeal, or perhaps simply because it’s the kind of thing that wins awards.

So you need to embrace this, a little bit. You need to make your book sound like something that will sell. Consider your book: what makes it unique? What makes it appealing? X meets Y, my eternal enemy, is a popular format for pitches because of this. Romeo & Juliet meets Die Hard. Shadow and Bone meets Battlestar Galactica. I don’t know, I’m making these up as examples. Publishers eat them up because they sell your book in two tiny, recognizable chunks. I have two manuscripts I’d sum up as ‘Fangirl meets Supernatural’ and ‘Catcher in the Rye meets Shadowhunters’. Is that really true? Ish. But it’s close enough.

What matters to you doesn’t always matter to publishers, or even readers. I might really like that my egyptian dragon novel (yes, we’re sticking with that example) features an asexual MC, and want to gush about how important that is. Even a line about this would be too long, and honestly, a direct mention too much for a query.

Why? A line about diversity could work, but romance is the biggest genre of fiction by far, asexuality is a rarely discussed sexuality (they might not know what it means!), and you simply don’t have the space for it. If you’re applying to an lgbt press, you would want to mention it- they would know and care (you probably shouldn’t gush, though). If you’re trying to land in the mainstream, don’t mention it. If it comes up in the manuscript, they will learn about it then. Unless the story is directly about being asexual, it’s not a relevant detail.

It’s important to highlight what matters, and leave what doesn’t, but that can be hard to figure out sometimes. My Egypt Dragon Asexual book: let’s say it has a lot going on. A gay subplot! A lost princess! Magical powers! Ten types of dragon! War! Aliens! A big reveal that it takes place in the future, not the past! What the hell do you highlight when the plot is complex?

Well, you have to leave some things out. Even big things. Even if it feels like a lie. You’re selling the story in a very small place, and bending the truth a bit doesn’t hurt. Using hypotheticals makes this hard, so we’ll jump to something real, and almost as insane sounding-

The Ascension is a manuscript of mine, about a girl who goes on a quest to awaken her country’s patron god with her best friend, and later a thief they meet on the way. But at the mountain, the thief runs off to awaken the god himself (fulfilling his own local quest), and the god actually turns out to be a monster. And everyone dies, but they’ve been immortal since setting out (linked to the sky god’s life force), and then the MC is saved by an alien god of another planet, and chosen to become a god herself. And she starts to lose emotion as she gains strength. And the monster is still running around destroying the world, too. And her BFF/her both have a crush on the thief.

Sounds bonkers, right? There is a LOT going on. Here’s my pitch:

A teenage girl is sent on a quest to awaken her patron god in a deadly local tradition, but in doing so catches the eye of someone grander: The sky god, actually an alien, who wishes to turn her into a god. However, before her powers can properly develop, her two friends accidentally awaken an ancient monster bent on destroying the world, and it’s up to the increasingly inhuman Aster to stop it.

I did just throw that together, so it isn’t perfect, but it’s a good example of what I mean. Technically, the sky god doesn’t notice her because of the quest, and the thief is not one of her best friends, nor do both her friends awaken it, nor is the timeline quite true to canon. But the essence is there, and it frames the story in a cleaner, more appealing narrative than it actually is.

Pitching basics should include the genre (fantasy, but with aliens!), the main character (A teenage girl, her two friends), what they want (traditional quest/be a god), what’s in the way (giant monster/’increasingly inhuman’ implies this will be a future conflict), what are they going to do about it (stop it). A few fun details, too: ‘deadly local tradition’ isn’t very exciting in canon, but does sound like it might be interesting. ‘catches the eye of’ could imply some fun romance, even if it doesn’t. Neither are lies, but they make it sound a lot more intriguing, and step one of landing a contract is getting your contact to read your manuscript.

Most pitches are like this. I usually write full book-blurb style pitches and work down from there, and some (often publishers as opposed to agents) prefer this method. There still should be little excess detail.

