Your bibliography shows you love crafting a wide variety of poetry and prose. For instance, your series The Gaia Collection explores what happens when the global environment is completely under commercial control. Can you describe your writing process for creating this dystopian setting?
The Gaia Effect, the first book in the series, was an idea I had for a long time just sort of kicking about in my head. I don’t know why it went the way it did, I’m a discovery writer not a planner and I literally had no idea what was going to happen next when I was writing. I just followed the characters. I realise authors aren’t supposed to admit that they don’t know what they’re doing lol. With each subsequent novel I write, I tend to plan a little bit more but then I have had two kids since I started writing so I find it harder to remember everything now.
After being an author for over five years, what would you say are common traps for aspiring writers?
Thinking that they know everything, I don’t think you ever stop learning about the craft of writing and storytelling. And also, not being able to take critique – figuring out that it’s different from criticism and that other people (writers and readers) can see things that you don’t. I do find it difficult to put that first draft out there and I often get highly defensive at feedback but that’s usually because they’re right and I just don’t want to admit I need to make the changes lol.
Ha! I get pretty defensive about my own writing, too, but you’re right–that feedback is crucial in ensuring a plot line, a character arc, or whatever else actually makes sense. Would you consider this to be the most difficult part of your artistic process, or would you consider that to be something else?
Not being able to find enough time to work on my writing. At the moment, I have to squeeze things in between being a stay-at-home mum and oftentimes I am super tired in the evenings so trying to be creative can be tough. Also, my kids get up at 5am so trying to join in the 5am writers club is difficult as well. But you know, if you love doing something, you find the time for it.
OH MY GOSH I KNOW JUST WHAT YOU MEAN. Seriously, I totally do. I started blogging in 2015 when my kids were teeny. That was likely a crazy thing to do, but blogging helped me preserve what little sanity I had left, and eventually helped me re-ignite my creativity. Even though my kids are older now (well, still 10 and under, but still), they are my writing Kryptonite just as much as they are my writing inspiration. What is your writing Kryptonite?
Ironically, procrastination! I am an excellent procrastinator. I have even cleaned the oven instead of sitting down to write. But then at other times I’m in the writing zone and nothing can stop me.
I have a feeling you and I would be friends, because that’s just what I do on some days, too. Suddenly the floor absolutely must be cleaned that day because in my imagination, I just haven’t worked out a plot kink yet and it’s easier to clean than to sit and stare at my notes about fantastical elsewheres. I noticed that you enjoy writing all sorts of fantastical stories like Ye Olde Magick Shoppe, but you also enjoy exploringthe “commonplace” kind of life. Now most people–me included–write to escape this sort of place, but you found so much inspiration you created a collection called Tales From Surburbia. Can you share that particular inspiration with us?
I had released my first book The Gaia Effect and although I thought there might be another book in the series, I didn’t feel ready to write it straight away but I wanted to maintain the momentum I felt I’d created by publishing a book. I decided to look back over short stories, plays and blog posts that I’d written previously and grouped together those that had a similar theme. I wrote a couple of new pieces and voila! I had a shorts collection on the theme of humorous observation of life in the suburbs. All of it is inspired in some way by real events that happened to me or happened where I lived at the time.
Life in the suburbs certainly has its own wacky misadventures, like when toddler Biff decided to just join our new neighbors housewarming party and started tooting through their toddler’s toys. Heavens, that was so mortifying! The most common thread of the misadventures around our neighborhood, however, would have to be the animals. There’s a fox that occasionally wanders through our backyard; I like to imagine where he comes from and what brings him hunting about our yard. As a writer, what would you choose as your mascot/avatar/spirit animal?
My writer mascot? Hmm… that’s a good question. I have absolutely no idea. Maybe a dragon, which is probably a little cliché. I’d actually love a dog
Ah, there is a history of beloved dogs among amazing writers! I’ll always remember my favoritest of favorite writers, Diana Wynne Jones, writing an entire fantasy novel inspired by her own dog. When we have the right inspiration, we cannot help but tell stories, you know? Does writing energize or exhaust you?
It depends – when the muse is with me, the words seem to run out of my fingertips into my keyboard and dance across my computer screen. Those are the days when I can write 2000 words in less than an hour and get to the end of the writing session feeling happy but wiped. Other days it’s a struggle and it feels like I’m pulling the words out. Those days are exhausting and filled with doubt. I think if writing doesn’t energise and exhaust you then you’re just not doing it right.
I completely agree, Claire. Thank you so much for sharing your thoughts, your stories, and your life with us! My friends, you can learn more about Claire and her work via the various social media links below.
Happy December, one and all! I think we would all love to enjoy some stories with our morning dish of treats, wouldn’t you say?
Luckily I have just the thing.
As I was researching the murky world of network marketing (aka, multi-level marketing) for my short story “The Hungry Mother,” I came across an indie author who spreads awareness of networking marketing’s scams while also writing YA novels and books dedicated to rescue dogs and funding rescue shelters. My friends, please welcome Savy Leiser!
Let’s jump first into how hard you help promote other writers and voices. I was deeply moved by your June video on OwnVoices and Diversity in fiction. You emphasize the vital role sensitivity readers play in bringing a story to bookshelves—and how publishing companies need to pay more attention to them. Have you noticed any shifts in the publishing world to be more inclusive, or no?
Thank you! I’m glad you liked that video. From my perspective, I’d say yes, there has been a shift to be more inclusive. However, I’m always cynical regarding big corporations. A lot of the pushes for diversity by larger publishing houses seem to be performative. I recently posted a video called “Books I’m Reading for Bisexual Visibility Day,” and after reading A LOT OF BOOKS, I noticed a consistent pattern: the books that were self-published or published by small presses had way better representation. I think a lot of times, big publishers study and adapt to market trends (which is reasonable from a business perspective) but a lot of the push for inclusion comes from indie authors writing what they want to write and putting it out there, not taking no for an answer. I’ve talked about this in other videos too; sometimes I worry that publishing houses are scared to publish m/f romances with bisexual characters because it’s easier to box something into the market as a “LGBTQ+ romance” or a “straight romance” — but indie authors are doing a great job with that already.
It definitely seems to make a big difference when indie authors have that extra creative control. I remember you saying something about a neat new way readers can get a hold of awesome indie reads. What was it, again?
Yes! Another YouTuber, Amara Franklin, just launched an indie books subscription box! It’s called the Indie Bookworm. Here’s the website: https://theindiebookworm.com/
Ah, that was it–thank you! Let’s peruse your own books for a bit. You first published The Making of a Small Town Beauty King back in 2016. This coming-of-age novel brings to life many family struggles in a small-town setting many of us can relate to. What inspired the seed of this story to take root in you, and how did publishing Beauty King change your process of writing?
My original inspiration for this novel was the town where I went to high school. Most people know I’m from Chicago (and still live here!) but when I was younger, my family moved to rural Pennsylvania for a few years, and I went to high school in a Philadelphia suburb with a town fair. Our fair had a beauty pageant, where a few of my friends won awards over the years. I always considered entering but I was never good at adapting to traditional beauty standards. As a teenager, I had that constant conflict of what empowerment for women meant; did it mean a lack of pressure to adhere to beauty standards, or freedom to adhere to those if you choose? (This is a theme I explore in Sculpt Yourself as well.) When I was in college, I decided to explore these feelings in a screenplay for a class, and after I graduated I decided to turn it into a novella.
As one who helped care for her grandmother during her last years suffering dementia, the premise of your novel One Final Vinyl really struck a cord with me. Does this story have roots in your own life? What inspired the road trip your protagonists (a teen and a ninety-year-old woman) take?
Yes! This book has two main inspirations: my own grandmother and another 86-year-old woman I met and never saw again. My grandmother, Kasia (my parents recently adopted a new dog that they named after her! And I’m planning out a big tattoo of her name to get on my arm soon) was one of my primary guardians during my early years. When my mom was working 4 shifts, I spent most of my time at my grandma’s house, so she and I were really close. She started showing signs of dementia when I was in high school and she passed away when I was 19, which took a huge toll on me. A couple years later, an 86-year-old woman appeared at my front door in the middle of the night. She had driven away from her retirement home and gotten lost, and she also seemed to show signs of dementia. While we waited for her daughter to come get her, she and I spent the evening having Christmas cookies and tea while she told me about her childhood in the Great Depression. I’ve never seen her since then, and I’m not sure if she’s still alive, but that kind of interaction, where two people randomly cross paths like that, hit me really hard emotionally, especially since she reminded me of my grandma whom I’d lost recently. Sometimes I’d ponder, what would happen if I’d spent more time with her? What would’ve happened if someone randomly met another person like this and ended up on a road trip? Eventually, the pieces for the story came together for me.
You work damn hard taking readers into places they may not have been ready to go on their own, but through your characters they can tackle issues like self-worth and body image. Sculpt Yourself is a powerful example of this. As a writer, how do you balance telling a good story while also sharing an important message with readers?
I like to think of writing as my way to normalize a more equal world. We all have specialties and our own strengths we can use to make the world better. I’m not going to change laws; I’m not a politician or a lawyer. But I AM a writer, so I can use my storytelling abilities to get someone to think about an issue through a new perspective or to portray a world where those ideologies would be possible. To strike that balance, I focus on the characters and their relationships to one another first. In Sculpt Yourself, the focus is much more on Amber’s relationship with her sister and with her new girlfriend than it is with the sci-fi elements of Lipamorph’s development. I tried to create well rounded characters with a variety of viewpoints that could discuss these topics in an authentic context; that way, it feels like a story, not like I’m hitting the reader over the head with a message.
And thank you for that! I’m all for having an important message in a story, but not at the cost of telling the story well.Would you say writing energizes or exhausts you?
HA! Fair enough. I know I’ve gone through those same spells where I can get a rush from a flurry of writing only to want a nap a few hours later. (Not that my kids would ever allow that, but I digress.) Establishing a creative atmosphere has been a HUGE challenge with the twins remote learning this year. What would you say is the most difficult part of your own artistic process?
Being lonely. I’m a hardcore extrovert. I used to do my work in public, at coffee shops, or at random places throughout Chicago. But now there’s a pandemic going on. I also used to sell books primarily at events, like conventions and art fairs. But now there’s a pandemic going on! The pandemic has been REALLY rough on my business and my creative process and I’ve had to adapt a lot.
I could loan you my kids for a week if you’d like to re-create the hum of social noise, lol! Even reading can be a struggle sometimes. Have you ever gotten reader’s block?
Definitely! I go through periods where I’ll read like 12 books on my Kindle in one day, and then go months without reading anything. My reading habits definitely aren’t consistent.
Have you read anything that made you think differently about fiction?
I read the book Two Boys Kissing by David Levithan for Pride Month in 2018. That book uses POV in one of the most interesting ways I’ve ever seen: a combination of plural first-person POV through a Greek-chorus style setup, combined with an omniscient third-person POV of all the main characters. That book sticks with me because of how much it made me reflect on how authors can use character points of view to their advantage in storytelling.
What is your favorite childhood book?
