Marcy’s Blog

Cover Design on a Budget

Image Credit: Pawel Kryj/www.freeimages.com

Image Credit: Pawel Kryj/www.freeimages.com

By Marcy Kennedy (@MarcyKennedy)

A while back I wrote a post on How to Save Money on Editing Your Book. Since I’ve been covering How to Find and Select a Cover Designer and 7 Tips to Make the Most of Working with a Cover Designer, I wanted to make sure I also talked about cover design on a budget before I ended my mini-series on cover design.

One of the biggest challenges we face as indie authors is financing our books, especially when we’re starting out. Yet we’re told not to scrimp on editing and cover design (which is excellent advice).

If we’re working on a shoestring and can’t skim much money from the family budget, what do we do?

Please join me at Fiction University for the rest of this post on cover design on a budget. (And I apologize for the delay in letting you all know about the existence of this post. I got it to Janice before my December crumbled around me, but I didn’t have a chance to schedule an announcement here.)

Interested in more ways to improve your writing? Point of View in Fiction is now available! (You might also want to check out Internal Dialogue or Showing and Telling in Fiction.)

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Be the Hero of Your Own Life Story

Image Credit: Ben Smith/www.freeimages.com

Image Credit: Ben Smith/www.freeimages.com

By Marcy Kennedy (@MarcyKennedy)

Those of you who regularly read my blog might have noticed that I disappeared for over a month. That’s because 2015 went out worse than it came in. After driving to the hospital every day for a week to be with my husband, and another week full of follow-up appointments, I was easy-pickings for a Goliath of a cold/flu bug.

I ended 2015 tired—the deep kind of tired that settles into your bones and your soul because it’s only partly physical and mostly emotional.

Since the start of 2015 my family has faced a car accident (the repercussions of which we’re still dealing with nearly a year later), a fractured pelvis, a sinus infection made worse by a previously unknown allergy to the prescribed antibiotic, pneumonia, sick pets, mental illness, and a stroke.

And that’s not even all of it. That’s the abbreviated version.

Boy do I wish I was joking. When I write it out that way, it sounds more like a poor man’s version of Downton Abbey than someone’s actual life. But it is my life.

Although I managed to maintain my regular editing schedule in 2015 and even taught a few classes in the latter half of the year, I only published two books of the five I’d scheduled and my blogging and social media interaction suffered greatly. As in, Facebook and Twitter died on the vine, my blog and newsletter are on life support, and we won’t talk about my email inbox.

All I could think when I sat down to decide on goals and plans for 2016 was “I hope 2016 is better than 2015.”

Unfortunately, the things that knocked me down were also things that were outside of my control. I can’t guarantee this year will be any better or any easier. All I have control over is my reaction to what comes.

So I decided that since my life has gained a frightening resemblance to fiction, I’d figure out how to become the hero of my story. What do I know about writing a good story that can help me weather this weird stage of life?

Heroes Need Allies

Want a slow, boring book? Let your hero spend unhealthy amounts of time alone, thinking. It’s not any smarter to do in life either. The more time we spend alone in our own heads, the more opportunities we give unhealthy thought patterns to grow.

Allies give us someone to discuss our options with. They provide fresh perspectives that we might not have thought of on our own. We grow our view of the world when they disagree with us.

But allies provide more benefits than simply keeping us from becoming the scary person who talks to themselves all the time.

Our allies—our friends—are the ones who watch our backs. Who hold our hands when we’re scared. Who tell us they believe in us, they’re proud of us. Who have skills that make up for our weaknesses. Who say, “I can’t fix this for you, but I can make sure you don’t have to go through it alone.”

And, in return, we have to be their ally when they need it.

No one can do it all alone.

The Cavalry Isn’t Coming

When life goes sideways, it’s easy to wish for someone or something to rescue us. We dream about winning the lottery. We wish for miracle cures. We fantasize that someone will come in and make the best possible decisions for us and take care of all the problems we’d rather not face.

But books where the cavalry sweeps in at the end and solves all the hero’s problems are unsatisfying and unrealistic. The truth is that in life we have a better chance of getting cancer than we do of winning the lottery.

The cavalry isn’t coming.

No one can fix our problems for us, not even our allies. They can help us, but we have to be willing to help ourselves too.

A hero isn’t going to ride in on a white horse to save us because we are the hero. Or, at least, we have the potential to be.

