#Author #Interviews: @cl_schneider shares tips on living the #indieauthor #writinglife as well as awesome #writingtips on #writing #epicfantasy and #urbanfantasy

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Hello hello, lovely readers & writers both! This week I’d like to introduce you to the fantastic C.L. Schneider, writer of mystery and mayhem in worlds of fire and adventure. Born in a small Kansas town on the Missouri river, she penned her first novel at age sixteen on a typewriter in her parent’s living room. She currently resides in New York’s scenic Hudson Valley with her husband and two sons.

Today on Jean Lee’s World, she’s got two thrilling series and lots of awesome input to share on writing. I also picked her brain on balancing parenthood and the author life, because I need all the help I can get!

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Let’s talk first about your kickin’ Nite Fire series. You do a lovely job blending mystery and fantasy in the urban environment. What did you find to be the most challenging about blending the genres?

Actually, I didn’t think about trying to blend the two. The mystery aspect developed organically as the characters and plot came together. What I really found challenging was (after spending years in the world I created for The Crown of Stones), I was suddenly working with modern, real-life elements, locations, and situations. The series is set in a fictional city, so I knew I had a tiny bit of leeway. But I was specifically concerned about police procedures, as well as the forensic and arson portions of Dahlia’s investigations. I did a fair amount of research, but I’m lucky to have someone on my beta reading team who’s in law enforcement. He’s only a text away, and I’m very grateful for his input.

Oh how cool! I wouldn’t mind having an herbalist in my pocket for my Fallen Princeborn series, not to mention a baker…or, well, I could try and actually bake better.

Ahem. Where was I? Oh! Dahlia Nite is quite the spitfire of a heroine (pun intended, hee hee!). I love her drive to fight and protect the weaker races like we poor humans. Now I see you write the Nite Fire books from her perspective. Can you describe the logic of your choice to write in first person for this series as opposed to third person omniscient?

I never considered writing Nite Fire in third person. While I do write in third, first person has always been my preferred way to write (and read). it’s the most natural to me. It allows me to step into my character’s mind and connect more deeply with them.  My hope is that it will do the same thing for my readers, giving them a personal, intense connection to the character and the story.

I won’t ask you to share any spoilers from Smoke and Mirrors, the third volume in the Nite Fire series, but I will ask if we’re to have as much murder and mayhem as we have in the previous books!

Oh, definitely! The “murder” portion is a bit of a different flavor this time, though. Instead of individual human victims, as in the past two books, someone is dumping dismembered body parts around Sentinel City. To make matters worse, most of the dissected parts aren’t human, and they’re too mismatched to put together a complete body. As Dahlia and Creed search for the killer (and the missing pieces), the mayhem unfolds 😊  

Coming Soon!

I can’t wait for Smoke and Mirrors’ release! At least we can read Crown of Stones in the meantime. Now in THAT series, your primary character is a male. As a female writer, how did you put yourself into a male character’s mind?

It’s funny. I’ve had men ask me how (being a woman) I wrote the character of Ian Troy so well. And I always tell them the same thing; I have no idea! Lol.  There was no prep. I didn’t think about Troy being male (or female). The story evolved entirely from the creation of his character, so I knew him very well before I even started writing. That’s the key: knowing your character inside and out. It’s crucial for writing any character, regardless of gender. I lived and breathed Ian for a while before I even started writing the first book. It was a level of familiarity that made it easier to put myself into his mind. I saw myself as him, experienced the story through his eyes, words, and actions. His gender didn’t matter to me. Just how best to tell his story.

In fact, I’d written Ian for so long, when I started Nite Fire, I was worried about writing from a woman’s perspective. But by creating her first (and letting the story develop from her), I had Dahlia as clear in my head as Ian was. And the rest fell into place.   

I have such trouble with working on names in fantasy: when to use a name that sounds familiar vs. creating a name vs. utilizing another culture’s names. How on earth do you choose what kinds of names to use, especially in the universe you built for Crown of Stones?

I don’t enjoy stories where every other name is impossible to pronounce. I’ve picked up a book and put it back on the shelf simply for that reason. If I can’t get through the blurb on the back because I can’t pronounce the places or names, I’m not reading it. I want to enjoy my reading experience, not stress over it! At the same time, I like unique names. So I try to have a balance, based entirely on what I’m naming. To me, certain characters or places scream to have a different sound or a hard sound versus soft. Sometimes, I look at names from other cultures. Sometimes, I take a name and mash it with another or switch up the spelling. Mostly, though, I think about the qualities of the characters I’m naming.