I loved the American Girl books, and that company was actually a huge inspiration for the model I followed with Furever Home Friends. (Books and toys combined to help kids learn!) I loved the series about Molly from World War II. I have my doll of her displayed on top of my bookshelf.
Oh my gosh! I looooved the American Girl books, and I still have my Kirsten and Addy dolls. I learned so much about life in the 1800s and the struggle to build a new life after traumatic experiences.I’ve dabbled with writing historical fiction with my own novella Night’s Tooth, but I threw enough fantasy into it that the history’s a bit, um, loosey-goosey. What kind of research do you do, and how long do you spend researching before beginning a book?
That depends a lot on the book. For the 4th Furever Home Friends book, Kringle’s Christmas, the research was completed in one afternoon when I interviewed the owner of the shelter where he was living all about his story. For #SavvyBusinessOwner, I talked mostly about my own personal experiences, so I just launched into that book without a whole lot of research. It depends a lot on the project.
What would you say are common traps for aspiring writers?
Darn tootin’. I have to set a timer for myself so I don’t fall down the social media rabbit hole. It’s so tempting when we tell ourselves “but that’s where the small presses are! I could query!” Then here we are, two hours later, still reading reaction tweets about DC comics or something. As an indie author who has launched her own books as well as recently signed on with an indie press, what do you consider to be the most unethical practice in the publishing industry?
That’s hard to say. The industry is vast and includes a lot of different types of companies, writers, creators, and readers. I don’t want to publicly trash talk any specific publications right now, but I do have a problem with the barriers put up to keep small businesses from achieving success on the level of the established big 5 publishing corporations. For example, if your book gets published with a big press, you’re more likely to get reviews in established periodicals that schools and libraries receive in the mail and use to make their purchasing decisions. Some reviewers will only accept books sent to them by publishing companies rather than individual authors.
I suppose that’s partly why you do a LOT as an indie writer when it comes to maintaining and building your platform. Could you share at least one method of marketing that, after three books and your awesome new #SavvyBusinessOwner: A Book for Small Business Owners!, you’ve found to be effective?
Thank you! Honestly, my YouTube channel has been the most effective form of marketing for me. With the internet being such a prevalent force in people’s lives (especially during the pandemic!) people are more likely to become fans of content they can receive for free. I think of all the webcomics I read for free online, and then went on to buy that creator’s book when they released one, or the YouTubers who created entertaining videos, who I eventually bought merch from or joined their Patreon. My YouTube channel is at almost 10,000 subscribers, which happens because I gave people video content for free. As a result, 10,000 people now know who I am and are AWARE that I have books out, even if they’re not interested in them. The hardest part of marketing is making people aware you exist. I talk about this process a lot in the “Screaming into the Void” chapter of #SavvyBusinessOwner.
Now I may be going out on a limb here, but if I were to guess your writing mascot, it would be your dog. One of the reasons I wanted to interview you was I LOVED the drive behind your book series Furever Home Friends. Please share what this wonderful series is about—and how there are matching comfy dogs and accessories that would make perfect presents for the dog-lovers in our lives!
Thank you! Furever Home Friends is my biggest, longest-running project, and I’m really proud to see this business growing.
For some background, Furever Home Friends is a series of picture books, stuffed animals, toys, and accessories based on real rescue dogs. Each book tells the story of a dog’s journey to adoption and includes a photo of the real-life dog in the back.
For each of our main book characters, we have a plushie friend of that dog that you can “adopt” on our website (that’s just a cute way of saying you’re buying the plushie, LOL) and accessorize with little dog-sized accessories that I created on a 3D printer. We donate 10% of our profits to animal shelters.
Thank you so much for sharing your incredible stories, Savy! I can’t wait to see what your imagination creates next. For those excited to check out Savy’s work, visit her YouTube Channel for a hub of her social media links as well as her Furever Home Friends series.
I’m determined to visit with you all before December ends because by golly, Christmas is my favorite holiday and I MISS YOU ALL. I want to talk about music and holiday storytelling, AND I’ve almost won Bo over to the idea of baking a Christmas Pudding. We shall see!
Hello, lovely creatives! It’s been crazy adapting to the new full-time schedule, but I know I’ll find my groove in time. I did get to share a virtual slice of cake along with an interview with fellow indie writer Claire Buss.
I was also fortunate to interview another awesome soul in the midst of crazy remote schooling. Read on to check out my chat with the fantastical F.D. Stewart!
What is your favorite childhood book?
The Beautiful Bible Stories for children book.
I know what you mean. There are some powerful stories in the Bible! I was raised in a preacher’s home, so faith has always been a part of life.You mentioned your family has inspired some of your fantasy writing.
My mascot for this series is Grandma Quinones. She reminds me of my grandmother, who is the backbone of the family, and she keeps us together. She is a grandmother of wisdom and knowledge and does not play at all
What was an early experience where you learned that language had power?
When I was a little girl, I started as a lead singer in the Sunbeam Choir. I went from being a lead singer to one of the lead singers in the Gospel choir with my dad, which was extremely exciting for me. Right then, I realize how powerful your words can be when you put your all into what you are singing and seeing the reaction of the people being blessed by it. Even when I write poetry and reading it in front of people of what’s a part of me, is very successful, and you would be amazed how people who you don’t know and do know approach you afterward. Words alone are productive when it begins to help, encourage, or build up a person who needs to hear you at any given time. So, I will always be careful with my words.
We should all be careful with our words, to be sure! For some of us, it takes time hunting down the information we put into words. What kind of research do you do, and how long do you spend researching before beginning a book?
Well, I had never done any research regarding my book until afterward. My book comes to me like a dream, and within that dream, many things pop out at you. You see yourself directing a story that has never been written or heard, and that is why I keep a notebook at my bedside. When things start happening, my pen starts writing, and later I am looking at words that I never knew existed.
I can just picture this dream-like state! It’s amazing what comes from us when we’re taken over by the story. It’s not always that way, though. What is the most difficult part of your artistic process?
The hard part of the artistic process is trying to match what is in your head. When you can see so many ideas running in your head concerning your work, you want it to be just like that. Even though it would not come out as how you would like it, but it would always be close enough for you to use. So, I learn that my mind would have a clear picture of what I am trying to bring out in reality for others to see, but in real life, things can only come close to what is in your mind.
Would you say you have a writing kryptonite that can interrupt your process?
I always try to avoid distraction, but sometimes that does not work. My family is my kryptonite. I love them, but I always carry a notebook everywhere I go. So, I can continue to write something down regarding my story when I am away from my office and have time to do so.
Oh yes! Notebooks are a must when we’re away from screens and spending time with family–you never know when you’ll get an idea! Does writing energize or exhaust you?
Energize me. It makes me feel alive that I can bring non-existence characters to life. You can create and design anything you put your mind to do. Sometimes, if I do not watch the time, I can write all day and forget to eat until my stomach starts to growl.
Ha! That’s a very important writing tip–don’t forget to eat! What are some other common traps for aspiring writers?
I am still learning about the common traps as I continue to write my novel, but I can share the ones that I overcome.
A) I learn to overcome your fear of what you are writing. Meaning: Everyone is not going to like/love your work, or what you write, or your style of writing, and the way you write your story.
B) I learn to never speak negatively about what you write or accomplish. Meaning: All the effort that you put in your work is worth more than you realize. It does not matter how long you have work on a story. The point is you accomplish something that is the first of its kind and a part of your legacy of who you are.
C)Never question yourself whether you have written enough. Meaning: It does not matter if the story is long or short. Your way of writing your book is different from how everyone writes. So, never compare yourself to anyone because you are an original writer/Author, who’s doing your own thing.
YES! We need to build our stories our own way with our own processes. One process that always fascinates me is word-building in fantasy. Can you explain your process in building the setting and rules of magic for the Wizard’s Estate?
Everything is based upon scripture that is common among everyone. Death and life are in the power of the tongue, and those who love it will eat its fruit. Proverbs 18: 21 NKJV
The story begins way before Livingston University. There was an owner who created the Wizard’s Estate. He was a wealthy man, and he established many things in the town of Livingston, but as the story goes… in which you will be reading it in the prequel of the series, the owner ended up dealing with the people later on throughout his life. Several decades had passed in the new owner took over the wizard’s estate.
Now, the story begins at Livingston University. There are no rules to the game. Everyone must find themselves. Each and everyone have a purpose in life, but the choice is theirs. They can either accept who they are or get destroyed by who they are not.
These characters must find themselves before they get destroyed by the words of their enemy.
Their words are deadly than magic alone, and every sorcerer knows it very well. It takes a small seed to be planted by an evil sorcerer to cause chaos in a person’s life who is struggling with their identity, and it’s going to take these characters to accept who they are to overcome who they are up against in this series.
There are no rules when it comes to building magic in this series. Every character goes through challenges that allow them to build up themselves and produce their own words from experience.
Welcome to my world!
I’m feeling most welcome, indeed! Putting characters through challenges can be difficult to write, though. What was your hardest scene to write? I know battle scenes are always tough for me.
My hardest scene that I have ever written for this series was when an evil sorcerer violated one of my female characters. It was incredibly detailed that it made me feel uncomfortable.
I know just what you mean. I had to crawl through the darkest natures inside my characters in order to start them on the road to redemption. It’s not pretty, what we learn inFallen Princeborn: Chosen, but it matters to the characters and story, so readers must go there, too.
Through Charlotte’s broken door and across the hall, Arlen stands in Liam’s quarters, mouth agape. “How did you fly through….” He inches towards them, eyes roaming the glass, his student, Charlotte. His head cocks towards the stairwell, then back. “You must face your bloody days, Liam,” he says pointedly. “There will not be another chance. I’ll stall them.” He leans the door into place. Rose House unrolls the wallpaper across the space, removing the door completely once more.
Liam’s hands still grip Charlotte like his talons when he first rescued her from the Pits. “Guess that Bloody Prince thing had to start somewhere,” she says. A sob bursts out, taking any energy to stand with it.
Liam crumples to the floor with her. “I was…” His hands slowly slide down Charlotte’s arms to her wrists. A tear escapes his eye only to be cradled in his scar like a captured star. “I was so…” He pulls out his blood dagger, holds it between them. Grinds his teeth. “…angry.”
My deepest thanks to F.D. Stewart to taking the time to chat with me! You can check her out on Twitter and Amazon. You can also check out my newest release Chosen on Amazon, too.Author Anne Clare left a marvelous review!
Dark, dangerous and immersive–the River Vine grabs hold and won’t let go. The second installment of the story of Charlotte- a survivor of beatings and abuse who now has to face down deadly dangerous magical shapeshifters- doesn’t disappoint. From the River Vine to an underwater realm that is horrifyingly imaginative (and gives me the creeps!) to a family reunion that is anything but welcome, author Jean Lee’s action packed sequel kept me up reading late- partially because I was afraid of what creatures might visit my dreams! The story does deal with childhood abuse suffered by some of the characters-for this and for the intense narrative and language, I’d recommend the story for older readers who enjoy dark, high-stakes fantasy stories.
Anne Clare, Author of Whom Shall I Fear?