Unless we want our life story to be a tragedy, we have to make choices and act. We have to pull it together and find strength we never knew we had. We have to take responsibility for our lives and for fighting to make them what we want them to be. We have to be brave enough to find joy in the small things even when we’re broken and bleeding and terrified.

We have to keep the faith, keep hoping, and never give up. Ever. It’s the only way we’ll have a chance to win.

Crises Force Growth

Change is hard. The old ways and old patterns are easier and feel safer. Often it takes struggles to bring us to the point where we’re willing and able to change. The hallmark of a satisfying, memorable story is a hero who learns and changes for the better because of the challenges they face.

We could be the anti-hero with the negative character arc, but is that really the way you want your story to end? It’s not what I want for mine.

I want to come out better than I went in. Stronger. Wiser. Kinder. Braver.

I never want to stop growing as a person.

So that’s how I’m heading in to 2016.

How was your 2015? Feel free to share the good and the bad. Have you set goals for the new year?

Interested in more ways to improve your writing? Deep Point of View is now available! (You might also want to check out Internal Dialogue or Showing and Telling in Fiction.)

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My Favorite Science Fiction Book of 2015

If you’ve been reading this blog long enough, you know I don’t tend to “endorse” books very often. I see so many books, both through my work as an editor and through my own personal reading, that it takes something special to be good enough for me to talk about it. But as you might have guessed from the title of this post, today I am going to tell you about one of my favorite books from this year. I’m also going to share a guest post from the author where he tells a bit more about his inspiration for the story. 

(Disclaimer: I worked as the developmental editor on this book. This didn’t sway my recommendation, and even though I worked on it, I’ll be buying a copy now that it’s available for sale because I want to have this book to read again.)

I’m predisposed to like a book where people are fighting against long odds to save humanity. The high pressure, ticking clock, and gutsy underdog elements of those types of stories have always drawn me in. The Farthest City has all that, but I also invested immediately in the character of Sheemi. Her grief and her struggle to figure out what kind of person she wanted to be made her real to me.  

Dan Swenson also has a beautiful writing voice and an uncanny ability with chapter endings. He ends each chapter in such a way that you can’t bear to not turn to the next chapter. The situations all the characters face are full of devastating choices and discoveries.

It was the kind of science fiction story that felt believable without bogging down in a lot of dry technical information.

And so now, without further delay, I’ll turn this blog over to Dan to tell you more about The Farthest City.

*********************************************************************************************************

The Farthest City by Dan SwensonIn the far future, intelligent machines resurrected the human race then disappeared. Now humanity wages a losing war against the alien Hexi.

One soldier, Sergeant Sheemi Tanamal, experiencing unbearable loss, possessed by her anger, wants as much revenge as she can get before she dies in battle. An unexpected mission changes everything.

Citizen Kellen Beaudin, is a shy, sensitive artist with a different, but equally troubling past. Kellen’s origin is deeply intertwined with the machines, although he doesn’t understand how or why. He learns who he really is when his machine obsession takes him on an incredible journey.

Neither Kellen or Sheemi will ever be the same.

Sound interesting? I hope so!

I wrote The Farthest City over a four year period, including a critiquing process with folks at Critters.org, and ending with an intensive editing phase (developmental editor: Marcy Kennedy, copy editor: Chris Saylor). The result is, I hope, a compelling story with some thought provoking aspects and characters readers can root for.

I conceived the idea for The Farthest City by using the trusty “what if?” process. I often use that prompt to brainstorm story ideas. In this case, I was mulling over the trope of machines becoming sentient followed by a machine uprising. That theme has been repeated in books and film: I, Robot, the Terminator, the Matrix, and Battlestar Galactica to name a few. In these stories, machines represent our collective nightmare, a fear reinforced by technological and scientific authorities such as Elon Musk and Stephen Hawking.

Put simply, the machines get smart and kill us. Usually. But what if they saved us instead? The setting of The Farthest City is based on this unique premise: humanity destroyed itself in a third world war. Our species was resurrected by intelligent machines who raised a new generation of humans from frozen embryos using artificial wombs. Then the machines (“chines” in the book) depart into space, ceding Earth back to us. When aliens invade threatening a second human extinction, we need the machines’ help once again.

I also explore the concept of what machines might be like if they did become sentient in the future (don’t worry- I don’t think it will happen anytime soon). The challenge was how to make the machines as different and non-human as they would probably be, while still making them relatable as characters that can interact with humans in meaningful ways. Would they merge into a single near-omniscient, soulless entity, or develop as individuals with personalities, goals, and ideals?