Hey, here’s another example- the pitch I used for my book, Angel Radio:

“Erika is the last human alive. It’s been weeks since the angels- strange creatures of eyes and wings- arrived and brought with them the death of everyone she ever knew. leaving her to wander her desolate hometown. But the angels have something sinister planned for the world they have emptied, and when a strange radio broadcast sends Erika into the world, she’ll need all the strength she can muster just to survive”

Looking back, I don’t exactly love this, but it works well enough. Publishers are finicky, mysterious beasts, and they control the world with tired hearts. You don’t have to be perfect.You ever see mainstream books that are startlingly bad? Yeah. Unless you’re on the inside, you never really know what is going on in the book business (but usually, yeah, it’s about the market, and money).

Oh, and a last point: of course, make sure you avoid any and all errors spelling and grammar wise. These people are hoping you’re a competent writer, and if there’s one mistake, a particularly overloaded agent may have no problem passing on the rest of your query.

That about covers a really rough guide. Pitches should be about a paragraph in length. Check with agency sites/publishers before, but my rough guide to pitches is

  1. Hello hi
  2. Here’s my book right off the bat
  3. More info, like wordcount, listed genre, whatever. expanded deets.
  4. About me
  5. thank you very much

It should be short, about a page. Don’t list anything about yourself that isn’t relevant, but if you have nothing relevant, still try to say something. Otherwise it just looks like you forgot. If you’ve been writing for a while, that works. If you’re doing a book about science and are a scientist, bring that up, or maybe if it’s about mental illness, mention your own struggles. Don’t spend too long here, or get too personal. Business, unfortunately, is business.

Publishers will generally take more than agents. I’ve had many that directly want a full summary of the book, a longer bio (smaller ones especially enjoy if you have good social media/means to advertise, as they have lesser budgets/reach). These things are specified.

A good conclusion to this? I’d scroll up and read my short list again. Here’s what not to do, I suppose:

-Have too much detail (often loses focus of what the main ‘plot’ pitch is)

-Have not enough (makes it sound bland)

-Too personally involved (‘this book means everything to me’)

-Too self confident (‘fantastic, amazing’ just about any adjective you put on character stuff, world, pitch. Use more open ones. You might call a world ‘vast’ instead of ‘incredible’)

When you have a lot of unseen competitors, you can’t assume anyone will want to put up with you. In theory, being passionate about your work is fantastic! In practice, you may come off as a dolt. And it helps to remember: there will always be more besides you, hoping for the same thing.

So turn in your best work!



More on diversity- “All my characters are white”

One last side argument, because I hear it a lot:

“But I can picture my characters in my mind, and they’re white!”

I grew up very white (as I am white) (and live in a very very white town) and in my head, most of my characters are still white. A few years ago, almost every character I made was white- I don’t remember who the first was, but it was a while before I had any PoC characters.

This was because, to me, white was ‘default’. I wouldn’t say I was racist, but I really knew and saw only white people (it is a dear hard chance I even had one black friend, as I knew maybe five non white kids my age). So while it wasn’t intentional, it was just the first thing to come to mind. I meant no harm by it, in fact!

But it still wasn’t really a good thing, and it wasn’t exactly hard to change things. I didn’t sit down and say ‘well, time to change everyone’s race’- some characters I did, others I found I didn’t really care what race they were, and left it undefined. Mostly, I just set out to be more diverse. When making new characters, I tried to make each one unique. I did think of diversity a little bit more- I’d say, eh, I don’t really have any asian characters. Sometimes being self aware like that feels a bit awkward, but it does no harm.

It was a bit of an active effort, but it was not the end of the world, and my character design skills- plus, probably writing- has benefitted.

The point I’m trying to make is, if you picture all your characters white, this is probably because you have a pretty white point of view. I’m not calling you racist- you’d know if you are. But ask yourself- is this set in Iceland? Does it really matter what race they are?

It’s okay to have an all white cast. It’s unrealistic, generally, to most settings. But okay. It happens. There are white people in the world (and you know, most books from Japan have all Japanese casts). The thing is, a lot of people who I talk to are from the USA and set their works in the USA, which is probably the most diverse country in the world.