~STAY TUNED NEXT WEEK!~
Ack, I can’t believe the end of the year is nigh! I’m so excited for Christmas my husband can’t stand it. 🙂 We’ll see what quirky little analysis I can cook up in the midst of finals, but first I have another interview with an indie writer who started her own awesome line of kid’s story books to support rescue animals. I also unearthed a forgotten soundtrack in my archive that I’d love to share for those embarking on thirty days and nights of literary abandon. I hope you’ll be back to check it out!
Hello, you amazing creatives, you! While I fuss about with preparations for my new teaching responsibilities as well as the launch of my new novel, I want to introduce you to an awesome YA fantasy writer who has a flair for bringing magic into the everyday world. K.M. Allan is a stellar indie author who loves sharing tips on writing and “authoring” on her website, and I’m thrilled to have her share some of her lessons learned with us.
Even though I’ve loved writing all my life, I still feel like I’m a newbie to this whole writing thing. What would you consider to be traps for aspiring writers? Never knowing if you’re good enough. All writers have a level of Impostor Syndrome, but as an aspiring writer, it can be very crippling. You’re constantly looking for others to validate your work and tell you if it’s good enough when you should learn how to judge that for yourself. Another common trap, and one that I learned when I was first starting to query, is thinking you need to pay to have a submission professionally edited or assessed before sending it out. While you need to make sure what you’re sending out is as polished as you can make it, and definitely have it read by someone else to see if the writing works and there aren’t any typos, but it’s unnecessary to pay for these things.
That’s a great point! I have a short story submission I need to finish tweaking without stressing about it. Does writing energize or exhaust you? It depends on what I’m doing. If I’m writing and it’s going well and the ideas are flowing, it’s very energizing. If I’m editing, especially the nit-picky type of editing like looking for weak words to remove, it can be very exhausting.
Uuugh, the editing! I had to lock myself in a room to force myself through those final edits of my novel. Hands down, editing is the hardest part of my writing process. What would you say is the most difficult part of your artistic process? Definitely motivating myself to write. I love writing and always enjoy it when I do, but sometimes the motivation to sit down at the keyboard, especially when there’s a huge task ahead, can be hard to do. I think the fear of writing perfectly also hinders the artistic process. I definitely have ideas for how I want a scene to play out, and getting the words to create that same picture so others can see it too, can be difficult.
Selecting the right character for the focal point of the story is one of the crucial decisions a writer makes as they craft a story. Your Blackbirch series follows a male teen protagonist. Can you explain the process that led to the choice of choosing a male lead and not a female? This is a bit of a hard one to answer. The writer in me has always considered one of the female characters, Kallie Jacobs, to be just as much a lead as Josh. She’s in the first scene of book 1 with him and is one of the first characters the reader meets. Book 2 is mostly her story and contains a scene where she saves Josh, which is what gave me the initial idea to write the series. From a reader’s perspective, though, the story of Blackbirch starts with Josh Taylor and what happens to him, so by default you could say Josh is the lead. It wasn’t a conscious effort on my part to choose a male lead over a female; it was just how it ended up being once the plot came together on the page.
I’m a sucker for worldbuilding studies, especially when rules for magic are involved. Can you walk us through the process of the magic system in your Blackbirch series? The source of Blackbirch’s magic (or magick, as it’s referred to in the books) comes from an ancient form of power. Eve Thomas, the book’s self-proclaimed witch, tells the MC, Josh Taylor, that the magick used to belong to ancient gifted humans but it became too much for them and was shared into every living thing, tainting and weakening the magick. There are some, like Eve, who believe greater sources of the power exist and are hidden in magical objects like crystals. She believes that if you find them, you can harness the power for yourself. What Eve doesn’t know is that Josh possesses the power Eve has been searching for. How he got that power and what he does with it is a big part of the first book in the series. In the second book, he learns more about the magick from a girl named Kallie who also has power like him. In that book, it’s revealed the power gives special abilities or gifts to whoever has the power, and these gifts are unique to them. If a witch dies, then whatever gift they possessed and their magick is gone forever, making it a rare and dangerous thing to have.
Magical Realism is a very unique niche in the urban fantasy sub-genre. What was it about the worldbuilding process that made you feel this was the right direction to take your story as opposed to something in a different time or place? I didn’t know Magical Realism was the genre of my book until I started looking at what I needed to categorize it as when I was first querying, and then later picking the right category for self-publishing. I wasn’t aware it was a unique niche, so correct me if I’m wrong hehe. When I first started writing this series I was inspired by TV shows like Buffy the Vampire Slayer and Roswell (the original TV series, not the reboot) and the YA books I’d always read. These were all set in modern times, so it made sense that my series was also written in a modern-day setting. It never occurred to me to write it in another time or place because that’s not what I like reading or watching.
As a little preview for readers here, would you like to share a favorite exchange, description, or moment from your latest Blackbirch installment? Yes, I would, thanks. This exchange is from book 2, Blackbirch: The Dark Half and happens right around the time Kallie Jacobs is first pulled into the world of magick when she witnesses the death of a friend. Kallie has always had a natural ability to see the future, and that comes into play when a witch named Melinda uses it to help Kallie—with fatal consequences.
“Don’t move,” a woman whispered in Kallie’s ear. “And don’t scream.” The hand dropped from her mouth, followed by the arm around her waist. “My friend,” Kallie’s voice cracked. “He’s hurt.” “Your friend is dead.” Kallie shook her head, as if it would somehow erase the truth. The woman’s hand returned to her, fingers combing through Kallie’s blood-tangled locks. Who was the person trying to comfort her? The lined face and long blond hair weren’t familiar. The woman tilted Kallie’s face toward herself. They didn’t know each other, yet the lady’s blue eyes trained on her like she was staring at an old friend. “Surely you knew about the boy. You foresaw it.” “How… how do you know about that?” “I was watching the two of you when you entered the forest.” “Why didn’t you help us?” The woman glanced over her shoulder; in the direction the man had run. “I can’t interfere.” What kind of bullshit was that? “Who is that man?” “It would be better for you if you didn’t know.” “It would have been better for me if you helped!” Kallie scrambled to her knees. The woman grabbed her wrists, holding her in place. “Don’t ignore the things you see, or you will lose everything.” Heat rushed to Kallie’s cheeks. “Are you threatening me?” “You threatened yourself. And that boy’s life.” Kallie twisted her hand free, slapping it across the stranger’s face. “I did not kill Jerry!” She flexed her wrist, her stomach sinking as finger shaped welts surfaced on the woman’s cheek. The lady touched her reddened skin. “When we don’t ask for our gifts, they’re hard to accept.” “I didn’t ask for anything.” The woman nodded, the deep lines around her mouth sagging. “But you still have it.” Her hand reached back to Kallie’s blood-stained hair and Kallie flinched, worried the woman was going to slap her back. Instead, her touch tapped across Kallie’s forehead. How did this woman know about the pictures she saw in her head? Kallie yanked herself away, spying a tattooed wrist. Black ink in the shape of a witch’s pentacle stained the blond woman’s skin. “You’re the witch! You did this!” Kallie clenched her hands. “I didn’t see anything real until you started watching me.” “I started watching you because you began to see what was real.” “No! You made this happen. You knew Jerry would die, that’s why you’re here.” “You knew it too.” “My vision of Jerry wasn’t real. It didn’t feel like the others.” Her usual visions came to her like snapshots, surfacing in her mind without any effort on her part. The image of Jerry in the water had been different, forced, jammed inside her head like an intruder. Like it was placed there… “By someone else,” she whispered the end of her horrified thought out loud. “What did you do to me?”
I’ve got some bonus posts on the way to celebrate my own novel’s release!
I want to share the inspiration for my new antagonists, music for those moments of action and tension, and more. My first novel, Fallen Princeborn: Stolen, will also be on sale during the last five days before Chosen‘s release.
Welcome, Friends, to yet another splendid interview with a beautiful indie author soul! I am thrilled to pause all this chaos of teaching, parenting, and preparing my own novel for publication so I may introduce you to the cosmic dreamer and eternal adventurer, S.J. Higbee.
To call you an “avid reader” feels like a huuuuge understatement. Can you share a little of your reader’s journey with us? That is, can you tell us what inspired you to take on book reviewing with such gusto, and your process for choosing the books you do for reviewing?
I’ve always been an avid reader. Once I got to school and realised the power of words and how stories could take me away from where I was and to different worlds – that was it. I was away…
I originally started reviewing for SFReader.com, a forum for science fiction and fantasy readers and writers from 2006-09. However, I soon had a hefty backlog of reviews stacking up, as I thoroughly enjoyed the process of writing down my thoughts after reading a book. So once I started my own blog back in 2009, it made sense to mostly review books on it. I stumbled across other book reviewers, almost by accident.
What literary pilgrimages have you gone on?
The late, great Terry Pratchett. There aren’t many authors whose complete output we own, but we have all his books, including Where’s My Cow? We also own all Lois McMaster Bujold’s books and I’ve read nearly all of Jo Walton’s output. I am the ultimate mood reader, however. While I do get a steady stream of books from Netgalley, I take care never to overdo it, so I’m forced to sit down and read something that I really, really don’t want to.
Hmmm, I bet those moods can put a damper on the book joy at times. Have you ever gotten reader’s block?
Yes. When I’ve forced myself to trudge through a book that isn’t speaking to me on any level. So I don’t do it, anymore. If I don’t like a book, I DNF it – and that includes Netgalley arcs. I generally don’t mention DNFs on my blog, because I have strong opinions and specific tastes and while I cut loose when discussing book covers and in my private notes about books I’ve disliked sufficiently to stop reading, I don’t think it’s fair to share those views with a wider audience.
I know you’ve recently moved out of the classroom, but as a fellow teacher, reader, writer, and parent (well, I know you’re also a grandparent, but I’m not there *yet*, thank Heaven!), I’d love to hear your thoughts on how we can spread literacy awareness among children today.
I’ve taught children with specific learning difficulties and the secret is always to find what motivates them – be it rulebooks for computer games, cookery recipes and in one case building suppliers’ lists, and use those to spark their interest in reading. Above all MAKE IT FUN! Words games… silly voices… reading a word each… And always stop before the child becomes fed up, so they are left wanting more. Little and often is far more effective than longer stints twice a week, which is why so many children don’t learn to read effectively at school.
Amen to that! When we turn reading into a treat, we know they will ALWAYS be ready for that treat. Rather like cookies, don’t you think? I wonder now if the publishing industry could be doing more to promote literacy.
Children’s writers do a fantastic job in promoting literacy by visiting schools and talking about their characters. But I would LOVE to see more serious imagination with regard to interactive programs to aid literacy. In fairness, I don’t think the publishing industry should be responsible for promoting literacy skills – but governments certainly should. What about a game like Fortnite actually using wordgames, punning, jokes and literacy games, in addition to all the cool graphics, driving music and action scenes, as part of a national reading scheme? It shouldn’t be the only way to reach children, of course. But certainly ought to be part of a range of resources to target children who spend a lot of time on their screens.