I chose the latter concept, and from there, more questions arose. How would they live—in virtual worlds or using interchangeable bodies in the real world? How would they evolve? How would they live differently from biological beings? What would their vehicles and buildings look like? Would they even need buildings? Would they form friendships? Become depressed? All these questions are developed further in the book and lead to some interesting story developments I hope will entertain readers as much as they fascinated me.

Bio: Daniel P. Swenson lives in southern California with his wife, two children and two furry aliens with claws and whiskers. He does most of his writing on the train or in other odd, in-between moments. Comments and questions are welcome. He can be reached at danielpswenson@gmail.com.

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Becoming Your Point-of-View Character

Becoming Your Viewpoint CharacterBy Marcy Kennedy (@MarcyKennedy)

Point of view frustrates a lot of writers–new and old alike. Today I’m over at Writers in the Storm sharing one of my best tricks for how to avoid point-of-view errors. I’ll give you the secret here: You have to become your viewpoint character.

For an explanation of what the means and tips on how to do it, please join me at Writers in the Storm for “Becoming Your Point-of-View Character.

Sneak Peek: I’m blog traveling the next couple of weeks with guest posts on other sites, but I’ll also soon be starting a new series here about handling time and transitions in our writing. I’m really excited about this because I see a lot of writers I work with stumble over how to manage the passage of time. It’s a crucial element for pacing our fiction and writing scenes that work hard in our plot. If you have a specific question that you think would tie in to this topic, please send it to me through my contact page

Interested in more ways to improve your writing? Point of View in Fiction is now available! (You might also want to check out Internal Dialogue or Showing and Telling in Fiction.)

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Image Credit: Hannah Gleghorn/freeimages.com

How to Hunt Down Sneaky Point-of-View Errors

Sneaky POV ErrorsBy Marcy Kennedy (@MarcyKennedy)

One of my favorite writing craft topics is point of view because, when we master point of view, it solves so many other writing problems. Properly executing point of view immediately strengthens our writing, makes it more immersive, and gives lightbulb moments for many other writing elements. (If you want to know about other benefits of a consistent point of view, you might want to take a look at my post on 7 Reasons Understanding Point of View Is Essential to Writing Great Fiction.)   

So I was very excited when Jami Gold asked if I’d write a post for her about clues for catching out-of-POV phrases. These POV errors happen any time we’re in a limited point of view—where we’re supposed to stay inside one viewpoint character at a time—and we write something that our viewpoint character couldn’t know, wouldn’t have experienced, or wouldn’t be thinking about. Out-of-POV phrases are sneaky POV errors. They’re less obvious than something like head-hopping, but they’re more damaging to our writing.

Please join me over at Jami Gold’s blog where I’m giving practical tips for hunting down and eliminating sneaky out-of-POV phrases.

Interested in more ways to improve your writing? Point of View in Fiction is now available! (You might also want to check out Internal Dialogue or Showing and Telling in Fiction.)

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Image Credit: Gregory Hoyl Jr./freeimages.com

The Inevitable Truth of Life–Things Go Wrong

By Marcy Kennedy (@MarcyKennedy)

How do you face the difficult times in life?

Over the weekend, my husband and I went to see The Martian, and this is the question I walked away with.

In The Martian, Mark Watney is part of the team of astronauts who went on a Mars mission. Due to a storm, they had to leave the surface of Mars before their allotted time was over. During preparation for lift off, Watney was injured and lost in the storm. The team thought he was dead and had to launch without him–leaving him stranded on Mars, a planet where nothing grows, with no breathable atmosphere, and extreme weather conditions.

I don’t want to spoil too many of the story details for you, but Watney doggedly manages to survive on Mars until he’s able to be rescued, years later.

Once back on earth, Watney becomes an instructor, teaching astronaut candidates. In his first class, he tells them the one inevitable truth of space travel.

At some point, everything will go wrong.

That’s not an if. It’s a when. And when everything goes wrong, there’s really only one thing you can do if you want to survive.

You have to focus on one problem at a time.

The movie was talking about space and what you face there, but it’s also the one inevitable truth about life.

At some point in your life, everything will go wrong. Horribly, heart-breakingly, hope-crushingly wrong.

And there’s only one thing you can do if you want to survive. You focus on one problem at a time.

The big picture—that’s going to be more than we can handle when life blows up in our face. Because if we look at the big picture, it’ll seem impossible to overcome. We’ll feel too weak, too unprepared, too alone. Too everything.