And I promise, it doesn’t hurt to shake things up.

(LGBT+ diversity came late to me as well, and that is a little more specific to handle. But I would like to point out making someone bisexual is as easy as ‘he noticed he was quite good looking’ or ‘she had an ex-girlfriend’. Your story could remain 100% the same otherwise and I’d still be down for it (though of course the world is always in dire need of more tame-romantic w/w & m/m fiction).

While both are related to diversity, lgbt+ stuff and race stuff are different fields, and ultimately I am far more qualified to talk about one than the other. So I will. Later.)

A simple guide to writing diversity, for really white people (like me!)


we’ll cover diversity and why it matters, just scan through if you’re already down with such basic concepts.

Diversity is important. People say this a lot, and sometimes they say it too harshly, or in ways that rub people wrong, so I’ll try to be nice: diversity isn’t about PC culture, or people being weak skinned.

There is no reason nearly any character needs to be white. There is no reason for most characters to be black, or jewish, or gay, either! If their story isn’t specifically about their culture/identity, then ultimately they don’t need to be any one thing in particular. However, with this in mind, the default is currently set to white- straight white cisgender* heterosexual. There is no good, arguable reason for this to be the case.

And I love to refute myself- yes, caucasian is the majority in some countries (USA, Europe), and likely 98% of people are straight/cis. But that is no proper reason for everyone, ever to be- especially in fantasy stories, where there isn’t a good defense for everyone being white/straight, or stories not set in New England. There are a lot of people who are, simply put, not like you.

Why do they deserve representation? Because… they exist. Fiction is the lens with which we view the world, and stories are a great way to learn, compare, escape, experience… do just about anything. Woo! You can be the minority-est of minorities, and still enjoy things about majority-majorities, but when no one in fiction is like you, it can be very invalidating. It’s like mainstream is saying ‘these people don’t exist’, when you, as a person, happen to know you do.

Plus, another good reason is that people are a little bored with the same-old, same-old. Shaking things up is great.

*cisgender= someone who is not transgender.


  1. Write a character who is lgbt+, non-white, disabled, etc
  2. You’re done

Listen, there’s this attitude against diversity that… it’s hard. It’s an effort. You need to research for days. Look, bud, I get it: You don’t necessarily know what it’s like to be someone else. (yet this fails to stop people from writing about the mega-rich)

You don’t have to be. A black person is not an enigma- their skin is black.

You do not have to write the next great American novel about the plight of African American youth and decades of police brutality.

You know what a gay relationship is like? Just like a straight one. Write a love story and change the pronouns. Do you know what it’s like to be trans? Sometimes it’s just about putting on a binder in the morning, and taking your monthly shot.

There ARE issues, of course there are- homophobia, transphobia, all that god forbidden racism- but there’s already enough books out there about that. In fact, most books about minority characters seem focused on issues relating to them. It might not be 100% realistic to write without addressing these things, but why does it have to be? People will be relieved to have a respite from the real world, believe me. (And, again, GOD- fantasy stories don’t need any of these issues, yet somehow still always seem to).

What people want- seriously, all they ask- is for there to be more characters who aren’t exactly the same cookie-cutters. So often minority characters are sided off or mentioned once like checklist items, or else boxed into stereotypes. There is no reason for this, and no one is hurt by breaking these rules. Just have a character, like any other: then say their skin is brown.


Basic rundown of my plans for this blog

I’m not particularly “skilled” at “wordpress” or “blogging”. I will try to keep this going, semi active, as it’s more professional seeming than, say, my tumblr.

However, I would check out my other social media if you’re desperate for an update. Or just email me.

  • Book/General Reviews
  • Short stories
  • Poetry
  • Longer posts about writing/the writing industry
  • Making fun of bad books/writing
  • Occasional writing updates on my WIP
  • Writing exerpts, even
  • Photos (I like photography)
  • Art (I enjoy art)
  • ???
  • Profit