Now, let’s talk about your writing. You’ve written a number of slick Sci-Fi novels, including the YA Sunblinded trilogy, the Arcadian Chronicles, and the standalone Netted. What draws you to science fiction more than other genres?
I love the fact that when I open the cover, I never know exactly what I’m getting. To ensure that’s the case, I very rarely bother reading the blurb in advance, either. Sometimes, it’s a bit of a struggle to make sense of what is going on – especially if I’ve crashed midway into a series, but as long as the worldbuilding and characterisation are sound, I’ll generally make sense of what is going on. It’s the genre I love reading the most – and when it goes well, the tingle factor is off the charts… Fantasy is right up there, too.
I never get tired of that tingle! I must admit, though, I cannot crash into the middle of a series as you often do. 🙂 In an age where publishers are eager for stories that smack of potential franchise, what do you consider to be the strengths of a standalone novel?
Sometimes, there is a story I want to tell that is only the length of a single book. If that’s the case, then I don’t want to elongate it into something more drawn-out. I think most stories have a natural arc length – and part of the skill of the author is figuring out exactly what that length is. Some of my best reads, ever, have been standalone books.
You have certainly written your share of both series and standalones as well! Does writing energize or exhaust you?
It depends. If it’s going well, I find a high that I don’t get anywhere else. If it isn’t, then it’s both exhausting and depressing.
I love how you don’t peg yourself into writing a specific kind of character. Running out of Space’s Lizzy and Mantivore’s Kyrillia are both adventurous heroines, while Netted’s Kris is very reticent to take on the responsibilities the story quickly demands of her. Would you say each story helps you shape the characters, or the characters come to you and the story shapes around them?
Oh, it always starts with the character and an initial scene. Often I have dreamt that starting scene. However, the characters don’t leap onto the page fully formed and it is often a question of trial and error as to how they react to events around them that help me figure out exactly who they are. Up to now, I’ve been a pantser, but I’ve just started planning out my stories – and the main success has been in nailing the narrative arcs of all the main characters – it has made such a difference to the writing process.
World-building is HUGE for my writing process. If a story-world’s rules aren’t clear, then it’s a lot harder for readers to fully appreciate the plot’s stakes, let alone care about the characters. Science Fiction is no “easy” genre to write for—not only do you have to create a realistic place, but it also has to feel possible to reach in our future. Can you share a step or three in your world-building process?
I think anyone who writes SFF with any measure of success has to care about worldbuilding. The first rule has to be that it makes sense. I studied History at college, for which I’m constantly grateful. That perspective on how humans behaved in the past is really useful for extrapolating as to how they’d behave in the future. And if they doing something completely different from anything that has happened before, there has to be a solid reason for it.
However, all of that has also to be balanced against my personal loathing for pages of long-winded explanation in some nebulous authorial viewpoint. So readers often don’t get to know exactly what is going on all the time in all the corners of my worlds, because my characters don’t. I’m quite comfortable with that – though I’m aware it bothers some readers. It’s one reason why I use language as one of my main tools for worldbuilding – the slang and swearwords also denote issues like being overrun with pests, or melting icecaps without my even mentioning them.
Blech, I am not a fan of long-winded explanations, either. They exhaust me to read, let alone write…not that my kids give me oodles of time to write, anyway. Their moods are something of a writing Kryptonite for me. What would you consider to be your writing Kryptonite?
Becoming too tired. My instinct is to try and sprint, which is a problem as writing a novel is a marathon. I’m also one of those people who tends to hurl themselves, body and soul, into whatever they are doing. It has many rewards, but the cost is that I can get exhausted. And when that happens, I become ill. I have quite a lot of different calls on my time, which again, I really enjoy. I am lucky to have a lovely family and a range of wonderful friends, but there are times when it would be awesome to also have a writing clone I could shut up in an attic with a computer and never let out until she’s finished the book…
Let’s end on some help for aspiring writers. What’s a common trap you see them falling into time and again, and how can they avoid it?
Dialogue is often a surefire way of working out how experienced a writer is. Don’t use someone’s name if there are only two characters, unless one character is being hostile or arguing. When there are two people, they generally don’t call the other by name unless they are making a point. Don’t have your characters talking for too long – we generally bat a conversation back and forth between us if the power dynamic is equal. And rather than have a dominant character drone on for ages (as they often do in real life) have them, instead, constantly interrupt the subordinate character. Remember to include the thoughts and feelings of your viewpoint character, as they are on one end of a conversation.
YES! Thank you so much for sharing your reading and writing journey with us, Sarah, and for helping us find ways to better our own writing. This issue with dialogue is something I still struggle with, even as an editor when I was tidying up Fallen Princeborn: Chosen.
Arlen sets the bear cub running towards the thicket. “Come along, all of you. Dorjan and the others are waiting.”
But She-Bear does not move. “Why do you wear his weapon?”
Liam remains still on the shore where Charlotte and Arlen placed him, his speckled curls limp, his bruises painting what must be an abridged story of the pain he felt in the nets. So Charlotte answers, “The dagger worked for me in Dissecto-Library-Horrorland .” Charlotte grips one of Liam’s arms and hoists him to his feet.
The She-Bear bares her teeth, but Arlen’s hand upon her head silences her. “You…you worked land magic underwater?” he asks.
“How do you think that one mer-dude’s face got melted?”
Liam’s hand, as mottled as the rest of him, opens and closes as Charlotte wills. Her fingers press his own tightly about his own weapon.
Leather, iron, blood. Then comes the touch of Charlotte—sparks rip through his frame. No more the beaten boy.
“Try it now, Liam. C’mon, get some heartburn goin’. Blood firin’. You know. Flame on. Ppppffffooow.”
Liam closes his eyes and feels his inner wings stretch to blot out the past, if only for a few moments. He wraps his other hand around the base of the blade. The dagger takes its blood, as always.
This time, it pays back.
The blade crackles as it lengthens, its feathers smoldering. The blood sword shines as it did in the forge so long ago, when Liam’s ambitions burned their brightest. He brings the blade close to his face to taste old victories in its heat. He sees the world in melting waves, as he did so often after striking the earth, commanding it to swallow armies and villages whole.
There are no armies now. No villages. Only Charlotte dripping like a botched painting. Arlen halved on one side of the dagger; the beast halved on the other.
The beast, whom he was meant to kill. A mother and her child so…cared for…by…
“Who is this, Arlen?” Liam’s question rumbles slowly out of his lips.
No more evasion.
While Autumn creeps its way slowly through Wisconsin’s forests and farmlands, I will continue to share more and more of my coming sequel with you. I’ve also got some interviews waiting in the wings as well as music and analyses to share. Thank you all once more for traveling with me through these unknown lands of indie publishing. You are each and every one of you a blessing to be thankful for.
Happy August, my friends! It is difficult tofathom that summer is already on its way out. Theschool supply displays are up–heck, I saw Halloween candy at Dollar General–and the fireflies have all but departed. And yet, time still feels frozen from the lock-down begun in March. Biff and Bash’s school will continue to be online until __insert random date because they’re all just “we’ll evaluate weekly” __, but unlike the spring, we’re expected to recreate the school day here at home, which means proctoring all these online lessons over the course of 7-8 hours while somehow doing my OWN job so I don’t, you know, lose it.
I know I’m not the only one in this situation. I know none of us would wish this situation on anyone else. Lastly, I also know that it is crucial to put as much positivity into the situation as we can because our loved ones feed off the feelings we share.
So, let’s focus on the chances for inspiring one another, telling stories to one another, and just being the spark that helps ignite another’s creative soul. Here’s a publisher that loves sharing authors the readers vote for: Something Or Other Publishing out of my very own Wisconsin. One of its directors, Christian Lee, was kind of enough to share his time with me so I could share a bowl full of SOOP here with you. 🙂
1. Let’s start with names. How did you come up with your brand Something or Other Publishing (SOOP)?
Our brand “Something Or Other” signifies openness to diversity and opportunity. When our Founder, Wade Fransson, was looking for avenues to publish his book, he envisioned a “full service traditional” publishing service which allowed creative control, a higher share of the royalties and direct access to decision makers in exchange for a willingness to share the responsibility of promotion and marketing. He realized that such a model could enable a diverse range of voices to be heard, on equal footing. Since there didn’t seem to be an appropriate label for this model, “Something Or Other Publishing” was born to serve these types of authors.
2. I’d love to hear a little history behind the creation of SOOP–especially because you’re located in Wisconsin, my native state.
Wade spent almost three years in Strategy and Operations for Deloitte Consulting, and then two years as an executive helping an expanding national company grow from thirty to 60,000 employees. During this time he gained extensive experience integrating emerging technologies with business strategy. He then left this corporate role to help launch an Internet startup called GoHuman.com, and it was around this time he met a woman. The startup failed, but that new relationship didn’t. After getting married and expecting their first child, they moved to Wisconsin to be closer to her family. Wade began to write his own book and realized that with the rise of self-publishing, print-on-demand, social media marketing, and other innovations, there should be a publishing model suited for authors who share responsibilities to market their books in exchange for higher royalties and more creative agency.
3. You have a unique system for your publishing company: Author-Driven Book Publishing. How does this work?
Instead of traditional submissions with a massive slush pile approach, all of our books start as a “Book Idea” where readers peruse the synopsis and vote to indicate they would read the book if it were published. This approach puts the author in the driver’s seat, allowing them the opportunity to get a publishing contract, so long as they build a verified following. Throughout the voting process SOOP works with the author to sharpen their understanding of the “Three P’s” of publishing: product, platform, and promotion. SOOPworks through these elements with the author as the book progresses toward publication. As a result, SOOP’s publishing process is a more collaborative process between author and publisher.
4. So, let’s say an author wants to submit a book to your site. What kinds of books are you looking for?
Primarily, we look for the right author before we look for the right book, so an entrepreneurial author who is eager to roll up their sleeves and collaborate alongside us is the ideal author and partner. In terms of specific genres, we publish a wide variety of genres, provided that they fit our editorial standards. For example, we recently published an anthology that was a mix of genres. We also have a particular interest in children’s books and just released a new one illustrated by Michael Gellatly, who did the maps for the Game of Thrones books. We have recently published a few books with religious subject matter, although we’re not a “religious publisher,” and we’ve also published a political book. In summary, we publish a wide variety of authors first, and books second. We can always help an author improve their book. It can be difficult to make things work with an author with whom we’re not aligned.
5. As a publisher, I’m sure you’ve got a few peeves regarding what authors send your way. What should authors avoid when submitting to SOOP?
Our biggest challenge is addressing authors’ misconceptions on what the publishing industry really is, and how it should work so we want authors to keep an open mind to the process. With our Author-Driven Publishing model, we invite authors to learn about the business side of publishing as they go, with no initial commitment either way. Many authors underestimate the difficulty and expense of marketing a new work, and that the publisher needs the author to be on the front line, bringing their network and “platform” to bear in achieving initial, local success. We provide many tools and considerable support, but the author needs to be behind the wheel and “drive” this up and through the initial book launch.
6. As an indie author, I’ve got to do, well, pretty much all my own marketing for my work. How do you and your authors work together to build a platform for your books?