But one problem at a time…well, we can find the strength for that one small thing. Just that thing. Only that thing.

And then the next one.

And the next one.

And one day, we’ll look up, and we’ll have made it out the other side. We’ll have survived.

And if we’re really brave, one day we’ll do what Mark Watney did. We’ll take what we’ve learned and use it to help teach others how to survive. Because at some point in their lives, everything will go wrong.

And what will matter most if they want to survive is knowing how to face it without giving up.

Have you faced a time in your life when everything seemed to go wrong? What helped you through?

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March to a Bestseller 3 – Great Writing Resources

By Marcy Kennedy (@MarcyKennedy)

March to a Bestseller III

I’m honored to once again be participating in the semi-annual March to a Bestseller event run by Bryan Cohen. I love this event because it brings writers a bunch of high-quality books about writing and publishing for an affordable price (99 cents each).

And to make it even better, on the day of the sale, the authors involved staff the Facebook group for giveaways and Q&As. If you have a writing-related question, this is the place to bring it. I’ll be manning the “table” from 1:00 pm to 3:00 pm Eastern.

Here are the books involved this time!

Interested in more ways to improve your writing? Point of View in Fiction is now available from Amazon, Kobo, Barnes & Noble, and Apple iBooks. (You also might want to check out Grammar for Fiction Writers or Showing and Telling in Fiction.)

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7 Reasons Understanding Point of View is Essential to Writing Great Fiction

Point of View in FictionBy Marcy Kennedy (@MarcyKennedy)

When we talk about point of view, we basically mean the perspective from which the story is told. Who are we listening to when we read the story? Whose head are we in? Whose eyes are we watching the story through?

Point of view isn’t merely another writing craft technique. Point of view is the foundation upon which great fiction rests.

Why do I say point of view is so essential to writing a good book?

Reason #1 – Well executed point of view allows the reader to experience (and participate in) a situation that they could never have been part of, or might never want to be part of, in real life. Consistent and skilled use of POV not only allows us to live vicariously, but also gives us the opportunity to examine ourselves and think about whether we would have made the same choices as the characters. In other words, we become participants in two senses of the word. It engages our emotions and our minds.

Reason #2 – Well executed point of view builds subtext, as we’re able to contrast what’s happening around the character with what they think about it. We can sort through the difference between reality and perception, the difference between the objective and subjective.

Reason #3 – Well executed point of view sets each character apart, as we see how they uniquely interpret the world around them. Put another way, point of view is the tool we use to create three-dimensional characters. When we don’t understand point of view and when we don’t execute it correctly, we’re very likely to end up with flat, uninteresting characters. Beyond this, as novelists and short story writers, we have an advantage in that we can give our audience that filtered perspective. They can’t receive that from television or movies or plays.

Reason #4 – Well executed point of view controls the flow of information to either create suspense or forward the plot. As authors, how we choose to handle POV determines what we must and can’t show to the reader. As readers, it creates the page-turning excitement as we discover things along with the POV character.

Reason #5 – Well executed point of view encourages showing rather than telling. “Showing” in fiction rather than “telling” is one of the most common pieces of writing advice and also one that a majority of writers struggle to execute. Understanding and writing from a close point of view makes this concept easier because we’re experiencing the story through the eyes of a particular character.

Reason #6 – Well executed point of view helps us decide what description belongs in the story. Many writers buy into the fallacy that description slows a story down. Description doesn’t slow a story down—bad description or description placed where it doesn’t belong slows a story down. When we write with a clear point of view, we’ll know what details are important to include and when is the appropriate time to include them.

Reason #7 – Well executed point of view shows us when to include backstory and when to explain details about our world and setting or about the way something works. How much or how little to explain these elements to readers becomes a stumbling block for many writers. When we have a clear POV, we’ll know to include it only when the POV character would naturally be thinking about it or noticing it.

Point of View in Fiction: A Busy Writer’s Guide Is Now Available!

In Point of View in Fiction: A Busy Writer’s Guide, you’ll learn

  • the strengths and weaknesses of the four different points of view you can choose for your story (first person, second person, limited third person, and omniscient),
  • how to select the right point of view for your story,
  • how to maintain a consistent point of view throughout your story,
  • practical techniques for identifying and fixing head-hopping and other point-of-view errors,
  • the criteria to consider when choosing the viewpoint character for each individual scene or chapter,
  • and much more!