Are they vicious, kind, brave, intelligent?  What traits or abilities stand out about them? Are they a pompous king, a “what you see is what you get” type of person, a wise woman, or a hardened warrior? Where do they come from? What are their people like? If I’m trying to name a place, what are the conditions and terrain like? To put it simply, I look at specific qualities and try to create a name or a sound that best represents those qualities.

You’re an extremely active indie author who attends conventions and books signings, which can terrify the new author such as myself.  What benefits do you see from attending conventions and signings? How can an author brace himself/herself for the in-person appearance?

I love in-person events! Conventions and signings are great ways to form a connection with potential readers. You can convey so much about your work with a casual in-person chat that goes beyond a tweet or trading messages online.  If the interaction is memorable, hopefully it will encourage them to tell someone else about your work. And there’s nothing better than a repeat customer seeking you out at a convention to tell you how much they loved your book!  

As far as preparing goes, the best way to is to know your material. Since it’s your book, that’s the easy part! Be sure to have a few short hooks to reel people in when they stop and ask what the story is about.  Anticipate questions and practice ahead of time. If you’re nervous, say so. The people coming to your table want to meet you—the real you. Most importantly, smile and have fun. If you’re sitting there looking miserable, people will walk on by. Be friendly. Offer a giveaway and have a nice, eye-catching presentation to draw them to your table.

Awesome tips, thanks! Now I gotta ask you about family stuff, because your bio mentions two sons, and *I* have two sons who pull me every which way aaaaaaaall day. How do you balance writing and parenting? I’m always looking for new strategies!

Well, it’s a little bit easier now that they’re older (16 and 12). Though they do stay up and watch TV with me now, so I’ve lost that time at night to write. But it was definitely harder when they were little. I had to sneak my writing in whenever I could. I brought a notebook with me to soccer games and swim lessons. I stayed up ridiculously late or wrote when they were napping.  I used to bring the laptop into the kitchen, so I could stir dinner, type a few minutes, then stir again. Okay, I still do that. Lol. But I spent a lot of years “stealing” minutes at a time.  

Looking back now, though it would have been much easier, I’m glad I didn’t put my writing aside until they were older. Instead, I fought every day to fit in a few sentences or paragraphs, or (if I was lucky) a couple of pages. There was no prep, no process for getting in the zone. I took what time I could get, when I could get it. It was frustrating then, but it forced me to learn how to fall in and out of a story at a moment’s notice, which has proven to be an invaluable tool.  

Any other closing words of encouragement to help your fellow writers through the rough days?

I think a lot of new writers feel they have to write linear, but that’s not true. If you’re having trouble visualizing a scene, don’t stress. Leave it and move onto one that’s clear in your head. When I’m drafting, I rarely write linear. I jump around, writing the chapters or scenes that are most vivid in my mind. Then I go back, write what goes in between, and “marry” them together. I can always fix any changes or inconsistencies in rewrites.

In short: getting down what I’m visualizing best—emptying my head of what’s rattling around in there—frees up my imagination to concentrate on the scene(s) I’m less sure about. Many times, it will spark a new subplot or characters idea that I hadn’t thought of before. Writing out of order might not work for everyone, but it keeps me writing versus staring at the screen.

Thank you so much for your time, my friend!  You truly rock the indie house.

C.L. Schneider can be found in all sorts of places!

Website  www.clschneiderauthor.com
Twitter  https://twitter.com/cl_schneider
Facebook   https://www.facebook.com/CLS.Author
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Goodreads  https://www.goodreads.com/goodreadscomCLSchneider
Amazon Author Page   http://author.to/CLSchneiderAmazonPg
BookBub Profile Page https://www.bookbub.com/authors/c-l-schneider
Subscribe to newsletter http://www.clschneiderauthor.com/subs
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Next week we’ll return to our discussion of that old chestnut of a writer’s problem known as character death. duhn duhn DUUUUHN! Don’t miss it!

Read on, share on, and write on, my friends!

Even the smallest #mom wields the powerful #magic of #love. #celebrating #motherhood #writing #kidlit #writinglife

“Why isn’t Huck Finn’s dad nice to him?” Blondie asks from  behind her beloved stuffed dog Sledgehammer.

Bo closed The Adventures of Huckleberry Finn and stared at the cover a good long moment before answering. “Some parents are not that nice, kiddo,” he says, and goes on to talk a bit about alcohol addiction.