Our voting system has platforming built in. Each vote is added to our extensive database of potential readers, which is a powerful marketing tool of ours. Closer to publication, we develop a three month marketing plan with the author, which we jointly execute on digital channels and “in real life,” to support key goals such as a successful pre-order campaign, becoming a #1 Hot New Release on Amazon, and being well reviewed.
7. What do you see as a major problem in the publishing industry? How is SOOP tackling that problem?
The Washington Post published an article in 2018 about the ongoing decline in leisure Reading that we’ve been experiencing for many decades. Simultaneously, there is an explosion of self-publishing that has greatly increased the supply of books. Add vanity and indie presses to this, and any business person can quickly see why the industry is in a kind of free-fall. This is why we have created a model that is completely different, one which curates works from motivated authors, to ensure that there is at least a minimal demand in place before we add to the supply. Traditional publishing relied on a few mega-stars as inspiration for the masses, to keep a steady flow of wanna-be’s lining up for lopsided contracts. Vanity publishing seeks to force authors to pay-in-full up front for the privilege of being professionally published. Self-publishing converts the slush pile into “books” that sink like rocks to the bottom of the ocean.
Our goal is to train authors before they get up to bat, and make sure they have a base hit, and are legitimately in the game. Where they go from there depends not only on the quality of their work, but on their belief in themselves, and their capacity to work diligently to build on the success our platform enables.
Thank you so much for sharing your unique publishing platform with us, Christian! I hope you continue to collaborate with authors and bring more powerful stories to our lives.
Hello, everyone! I’m slowly finding my way back to the balance of teaching, parenting, and writing. Let’s start this balancing act right with an interview, shall we? Here’s a fine fellow whose fantasy adventure has recently been published by the small press of the masterful Lady of Wit and Conflict of the Heart, Shehanne Moore. Hello, Paul Andruss!
Thank you for having me over. It is a pleasure to be here. I am up for any questions you to care to ask. Fire away.
Let’s start with where the writing life begins for all of us–our reading lives. What’s your favorite under-appreciated novel?
The Story of Your Life tells of first contact. It was made into the film Arrival. Here’s the elevator pitch: We learn to think in an aliens’ language and see time is simultaneous not sequential. Past, present and future exist together, making us observers in our own lives, unable to change a thing. In other words, imagine being up on a hill looking down at your child on a road. You see the speeding car. Know what will happen. There is nothing you can do.
A great idea, but how do you turn it into a story?
I’ve seen new authors produce stories that are no more than info dumps. We are force fed blocks of imaginative scenarios rather than left to experience the highs and lows, tension and excitement of a story unfolding. Characters are rough sketches whose actions do not move the story along. Plots are loose, falling apart when closely examined. There is too much clutter. Unnecessary characters and background details overwhelm the narrative. Turgid sentences roll endless on. You find yourself counting pages to the end.
Chiang avoids this by telling the story in the first person, non-sequentially which fits with the new time sense developing in the narrator — a linguist learning the alien language. Seeing the story unfold through her eyes we are pulled into her world.
She opens by telling her daughter how she identified her body after she died, aged of twenty-five in an accident. Two stories run parallel. One is how she learned to think in the language. The other reminisces about her child’s life. At the end we discover she is reviewing her daughter’s whole life on the night of conception — echoing the story’s parallel time theme; the linguistic past and the maternal future.
Chiang gives hints of a bigger story behind the one told. She and her husband are divorced. Perhaps when she told her husband of their daughter’s future death he could not accept his failure to protect his child, nor the guilt that came with it? Perhaps he blamed her for having their daughter, already knowing her fate. Even though every life is pre-destined.
Through his storytelling choices, Chiang turns cold hard science into something exciting, tender and ultimately, uniquely human. A story that stays in your mind long after you finish reading, as you explore the implications.
I’ll have to check Chiang out! I’ve been reading a lot of mysteries lately to get into the feel of finding the best point of view for a story. I’m also tempted to dig into some historical fiction to help me find the voice for another WIP. What kinds of research do you do for your own storytelling, and how long do you spend researching before beginning a book?
I normally I don’t do a lot of research beforehand. I just jump in. I do lots while writing though. I fact check endlessly. If a reader spots even a niggling gaffe, it can destroy the illusion.
I recently wrote Ollywoodland, a faux-noir murder mystery set in 1949, the twilight of Hollywood. Not so much a who-dun-it, more a who-the-hell-wouldn’t-want-to.
Every single thing was checked: the history of the Hollywood sign, studios, highways, Las Vegas, the impact of WW2 on Hollywood, armed forces demobilisation, where academy awards were held, what newspapers were popular, local radio stations. Every libellous rumour had to be a quote in public domain. It was hard work, but a huge amount of fun.
Things are different with the new novella Porcelain, set in the UK’s glam rock era. Because of work commitments, I was unable to get on with the story and so ended up researching and writing copious notes. I now have 50 pages of material and almost the entire story in my head. It’s frightening and exhilarating because I have never started this way before.
I know just what you mean about all those notes. When I was working my own fantasy novel, I needed to get a feel of the current animal life of Wisconsin as well as some ancient history from which my shapeshifters could grow. I even wrote up notes on various names to work with, working out origins of names for various groups, even plant names for a certain class of creature. I suppose this is something you wouldn’t want to intimidate your younger writing self with. If you could tell that Young Paul Andruss anything,what would it be?
Nothing. Not because I’m a genius, believe me. I just wouldn’t listen. How do I know? Because I went back in time AND I DIDN’T LISTEN!
Okay, if you want to be pedantic, I didn’t exactly go back in time, but I might as well have. Others told me much the same and I ignored them. What is more, I’m glad I did. If I knew what was in store in terms of the hard graft and knockbacks ahead, I never would have written a word.
I came late to writing. Out of the blue, I thought, write a short story — how hard can it be? The story was what you’d expect. Naturally, I thought it the best story in the whole world and modestly basked in my genius. Are you beginning to see why I would not want to hear anything as inconvenient as the truth?
Drunk on overconfidence, I started a second story. A short Sci-Fi romp inspired by a history book that said the Celts went naked into battle. What if they were biker gangs?
Six years, and 180,000 words later, I had the 2nd draft of Finn Mac Cool. (Let’s not talk about 1st draft, shall we?) To be fair the 2nd draft wasn’t bad, just not good. I spent the next 2 years sending it out, while attempting to write a play (abandoned) and another novel (never to see the light of day). It was rejected by 30 publishers and agents. I then spent another six years rewriting Finn Mac Cool.
When I sat down to write that short story, if someone told me it would take the next 14 years of my life, I wouldn’t have bothered. It is lucky that when we first leap out of the nest and spread our wings, we are too exhilarated to give much thought to the way down.
Noooo kidding. I loved making that first draft of Fallen Princeborn: Stolen, but if you would have told me it’d take eight years to actually publish, I’d have worked out some other projects before dedicating that much time to a single story. What would you say are some other common writer’s life traps for aspiring writers?
I can’t speak for others, but for me writing is like peeling an onion.
Because it makes you weep?
Good one. And yes it does. I was thinking more that when you peel one layer you find another underneath. As we see from Ted Chiang, each layer: plot, characters, story twists, even the language we use, contributes to a good story.
There is no trick to writing. It is a result of time, effort and a lot of difficult choices. Because the writing process is long, and solitary, we cannot be blamed for seeking instant reward.
If I did go back to young me, I would say, Don’t be in too much hurry. Remember the old cliché: there is no second chance to make a first impression.
Instead of rushing out your latest piece, put it away for a couple of weeks. When you come back, you’ll see it with fresh eyes. In the old days I thought, “That will do.” These days, I want to write something that will stand the test of time. I know a story is finished when I read it for the fifth or sixth time and do not want to change a word. Like that proverbial onion, the story has developed layer by layer.
Never forget we become authors when read by others. Like literary hookers we ask readers to spend time and money on us. Yet, as readers, how do we feel when a writer doesn’t deliver? New writers often think they are special cases, especially after busting a gut to write a story. But readers don’t see you. They only see what’s on the page. Family and friends might lavish praise, but such praise can be poison. If you think you are as good as they say, where is the impetus to improve?
And yet we struggle on, don’t we? No matter what readers say, we must write our truest, or strongest, our brightest, our darkest, our best…est. We keep on keeping on no matter how difficult the subject matter. What would you say was your hardest scene to write?
A while ago, I’d had enough of people spouting doggerel blank verse. I’m no poet but do appreciate good poetry. When poetry is good, you have no choice but to appreciate it. Firmly on my high horse I wrote According to the Muse – A dialogue. Naturally enough, it started with ‘poem’ …
There are people who,
Aspiring to be considered poets,
Devise mundane sentences
Usual to any written piece
And arranging them in verse
Claim it is a poem
According to the muse
Swiftly followed by a quote from the poet Marianne Moore … ‘Poetry is a matter of skill and honesty in any form whatsoever, while anything written poorly, although in perfect form, cannot be poetry.
The Muse discusses poetry and illustrates points with some of the greats, from Emily Bronte to Alan Ginsberg’s Howl. The argument goes that poetry should intoxicate the senses, leaving us drunk on loquaciousness. As the Muse’s mouthpiece, I needed to conclude with something really special.
I decided the Muse’s closing monologue should be loosely based on Molly Bloom’s 50,000-word stream-of-consciousness soliloquy from James Joyce’s Ulysses. Molly’s gorgeous monologue is divided into 8 sentences without punctuation. It allows each clause to be constructed differently depending on which word you start. It is also a bugger to read.
The Muse’s monologue took me four weeks to write.
She requires it to be read aloud.
Under gods, man thought me tamed. Then man forgot the gods. But poetry remained. A poet seeking to invoke no longer knows how. He thinks to flatter and seduce and if he succeeds in blind fumbling excuse, believes I allow because he understands a woman’s needs. As if setting a rose in my hair like I were an Andalusian girl kissed breathless against a Moorish wall under a hot Alhambra moon was enough to make me acquiesce to his urgings for my yes, putting hands on me and kissing my neck while I thinking as well him as another draw him down to the perfume of my breasts with his heart drumming like mad in the expectation of my yes. The bloom and the breast is not his to possess or caress until my liberal yes, for this is woman talking and I am sick of love. Yes. I am no more his than a snatch of song heard on the jessamine breeze or a flower of the mountain born to die. So let me be. Yes. Set me free from the inky bars of this prison page to roll off a tongue careless as a lover’s air whistled on Palma Violet scented breath, let loose in an empire of senses where guileless yes is yes. A paradise garden of delight. A sensual world pregnant with life.
Beautifully put, Paul. Thank you so much for taking time to chat with me and all my fellow creative souls! Folks, you can check out Paul’s latest right here.
Paul Andruss’ first novel, the young adult fantasy Jack Hughes & Thomas the Rhymer is published by Black Wolf Books.
When 12-year-old Jack Hughes sees a sinister fairy queen kidnap his bother Dan, he knows his parents will never believe him. Nor will the police. Not when he says Dan vanished into thin air. If Jack wants to see Dan again, he has to save him. And not just him …
If he ever wants to find Dan, first he must save Thomas the Rhymer from a wicked enemy.