Each book in the Busy Writer’s Guide series is intended to give you enough theory so that you can understand why things work and why they don’t, but also enough examples to see how that theory looks in practice. In addition, they provide tips and exercises to help you take it to the pages of your own story, with an editor’s-eye view. Most importantly, they cut the fluff so that you have more time to write and to live your life.

You can grab a copy of Point of View in Fiction from Amazon, Apple iBooks, Barnes & Noble, and Kobo. It’s also available in print.

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Top 10 Dialogue Mistakes that Kill Your Story

Top 10 Dialogue Mistakes that Kill Your StoryBy Marcy Kennedy (@MarcyKennedy)

Awkward or boring dialogue can make readers cringe and toss our books aside to find something better.

A few months ago, I wrote a post called 10 Writing Mistakes that Kill Your First Chapter. Because of how much everyone liked that post, I decided to do a follow up. So today I’m sharing the top 10 dialogue mistakes that kill your story (in no particular order).

#1 – Too Much Direct Address

Direct address is where we call a person by their name or title (e.g., Mother, Doc).

“Bob, would you pass the peas?”
“Of course, Mary.” He turned to look at Frank. “Frank, I heard you got a new job.”
“Yes, Bob. I’m liking it a lot.”

Almost no one talks this way, and the people who do are considered strange. You can use a name or title once in a while in your dialogue, but make sure you’re doing it strategically (for example, people will often use names during an argument).

#2 – Allowing a Character to Speak Uninterrupted for Paragraphs (or Pages!)

How much do you enjoy being around a person who talks for five or ten or fifteen minutes (or more) without letting anyone else get a word in? Probably not that much.

Since this is a short list, I’ll give you just four reasons why allowing a character to talk uninterrupted is a problem. The first is that the reader usually ends up feeling preached to. The second is that you lose all sense of setting. The third is that it stops the action dead. The forth is that it can hurt the likeability and believability of your windbag character.

Even if your character is giving a speech of some kind, you need to interrupt them with body language, actions by other characters, or internal dialogue from the point-of-view character.

#3 – Dialogue That’s Too Formal

This could be someone who uses multisyllabic words when a simple word will do, it could be a character who always uses perfect grammar or doesn’t use contractions, or it could be a character who always speaks in complete sentences and never uses a sentence fragment.

You might have a good reason for wanting to do one of these things, but most readers will find it awkward. We don’t talk this way in real life, and the rare people who do are considered stuck up.

#4 – Dialogue That Repeats What’s Also in Action or Internal Dialogue

This is also known as redundancy. It can happen on a small scale.

He shook his head. “No.”

Or it can also happen big-picture. If, for example, we’re going to have a character cracking a safe, we don’t need to have them explain the whole process to another character before it happens. That makes it boring for the reader to then have to sit through the description of our character actually cracking the safe (even if something goes wrong).

#5 – Creative Dialogue Tags

A creative dialogue tag looks like this:

“I’m going to kill you,” she hissed.

When you have a character hiss, growl, beg, demand, or (insert another descriptor here) their sentence, you’re violating the show, don’t tell principle. It’s usually a sign of weak dialogue. And if they’re used indiscriminately, they can give your writing a cartoonish feel.

They’re also impossible. Go ahead—try to hiss or growl an entire sentence. Or try to laugh or snarl an entire sentence.

#6 – Not Making It Clear Who’s Speaking

Do not make your reader guess who’s speaking or count back through your lines of dialogue to figure out who said what.

If we have more than three lines of unattributed dialogue in a row (dialogue without a tag like said or an action beat), we can risk the reader losing track of who’s speaking. If we have a scene with multiple speakers, we need to be certain it’s clear who each line of dialogue belongs to. An unattributed line of dialogue could belong to anyone present.

But the sneakiest of all is when we write about two characters in the same paragraph and then tack on a line of dialogue at the end.

Ellen waved her arm above her head, and Frank sprinted towards her. “I’ve missed you.”

Who said “I’ve missed you”? It could be Frank or it could be Ellen, and the reader has no way to tell which one it really is.

#7 – Too Much Filler Dialogue

We don’t need to hear our characters say hello, ask each other how they’ve been, and all the other small talk we make on a daily basis because it’s the polite thing to do. Those don’t forward the story, and they’re boring to read.

We also shouldn’t fill our dialogue with a lot of umms, ers, and ahs. Every word needs to count.