I came in after her prayers as I always do to give her a hug and kiss goodnight. “I hope Huck gets away soon,” she says.

“He can’t have any adventures if he doesn’t.”

Blondie nods, then brightens. “I can’t wait until my birthday party!”

So it goes when talking to an almost-nine-year-old: from horrifying parents to birthday celebrations in the blink of a beautiful eye.

It struck me, then, how few stories I read during my own childhood that contained positive parent figures. There’s no parents in the Chronicles of Narnia that I recall. Ramona Quimby had a mom, I think…but she wasn’t a major character, or at the very least, memorable. Fairy tale parents are usually evil or inconsequential. Babysitter Club books are usually about girls solving their own problems without parental help (why else would a babysitter be around?). I don’t recall Nancy Drew having extensive scenes with her folks. Few of the detective novels I read had much of anything to do with family, come to think, unless you count Sherlock’s brother Mycroft. But that’s a brother, not a parent, and he only shows up twice.

Huh. No wonder Blondie’s reaction to Huck Finn sticks with me still: I didn’t have that kind of exposure to the Nasty Parent at her age. Even the evil stepmom of Cinderella doesn’t go on drunk binges and whip Cinderella with a belt. Huck Finn’s dad is nasty. Scary-nasty. The sort of nasty that’s talked about on the news or in a television series, not a kid’s book.

Now why am I going off like this? Because here in the U.S. Mother’s Day approaches, and I want to celebrate the positive parent characters in children’s literature. Seriously, they exist! Like…um…oh! Ray Bradbury created a loving relationship between father and son in Something Wicked This Way Comes. Even Diana Wynne Jones, who had a miserable relationship with her own parents, could still create some flawed yet very loving parents in books like Archer’s Goon and The Ogre Downstairs.

Today, I’d like to look at one of the strongest moms in fantasy fiction, a widow with four young children, one of whom’s gravely ill.

I am, of course, talking about Mrs. Frisby.

Or Brisby, if you knew her by the Don Bluth film like I did.

For some reason the film adaptation of Mrs. Frisby and the Rats of NIMH named her Brisby. I’d like to think it’s because Hermione Baddeley, who voiced Auntie Shrew, really rattles your teeth whenever she shrilly hollers Mrs. Brisby’s name.

With all due respect to Robert C. O’Brien, the book moves with a much…quieter, calmer pace, I’ll say, than the Bluth film.

And, well, let’s face it: O’Brien doesn’t have any electro-magic wielded by rats voiced by the majestic Sir Derek Jacobi, let alone a soundtrack composed by the ever-wonderful James Horner.

Bluth’s version of Mrs. Brisby is a widow just like the Mrs. Frisby of the book, and both versions do have four children and one suffering from pneumonia. But unlike Mrs. Frisby of the book, Mrs. Brisby is constantly facing certain death in order to protect her kids. From standing in the bones of other mice to speak with the Great Owl…

…to running under the farmer wife’s feet in order to sedate Dragon, the barn cat that KILLED HER HUSBAND, Mrs. Brisby puts her life on the line time and again for her family. I can still remember the terror racing through my little-kid heart when the giant rat guard tries to electrocute Mrs. Brisby at the gate into the rose bush…

…or when the Brisby home begins sinking in the mud and all the kids inside are gasping for air.

(Oh yes, Bluth’s films are both awesome and TERRIFYING. Just ask MG author Celine Kiernan—she worked for him!)

But because I felt the terror then, and saw this little mommy mouse defy her fears to run into a moving tractor to disable it while the ceiling started to cave in around her sick son, because I felt the panic in her pulling rope after rope around her sinking house to keep her children from drowning—because I felt all the fear Mrs. Brisby experienced, the courage she also displayed resonated with me very, very deeply; it resonates with me still, thirty years later. In a story of mice and electro-magic rats, I saw motherhood in its purest form:

Love, fearless and boundless, strong and eternal.

May our own hands brave the fire to protect those who matter most.

What positive parent characters appear in your favorite stories? Please share so I can give Blondie something to look forward to…

I’ll be the first to admit the moms of my own fiction are, shall we say, some nasty pieces of work. Scope out my novel and free short stories on Amazon and on this site to find out more.

Read on, share on, and write on, my friends!

#AprilShowers Bring #Indie #AuthorInterviews! @Tamyrh942 discusses #worldbuilding in #scifi and #writing the #sixwordstory. #IndieApril #WritingCommunity

Thank heaven for this month of fantastic interviews! I’m still trudging my way through grading finals, pricing all the little Bs’ toddler clothing to sell, preparing for two rounds of family visits for Easter…oh and maybe writing in there somewhere. Whew!