Bravely embarking on a rollercoaster adventure into the dark fairy realm, Jack and friends face monstrous griffins and brooding tapestries with a life of their own, learn to use magic mirrors and travel on ley lines that whip them off faster than sound.
Jack knows even if he returns Thomas the Rhymer to his selfish fairy queen, she might make Jack her prisoner. With the odds stacked against him, can Jack succeed in finding and freeing Dan? Or will he lose his brother forever?
If you enjoyed reading this, or even if you didn’t, Paul asks you to kindly send him all your money. If you are not quite gullible enough to fall for that one, then visiting his website will please him almost as much. http://www.jackhughesbooks.com/
I’m excited to get back on track with my writing goals! We’ll take a look at them to make sure I’m not burying myself too deep (as I am oft prone to do). This will include sharing my work on writing book proposals to see if this approach could also help you meet your own writing goals. There’s another swinging interview coming your way, plus I’ve also got some keen ideas on selecting point of view for writing thanks to my summer book binge as well as mellow music for calming the soul.
Oh, and hopefully I can get Blondie off her summer sliding duff to get creating for you, too. 🙂
Greetings, one and all! After a rough week schooling the kiddos at home (stay tuned for THAT post), it’s high time we celebrate Indie April with an interview with an AMAZING writer and reader, Chris Hall.
Let’s begin with the niceties. Tell us a little about yourself, please!
Nice to be here, Jean!
I was born, grew up, lived and worked in the UK until 10 years ago, when childless, in our forties and fed up with our jobs, my husband, Cliff and I upped sticks and emigrated to South Africa. We’d already met people here through a school exchange programme which Cliff was involved in, visited numerous times, and finally decided to come to a new country and do something different.
We’ve settled in a town about 30 miles from Cape Town, where we can almost see the ocean from our house. Our cat, Luna (after whom my blog is named) emigrated with us and loves it here. We inherited some chickens along with the house, all of which have since gone to chicken heaven at a ripe old age, but now we have two large brown hens which usually means lots of lovely eggs, although it’s a bit hot for laying at the moment they tell me.
Since I moved out here I’ve done various voluntary work, been employed as an administrator in a guesthouse and an art gallery, and now I’ve turned freelance doing copywriting, ghost-blogging and social media stuff for other creative people who lack the time/patience to do for themselves. In my spare time I write a lot and read a lot (when I’m not chasing hens off the veg-patch or catering to Luna’s little whims). It’s all a far cry from the 24 years working in risk management which I left behind in the UK.
Have you read anything that made you think differently about fiction?
Two of my favourite authors have written about the craft of writing. On Writing by Stephen King and Steering the Craft by Ursula K. le Guin, have both had a positive impact on the way I write. Their words are wise.
But also, when you read any book with the eye of a writer, your experience is a whole lot richer. Considering the way that other authors construct their books and frame their words makes me think that little bit harder about my own writing.
What is your favorite childhood book?
This is difficult! I’ve wrestled a bit with this, but having roamed my bookshelves, it has to be Laura Ingalls Wilder’s Little House series – and if forced to choose one, it would be The Little House on the Prairie. For the whole of my first high school year (aged 11-12), I totally lost myself in Laura’s world. The daily chores, the struggles and adventures of pioneering life, within the context of this close-knit family, enthralled me. I always had one of her books in my school bag. I’d take it out at every opportunity before and between lessons and bury my head in the pages. The covers are little battered and the pages yellowed, but I still have them all.
What literary pilgrimages have you gone on?
My ‘stand out’ visits were to the homes of the Chilean poet, Pablo Neruda. I fell in love with his poetry when I was studying advanced level Spanish, prior to a series of visits to Spanish-speaking countries back in the early noughties (that’s another story).
Neruda has three houses in Chile: in Santiago, Valparaiso, and Isla Negra. I visited all three over the course of two trips to Chile, and I found all three utterly stunning: true reflections of the man and his poetry. The ultimate is the house at Isla Negra, located right on the beach in a tiny, remote town. Getting there on a local bus was an adventure in itself, but the sprawling, single storey property and its surroundings are jam-packed with mad collections of ships mastheads and bottles, shells and ship’s bells and all manner of things. I especially liked Neruda’s writing room which looks out onto the ocean. He made his desk from a piece of driftwood which he waded in and rescued from the waves.
Blogging has been a very happy accident. When I began with my website, I really had no idea that there was this big, friendly and supportive world of writers (and others) out there. What a revelation!
The support and the feedback from the people in our little corner of blog-land has been a tremendous encouragement, which I hope I reciprocate adequately. Keeping up the blog has helped me with the discipline of writing something almost every day, although I don’t post all that I write. Some things are remaining under wraps.
A blog gives you a presence as an author (indie or otherwise). It gives you a chance to get out there, show off you books and share a little about yourself. My Twitter and Facebook and LinkedIn accounts are all connected to my blog, and more recently I’ve added Instagram too. So now I can be found and so can my books, should anyone care to look. Whether this had as much impact on the sales of my books, I’m not so sure, but it forms a foundation.
Blogging has been, and still is, a journey for me. What I put out on my blog now is all my own work or about my work: stories, installments, reviews, a bit about my successes (and failures) in trying to promote my books and occasionally, a bit about my writing life.
And I don’t think there’s anything I wish I’d done differently at the start. As in many things, I’m still learning and growing. Change is good; development is better. I’m planning to set up a separate author website under my actual name; it’s something I’ll ‘get around to’.
You chose to publish your first book, The Silver Locket (2012), under a pen name. May I ask what your reasoning was for using a pen name then and not now?
I have to admit that it was out of a lack of confidence. I was a ‘secret’ writer then. I hardly told anyone about the book when I first published it on Amazon, much less publicized it. But little by little, as people I knew downloaded it – even bought paperback copies from me – then read it and told me that they enjoyed it, my mindset started to alter. I could actually bring myself to tell people that I was an author!
Then I had a couple of short pieces published in online magazines and I joined Medium and started publishing on there, all under my own name, so it seemed logical to continue. I now wish that I’d written under my own name from the start. Holly Atkins will remain a one book wonder.
Your next publication, A Sextet of Shorts (2018), takes reader through a variety of quick adventures both personal and fantastical. Can you take us through the process of how you choose to craft a story as short fiction and other stories as novels?
The six short stories I published in that slim volume were ones I’d written way before I started working on The Silver Locket. They were the stories which I’d written for the creative writing classes which I attended for a couple years before we left the UK. I’d had good feedback from the writing tutors and members of the associated writing groups, and I was pleased with them.
Two years ago, I decided to dust them off and publish them to use for a bit of local publicity. With my bio and blog details on the back cover, there are copies in waiting rooms, doctors’ surgeries and hair salons around my home town. A couple of them are quite well-thumbed now!
Since writing them, and although I continue to enjoy writing the many, many micro- and flash-fiction pieces I’ve put on my blog and flung out around social media, I’ve discovered how satisfying working on a novel is. There’s so much more time and space to get to know the characters, immerse myself in their lives and watch what they get up to. And that comes back to finding my Happy Place.
You’ve published TWO novels in 2019! The first, You’ll Never Walk Alone, takes readers back to the 1980s in a location quite different from your own! What inspired you to set the story in Liverpool, and in that particular decade?
My former life in Liverpool has been an enormously important part of my personal history. I moved there in 1981 to attend University, and You’ll Never Walk Alone is set in that city at that time. I was in my early twenties and those were truly my formative years, when away from where I grew up, I started to make my own way in the world. Very little of any of that is in the book, but Gina and Lucy would have been my contemporaries, and the house in which they live is based on one of the large, converted old buildings where I had a flat, even down to the Chinese landlord. The locations in which the novel is set would be very recognizable to anyone who knew the city then, but everything else is pure fantasy!
The novel was a long time in the making. Gina, Lucy and Cynthia were born out of a short story I’d written more than 10 years earlier. That’s a long time for a character to be hanging about in The Well of Lost Plots (Jasper Fforde, 2003), but now they have a book of their own, and they’ve told the world they want another. One day, ladies!
Considering your experience writing fiction set in the past, how would you describe your research process in taking care the historical context is accurate? What would you consider to be the ethics of writing about historical figures?
Can I say how scary it is to think that the eighties are historical now?! But I do always check my facts so far as I can, mostly via our friend, Mr Google. Even though I lived through the times and events which form the backdrop to You’ll Never Walk Alone and The Silver Locket, (circa 1983 and 1989 respectively), I covered the research ground as wanted to make sure there were no glaring errors.
When writing Following the Green Rabbit, I was even more conscious of the two time periods in which the narrative is set. I researched what people would have worn, what they would have eaten and drank, what herbs would have grown in England in the early 17th century and so on. I deliberately left the earlier date vague and avoided mentioning any identifiable historical figures for the very reason of avoiding any dilemma about portraying real people.
Your latest, Following the Green Rabbit, features some heroic children in an Alice in Wonderland-esque adventure. What would you consider to be the biggest challenge in writing a Middle-Grade adventure, and how did you see yourself through that challenge?
First if all, let me correct any misconception that despite the tropish title, the story has anything in common with the Lewis Carroll fantasy story. It may be sub-titled a ‘fantastical adventure’, but that’s to do with the girls’ inexplicable transition to ‘past-times’. There are no mythical creatures or size-changing potions; the children find themselves in a place and time where the dangers are very human and very real.
As for the challenge of writing for a MG audience, I hope I made the story page-turning enough, I hope there were sufficient cliff-hangers and there was adequate suspense and enough alarm. But I suppose I fell back on telling a story which I would have wanted to have read, with characters with whom the much-younger me would have identified.
Time and feedback will tell me to whether I pulled it off as a MG adventure, but I’ve described it as a ‘novel for adventurers everywhere, from 9 to 90 years’, partly based on the fact that my 90 year old mother said she ‘really enjoyed it and didn’t want it to end’. My mother is not one to hand out compliments lightly, so I consider that to be praise indeed!
Out of aaaaaall the fiction you’ve written through the decades, what would you consider to be the most difficult scene you ever had to write? What made it so hard, and how did you overcome it!
Ah, this is where sex rears its ugly head!!
Both of my adult novels required sex scenes. None is gratuitous; each is an integral part of the story. The ways in which each of the scenes play out tell the reader something more about the characters involved, and after all, people in their 20s who are attracted to each other will inevitably end up in bed.
There is no doubt that sex scenes are difficult. You don’t want to be too cheesy and you don’t want to be too anatomical, and I believe that cutting to ‘waves washing over a beach’ is a cop out. The scenes must feel real.
Basically, they all involved a large number of rewrites to hit the right tone. I haven’t written anything especially graphic, although I did end up toning down the one at the start of Chapter 10 in You’ll Never Walk Alone during my final, final edit.
Well, yes, I was indeed busy with a new book during NaNo. I guess I’m almost half way through the first draft now. It has been semi-parked through December, but now we’re in the final days of the holidays, I’m ready to get stuck in again.