#8 – As-You-Know-Bob Dialogue

As-You-Know-Bob dialogue is when one character tells another character something they already know. It’s done purely for the reader’s benefit (because we’re trying to give the reader some information we think they need to know), and it’s unnatural.

If it’s common knowledge, it won’t come up in conversation, and real people won’t say something that isn’t relevant to the conversation.

#9 – Dialogue That Sounds the Same No Matter Who’s Speaking

If you’ve been told your characters seem flat, sometimes the problem isn’t that you haven’t fully developed your characters. Sometimes it’s the way you’re writing their dialogue. They might all sound like you or like each other.

#10 – Dialogue That Requires a Rosetta Stone to Decode

“S’pose we must be resigned; but oh Lord! how ken I? If I know’d anything whar you’s goin’, or how they’d sarve you! Missis says she’ll try and ’deem ye, in a year or two; but Lor! nobody never comes up that goes down thar! They kills ’em! I’ve hearn ’em tell how dey works ’em up on dem ar plantations.” (From Chapter 10 of Uncle Tom’s Cabin by Harriett Beecher Stowe)

Dialect written out phonetically like this is a bad idea for many reasons. It’s frustrating to your reader. You don’t want anyone to have to work that hard just to understand what your characters are saying. It pulls them out of the fictional dream. Beyond this, dialect used in this way sounds forced and can even border on demeaning to whatever group you’re trying to imitate.

Do you have any other common dialogue problems you’d like to add to the list? Which of these causes you the most headaches in your own writing? Or when you’re reading?

Interested in more ways to improve your writing? Check out Dialogue: A Busy Writer’s Guide. (You might also want to check out Internal Dialogue, Description, or Showing and Telling in Fiction.)

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Image Credit: FreeImages.com/Samuel Alves Rosa

5 Creepy Sea Animals You’ve Probably Never Heard Of

By Marcy Kennedy (@MarcyKennedy)

Welcome back to my unbelievable real life feature. Usually I focus on a single weird place or creature in our world, but today I thought it might be fun to give you a list of five incredibly strange underwater animals.

#1 – The Red-Lipped Bat Fish

Red-lipped_Bat_fish

This odd-looking fellow hails from the Galapagos Islands, and he’s such a terrible swimmer that he actually walks along the ocean floor instead. I suspect that’s why he looks so grumpy. The other fish probably tease him.

#2 – The Goblin Shark

Goblin Shark

Goblin sharks average 10-13 feet long at maturity, but they’d probably send any swimmer heading straight for shore even if they were half that size. Fortunately, they’re a deep sea shark, preferring to live 330 feet or more under water.

#3 – Japanese Spider Crab

Japanese_spider_crab_(15340536895)

“What’s so cool about this one?” you might ask. Well, you can’t tell from this picture, but this spider crab stands as tall as a man, weighs around 42 pounds fully grown, and if you made him stretch out his legs (good luck with that), he’s 12 feet from claw to claw.

#4 – The Blue Dragon

Blue_dragon-glaucus_atlanticus_(8599051974)Glaucus_atlant.

I had to include extra images of this one because it’s just so beautiful. It’s also called a blue angel or a sea swallow, but officially it’s categorized as a sea slug. A rose by any other name I suppose. Unfortunately, along with being beautiful, the blue dragon is also venomous.

#5 – Sea Pig

Sea Pig

I couldn’t find a better image to use here legally, but you can see a real-life image of the sea pig at this link. Sea pigs have tubes of their top and their bottom that they can inflate and deflate. Technically, they’re a sea cucumber, which sounds even more strange than calling the blue dragon a sea slug because these sea pigs definitely look more like uncooked sausages than they do like vegetables. They’re one of the few underwater creatures that uses the sense of smell to locate food.

Which one of these five is your favorite? It’s probably no secret that mine is the blue dragon 🙂

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IMAGE CREDITS:

Bat Fish
By Rein Ketelaars (Flickr: DSCN1938.jpg) [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons

Goblin Shark
By Dianne Bray / Museum Victoria [CC BY 3.0 au (http://creativecommons.org/licenses/by/3.0/au/deed.en)], via Wikimedia Commons

Japanese Spider Crab
By Takashi Hososhima from Tokyo, Japan (Japanese spider crab) [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons

Blue Dragon
By Sylke Rohrlach from Sydney (Blue dragon-glaucus atlanticus) [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons
By Imtorn (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

Sea Pig
By Lindberg [Public domain], via Wikimedia Commons