I decided to write a novel firmly rooted in South Africa this time. The story is set in the present day, in a fictional small town on our West Coast and the overarching theme is the lack of water which is a serious and on-going concern for us here. The narrative combines a slightly romanticized tale of everyday folk with a large dollop of magical realism and myth thrown into the mix. I have assembled an eclectic cast, some of whom people might recognise from some of my stories last year. All but one of them is contributing nicely to the story, but I can’t quite get under this one’s skin yet.
It’s a more ambitious project than any I’ve worked on before, but for the moment I’m just going with the flow. I’m not sure how I’m going to pull all the strands together, but that’s all part of the fun. I’m hoping to complete the first draft by mid-2020, so who knows, maybe it’ll be ready for release towards the end of this year. No promises though!
Last question, I promise! (Hee hee!) Does writing energize or exhaust you?
When I’m deep inside a story, crafting that story energizes and excites me; there’s a little shot of adrenaline too. That’s when it’s going well.
Ah, but when it isn’t! It’s frustrating, it’s unnerving, it’s heart-thumping for all the wrong reasons. I question what I’ve written. Is this a story? Is it going anywhere? I guess some of that might not happen if I planned properly. But that’s not how I write.
I go through a whole gamut of emotions. Not every day, not all the time, but enough.
Many, many thanks, Chris! I can’t wait to see how your writing blossoms in the months to come.
Inspired by street photography and fantasy writer Diana Wynne Jones, “The Final Tampering of Madame Midsomer” takes readers to the town of Pips Row, where magic grows as sweet as the fruit of the trees. In the wrong hands, however, magic becomes as rotten as the sorceress who wields it, and no one is more rotten than the fearsome Madame Midsomer. Today, the people of Pips Row have had enough.
The Final Tampering of Madame Midsomer
Stay tuned! Gah, I gotta vent a little about teachers NOT used to distance learning having out-of-whack expectations of little kids. I’d also some lesson ideas for you to use with your children, and then some music to escape the home and discover writing inspiration.
Happy March, everyone! Spring is coming slow and steady to the Midwest. Let’s celebrate a new month with two amazing indie authors who’ve founded a literary journal currently open to submissions.
Let’s begin with the niceties. Tell us a little about yourselves, please!
Cendrine: My name is Cendrine Marrouat. I was born and raised in Toulouse, France, and now live in Winnipeg, Canada.
I am a photographer, poet and the author of 15 books in different genres: poetry, photography, theatre, and social media. In my career, I have worked in quite a few other fields, including translation, teaching, social media coaching, and journalism. I was a content curator and creator, as well as an art critic for a while too.
David and I launched Auroras & Blossoms Poetry Journal and the Poetry Really Matters show in 2019. I am also the co-founder of a photography collective called FPoint Collective. Finally, I created the Sixku (a poetry form) and the Reminigram (a type of digital photography).
David: Hello, my name is David Ellis. I am a British born and raised, I live in the South-East of England.
I am the author of several collections of poetry (my debut collection won an international award in the Readers Favorite Book Award Inspirational Poetry Category). I also have authored a short story collection, co-authored several books with Cendrine and co-founded Auroras & Blossoms Poetry Journal with Cendrine too.
I have interviewed hundreds of authors about their creative drives and what has inspired the writing in their lives.
What was an early experience where you each learned that language had power?
Cendrine: My mother was a teacher. She was adamant that I learn to read, write and count before the end of kindergarten. My father is an avid reader, like she was. As I discovered the world around me, I realized that words mattered, that the way a person spoke or wrote had an impact on people’s perception of them. Then I studied English and (some) Spanish in school and at university. My understanding of the power of language increased tremendously as a result.
David: I think for me, my epiphany with the power residing in language started with and will always be indebted to the late author Terry Pratchett. I remember when I first started reading his books that I needed a dictionary to keep up with some of his turns of phrase. What I believe was happening was that he was planting seeds that were evolving into the more humourous aspects of my writing. My English grades actually went up higher than any other subject at the time, due to Pratchett forging a love of language inside of me, as I devoured his fantasy Discworld series.
Furthermore, it has been through the act of writing poetry for many years that I have discovered my passion for crafting inspirational and motivational verse. The reactions from people regarding how I have encouraged them over the years with my words have given me even more respect for the magical power that language can have, along with how words can heal people and bring them closer together.
Who are your favorite under-appreciated writers/photographers? Let’s spread the word on them, here and now!
Cendrine: My favorite poets: Kahlil Gibran and Alphonse de Lamartine. The Prophet is loved worldwide. But very few people actually know that Gibran wrote many other stories. His drawings are also beautiful.
Lamartine was a French writer, poet and politician whose most famous piece, The Lake, also contains his most famous words:
“Oh, Time, stop your flight! Hours, don’t run away!
Allow us to savor this delight, the best of life’s brief day!”
My friend Isabel Nolasco, the other co-founder of FPoint Collective, is a very talented photographer. She hails from Portugal and the world is starting to discover her images.
David: If we are talking poets, I would definitely have to go with Edgar Allan Poe, since I wrote an entire book of poetry inspired by all of his poetry! I would say that Poe is remembered more for his short stories but probably less well known for some of the unique gems in his poetry collection. Leonard Cohen is another hero of mine, who I think gets more focus on his music than his poetry, which I find to be really sensual and compelling.
I have a few favourite indie writers who could always do with more reader love any day of the week. Christie Stratos (www.christiestratos.com), who has her own podcast interview show and writes really unique fiction books (check out her Dark Victoriana collection). JD Estrada is another amazing author who has a ton of brilliant books covering fiction and lots of incredible poetry, you can find him at https://jdestradawriter.blogspot.com/. Finally, I would also like to put out a quick shout out to Anais Chartschenko, who is a fabulous musician, poet, author and fellow lover of tea! She can be found at https://anaischartschenko.weebly.com/. All of them are extremely friendly, multi-talented and very inspirational to me in many different ways. They are definitely very groovy people, so go check out their wares soon!
Cendrine, you also regularly update your growing collection of photography. How does visual expression differ from written expression? What does a composition need to contain before you feel ready to hold your camera up for the shot?
Cendrine: Photography and poetry are the same to me. Whether I pen a piece or take a photo, it is all about telling a story but in the “show don’t tell” fashion.
Composition is in the mind before it ends in an image or a poem.
David, you find inspiration in the classic writers of the past, including Edgar Allen Poe and William Shakespeare. What is it about such writers that brings the poetry out of you?
David: I’m fascinated with the poetic language that they employ in their writing works. I remember at school being overwhelmed by having to work out what every sentence of Shakespeare’s plays meant, line by line, I actually ended up feeling it was quite a tedious process. It wasn’t until years later that I developed a real fondness for the bard (I’m glad my school years didn’t completely put me off!) when I discovered how he was playing with the language he was using and inventing many idioms that we commonly use to this very day.
I’ve felt that Edgar Allan Poe combines the art of storytelling with his poems magnificently. ‘The Raven’ stirs up such vivid imagery and emotions in me, when I read it and listen to it being read aloud.
There is so much inspiration in the past, providing that you have unique ways of navigating it, appreciating its splendor and inherent beauty. I draw a lot of energy and writing experience from these authors because of what they are describing and the filters they interpret the world through in their own eyes. I find it a privilege to be reading the classics of the past, absorbing them and reinterpreting them for an appreciative future audience.
For me, I’ve actually reached a point where I’ve realised that I can literally find infinite inspirational material from the past and that is an incredible feeling to have in your life. Now, I just have to find the time to keep writing and publishing all of the ideas that I have!
Together you two have created a poetry journal, Auroras and Blossoms. Are you currently accepting submissions? What does it take for a piece of writing to be featured in your journal?
Cendrine: We accept submissions all year long. Our magazine promotes inspirational and uplifting poetry and poetry-related content, no matter the topic. We accept everyone (adults and teenagers alike), as long as they have something positive to say.
Auroras & Blossoms Poetry Journal is family-friendly, which means that the poetry has to be clean. No swearwords and no erotica / political pieces. The poems we select come from people who understand two things: the meaning of the word “positive” and the essence of poetry as an art form. They have a great message to share, a message that can help readers see the world in a different way.
David: Cendrine and I joined forces together on Auroras & Blossoms Poetry Journal because we both have a vision to share more inspirational poetry with the world, written by very talented people from all around the world. This specific type of poetry is the main reason why we both started writing and publishing books.
We encourage people to submit to us from all walks of life, we do not judge people on whether they have been published in previous journals. We prefer to instead look at the quality of the poetry a person writes and whether it could deliver an inspirational theme and message to our readers.
We don’t really have a specific type of poetry style that we are looking for, we will accept short and long pieces. As long as you take us on an inspirational journey with your writing and give us reasons to believe that your poem was written to be positive, uplifting, and/or motivating then you have an excellent chance of being published with us.
If you had to do something differently as a child or teenager to become a better poet/photographer as an adult, what would you do?
Cendrine: I would not do anything differently. I had a difficult childhood followed by challenging teenage years. I learnt a lot from my experiences and that is what makes me the artist I am today.
David: As a child, I think I ignored my literary instincts for quite some time, until it became apparent that I was excelling at English Language and English Literature more than any other subjects I was studying. I also developed a passion for song lyrics, in addition to poetry but I refrained from attempting to make music for many years. So, my advice to my younger self would be to start writing and refining your craft as soon as possible because it will take you many years to discover what you are truly good at and what motivates you to write every single day. That’s when the really exciting part of your life begins!
What is the most difficult part of your artistic processes?
Cendrine: Nothing, really. I am just a slow writer. But I have improved over the years.
David: I think for me it is having too many ideas to deal with at once and engaging in the necessary discipline to sit down and list out all of these ideas. This can extend to listing down ideas that I have about the project itself. When I find my focus, I can keep going for hours, often at the expense of not noticing where the time has gone. So yes, focus is the most difficult part for me in the artistic process, once you nail it down and commit to a project, that’s when you can ignore all other distractions and get on with completing a project to the best of your ability.
Does writing energize or exhaust you?
Cendrine: It energizes me greatly!
David: I used to find writing exhausted me when I worked on many different aspects of it at the same time. Take National Poetry Writing Month for example. When I participate, I tend to write and edit poems every day for a month, make a professional looking blog post and share many other poems that I find too and then attempt to read them all as well. When you are looking at tens, possibly even a hundred posts at a time, in addition to trying to write your own polished post, it is easy to get burnt out.
I’ve therefore learnt to be more considerate of my own time and not to try to cram too many things into one day. Writing has become a lot more fun for me as a result and I can do much more of it, when I appreciate and reflect on how much I have achieved in a single day.
Do you think someone could be a writer if they don’t feel emotions strongly?
Cendrine: Strongly? I’m not sure. But you cannot be a writer if you are afraid of sharing your voice and emotions (even indirectly) with the world. Because every word you leave on a page bears your mark one way or the other.
David: I think it is imperative for writers to be empathetic and to feel emotions strongly because they can then act in ways that people would do in real life. They can get under the skin of a character or subject matter and write in a way that emotionally connects with the reader.
All I know is that I write deeply, emotionally stimulating poetry and it creates a magnetism that helps me connect with like-minded people. When this is lacking in writing, whether it be the passion, focus or drive from the writer, if this emotional distance is conveyed to me as a reader, I am not going to be compelled to read more of their work, plain and simple.
Cendrine: Most of the aspiring artists I have met lack self-confidence and compare themselves to others way too much. How do you avoid those traps? Do NOT listen to naysayers.
Just know that you cannot please everybody. Do not take negative criticism personally. But pay attention to constructive feedback. Compare yourself to others only to understand your own style.
David: Read the kind of books that you would like to write. Think of the kind of things that you would like to see written but can’t find and then go write them yourself.
Take advice from “How To Guides” as a means to enhance your own creativity but just take what things work for you and discard the rest. Don’t buy many guides and spend all your time reading them as an excuse to neglect your writing.
By all means be prepared but only do enough research to get yourself started. Starting is always the most difficult part in any endeavour. Find a theme, think a bit about it, do your research and get writing as soon as you possibly can. The rest will follow soon enough. If you need guidance, write a short outline of what you want to achieve and then work through all of those points but don’t spend all your time planning and get writing!
Try to write every day, even if it is only a few lines. I have been told constantly in any artistic profession that anyone, no matter how busy they are, can spend at least ten minutes a day indulging in their own creative expression. You will make more time as your passion grows. Diligently find the time to fuel your creative passions, watch an hour less TV a day, shut yourself away for small periods of time, turn off the computer or put aside your mobile phone if you have to and make time in your life to create, your soul will thank you for it.
Be sure to share your work with friends and other writers. Be willing to take constructive (not negative) feedback for your work. Write until you have so much good material that you simply have to publish, then work to get it published!
~STAY TUNED NEXT WEEK!~
It’s high time for some powerful music, especially since it was such a joy to use music to welcome spring last year. I am finally, FINALLY working on a bit of short fiction, and would like to share it with you! We also need to consider the dangers of altering characters mid-story, and how those changes cause disconnect among fans…not to mention plot points.
Hello hello, everyone! Once again, it’s been…oh, it’s been a week at the good ol’ American public schools. Between tweens yelling at me that they don’t have to do their homework because I’m not their mom, to kiddos my sons’ age hitting each other because the other “was going to do something bad”….well, it’s no wonder I have some of the university students I do. Eeesh.
So, let’s focus on something lovely and positive, shall we? Let’s celebrate one another with a delightful indie author interview. Colin Garrow is a FABULOUS writer of mystery and spine-tingling adventures for adults and children alike.His latest for tweens, The Curse of Calico Jack, and his latest for adults, A Tall Cool Glass of Murder, are available now on Amazon and Smashwords. Check’em out! (After the interview, of course.)
Let’s begin with the niceties. Tell us a little about yourself, please!
You might think from some of my previous jobs (taxi driver, antiques dealer, drama facilitator, Santa Claus impersonator, fish processor, etc) that I’m a bit of a Jack of all trades, but let’s just say I like variety. When I left school, I had a vague idea of becoming either a rock star or a novelist. At the time, I was too timid to strut my stuff on a stage, and instead spent many hours churning out short stories and poems. In those days (late seventies), there were hundreds of what were called ‘little press’ magazines on the go, all looking for talented writers.
So, sending my scribblings out to such literary tomes as Stand Magazine, Envoi and Staple, I managed to collect a huge pile of rejection slips, and though I did eventually get a few poems and a short story published, it was studying for a BA in Drama that really made the difference to the quality of my writing. After that, I spent a few years writing plays, some of which were eventually performed by my theatre company in Aberdeen, but I didn’t start trying to write novels seriously until 2013, after a failed relationship left me living alone in a damp, mould-infested hovel, with little money and a lot of spare time. That summer I decided to try and finish a book I’d started a few years earlier. It was called ‘The Devil’s Porridge Gang’ and was set in a fictionalised version of the town where I grew up.
I suppose I started writing for children because I didn’t think I had the talent to write for adults, so my Terry Bell and Watson Letters books didn’t get under way until a few years later. Now, having recently published my 20th book, I’m feeling a lot more confident about my creative abilities.
TWENTY BOOKS, my goodness! I tip my hat to you, Friend, and admire your years of experience in this publishing jungle.As a book reviewer and writer, what do you see as the most unethical practice in the publishing industry?
Aside from Kirkus reviews which, at several hundred dollars a pop, should never be considered by any sane person, I think the practice of paying a reviewer for his or her opinion is dodgy, to say the least. Even if you believe the individual is completely unbiased, you’re never going to know for sure. Readers too, are aware of this practice and if a book has too many five-star reviews on Amazon, it can give the impression someone is taking backhanders, even when that’s not the case. I’ve also seen books with six or seven reviews that sound so similar they could have been written by the same person.
Indie authors often give away free books in the hope of prompting readers to buy some of our other wares, or at least to leave a review. While I don’t have a problem with this, it’s not the same as someone actually handing over hard-earned cash in exchange for a book. My own reviewing practice is to buy a copy of any book I intend to review, which puts money in the author’s pocket, and eans they also get a ‘verified’ review on Amazon. Even so, I do sometimes accept a free copy in return for an honest review, though this is mostly due to my being on Amazon’s Vine programme.
It might sound odd, but the hardest part is coming up with a title and a cover for the book. With these in place I then have the motivation to write the book and discover what it’s about. As an example, the cover for the second Terry Bell mystery, A Long Cool Glass of Murder had to fit with the design of the first book, so it took me a while to come up with something that made sense. It also gave me a title that suggested poison, which was a good starting point.
On the other hand, I’m currently working on a horror novel for adults (as opposed to children), which doesn’t have a title or a cover. I do have a working title of Witch Moon (which may end up as the actual title), and a vague idea of what the cover will be, so there’s enough to get started with but I’ll need to finalise both before progressing much further with the plot.
One of the reasons I jive so well with you is because you’re a HUGE SherlockHolmes fan, just like me! Tell us about The Watson Letters.
I’ve loved Sherlock Holmes for years but not being a particular devotee of ‘fan fiction’ had never thought of writing about him. Several years ago, a friend and I started emailing each other under the guise of a variety of fictional characters, usually centred around toilet humour and fart gags. Our favourite roles were Holmes and Watson, so when I started a website in praise of Arthur Conan Doyle and the associated books and movies etc, I included a spoof blog called The Watson Letters inspired by our musings. Some years later, my friend having taken to producing fewer and fewer emails in response to my attempts to create actual stories, I often found myself writing both parts of whatever adventure we were ensconced in, and when she eventually gave up altogether, it occurred to me I might take selected episodes of the blog and knock them into some sort of book.
The first book, The Watson Letters vol 1: Something Wicker This Way Comes was a bit of a hotchpotch and I didn’t really expect it to catch on, particularly as it jumped around a lot and didn’t exactly have a ‘through line’ in terms of the plot. It’s also very short, at around 23,000 words. But considering a second book, I opted to write three complete adventures and continued with that idea for books three and four. The current book, Murder on Mystery Island is different, in that it’s one complete adventure, and the next book, The Haunting of Roderick Usher will probably be the same.
By this time, I’d scrapped the original website and started a new Watson Letters Blog, so what hasn’t changed, is that I still write each story on the Blog first, before putting it into book form. I’m aware that this practice limits me to what I’ve already written, but it’s good to have a challenge.
Hmm. This is an interesting one, as obviously there are tons of books written about Holmes, Watson and several of the other characters created by Conan Doyle. I think if you’re going to be true to the characters and attempt stories that reflect ACD’s style and character traits etc, then that’s great, but since the original books are perfect as they are, I wanted to do something different. Taking a bunch of well- known characters, moving them off into a parallel universe, having them swear and do battle with villains like Hannibal Lecter and Bill Sikes, I hoped readers would go along with it, recognising I’m not trying to copy the original, but to create something different, though with a generous nod to the originals. Of course, one or two readers have complained that Holmes doesn’t use the F word, and Watson would never urinate on a pair of ne’er-do-wells, but when you’re in a parallel universe, anything can happen!
Ha, eeeeexactly! One of the fun things about writing fiction is that you don’t HAVE to follow “how things work.” I recall Colin Dexter saying as much about his Inspector Morse mystery series. Still, writing historical fiction is going to require some sort of research. What kind of research do you do, and how long do you spend researching before beginning a book?
In general terms, I don’t do a lot of research for my books, as I believe it’s a writer’s job to make stuff up. However, there are some things you just can’t make up and need information or detail to give the writing an authentic feel. Usually, I leave it until the point in the story when I need specific information before I’ll start looking for it. In the case of my middle grade series The Christie McKinnon Adventures, the first book begins in Edinburgh in 1897, so I used an old map of the city to work out Christie’s routes between one place and another. I did the same thing with The Maps of Time series which is set in 1630s London. In that instance I also wanted to use the old street names, like Cheap Syde and Fanchurch Streete.
For the Watson Letters books, which often use dates on letters and telegrams etc, there came a point when I confused myself and had to resort to using an online calendar to work out when things happened. This was particularly noticeable with The Curse of the Baskervilles adventure. The book starts in 1891, but the first story actually goes back to 1884, with the adventure following it beginning in 1889. For other books, there have been times when I’ve needed to know about air rifles, handguns, specific types of period clothing and how to use skeleton keys. Anything that requires lots of research is probably something I’ll avoid writing about.
That’s a great piece of advice. Would you like to close out on any other important writing tips for aspiring writers?
I think the advent of eBooks and the ease with which virtually anyone can become a published author, has also created its own set of problems. It’s not so much of an issue now, but a few years ago there were an awful lot of people churning out books that were nothing short of abysmal—packed with clichés, typos, poor sentence structure and a lot of really bad writing. I’ve had a few people approach me for advice on their own work and overall, they thank me profusely for pointing out their mistakes, realising no-one can produce a perfect novel all by themselves. Of course, there are those who think their immense talent should be obvious and the only motivation for asking my opinion is so I can tell them how wonderful they are. I know it’s hard for newbies to get started and forge relationships with other writers, editors, beta-readers etc, but I do think it’s essential, especially for indie authors, as we all need to know how other people see our work. As well as having two editors, I have several writer pals who proofread my books, while I do the same for them, so even if you can’t afford a professional editor, there are always people who can help out. It’s the same with book covers too—unless you happen to be Stephen King, a rubbishy cover will never sell your books. I have a reasonable ability with Photoshop, so I create my own covers (though I’m aware some of the early ones need updating). If you’re not gifted in that area, there are plenty of generic cover creators who can adapt a cover with your name/title etc for a reasonable price, so your book at least looks professional.
As Smashwords boss Mark Coker says, ‘…it’s the readers…who decide what’s worth buying. Bad books will sink.’
So, essentially, you need to write a good book, get it proofed, edited and pop on a good quality cover that tells us what the book is about, and off you go.
Thanks so much for sharing your thoughts and insights, Colin! Folks, you can find Colin all over the place–go, visit, see, read!