So let’s continue on with our amazing Indie April and chat with sci-fi wonder, J.I. Rogers.

First, let’s get the niceties…well not out of the way, as it were, but if you’d like to introduce yourself—who you are and what you write, etc etc etc.

Hi. I’m J. I. Rogers, and I write a fusion of dystopian science fiction and space opera. My bio aptly states that when I’m not acting as a conduit for the voices in my head, I’m a poster child for Gen X and the Queen of most boondoggles that lead to eye-strain and tinnitus. Simply put, I’m a green-eyed, ginger-haired, caffeine addict who currently spends most days (and nights) creating bits to go into ‘The Korpes File Series,’ art, or convincing to my family and friends that I’m not dead.

What would you say was the first book (or author) you read that inspired you to become a writer?

The graphic novel series “Love & Rockets” by Los Bros Hernandez is what truly set me on this path. I’ve been an artist for far longer than I’ve been an author, and Jaime’s work, in particular, sparked the Muse to create my own world. It’s taken close to thirty years to get the ball rolling. In the meantime I’d have to say that every book I’ve ever read has pushed me toward committing text to screen; even the ones I didn’t like. Authors such as Jules Verne, H. G. Wells, Barbara Hambly, George Orwell, R. A. MacAvoy, Anne McCaffery, G. R. R. Martin, J. R. R. Tolkien, Terry Pratchett have also added their influence. I wrote a few short, fantasy stories based in Mercedes Lackey’s world in the 90s, but my APA, “Northwest Passages,” was sidelined by other projects.

Now according to your “About” page on your site https://jirogers-author.com/, you started working on the sci-fi series The Korpes File back in 2012. This series is set on a different planet, Tamyrh. I’ve never imagined creating an entire PLANET, let alone its various histories and cultures! Can you describe your world-building process for us?

I have a bit of experience in building worlds stemming from my time playing fantasy and sci-fi based role-playing games… Yes, I was one of those dice-rolling, graph-paper toting geeks that played in and ran campaigns through the 80s and 90s. My process could be best described as ‘organized chaos.’

Character Development:
Usually, I’ll start with the character, loosely identify their physical and personality characteristics, and then I’ll interview them to learn more. After a couple of paragraphs, I have more of an idea of who they are and how they fit in the world. I’ve found that the characters themselves reveal a fragment of ‘foundation’ information or a core element fairly early on. Things like ‘bullied,’ ‘has integrity,’ and ‘chronic tease’ are just a few of the things that have emerged. From there, I let them flesh themselves out as I write. I’m still learning things about Nash and the other inhabitants of my world.
I have found a few photographs that are close to how I visualize the different racial groups of Tamyrh, but none that define the characters. I’m planning to release a sketchbook in 2020 with my vision of what everyone looks like.

World Development:
I’m continually finding visual inspirations in our world that I can shape to place in mine, as my Pinterest account can attest. Other aspects, the alien ones, have lurked in my subconscious for decades.

The protagonist in The Korpes File, Nash Korpes, sounds like a fascinating character, burdened with history he didn’t ask for and facing an entire society down in his own “private war,” as you put it. Would you say Nash first appeared to you as a complete person or did you piece his character together over time?

Nash’s ‘Sarcastic voice’ revealed itself first, the rest followed. To be completely honest I’m still learning things about him, and I’m almost done the draft of book three.

You have a little disclaimer on your Korpes series’ web page that the stories contain some serious themes, such as genocide and racism. Were these themes you felt compelled to address via your story, or did your characters seem to guide you into these topics and address them their own way?

All the themes addressed were things that happened organically. There are six distinct humanoid groups on Tamyrh, and one uniquely alien. I had a vague idea of the physical and racial characteristics involved, and as I created the environments (cities, countries, and cultures), they suggested other, human-relatable traits and issues. An excellent example of this subconscious creation would be I knew the Korlo were xenophobes. It wasn’t until I discovered they had never fought a major war on their own soil, they had a small population, and their culture was highly class oriented that I understood why they responded negatively to the Diasporan (refugee) influx. Another example: I didn’t know one of the main characters was gay until he started hitting on another character in a bar scene. Some of the storyline has been on the loom for over thirty years, and the Muse is good at picking up stray threads.

As a fellow series writer, I have to admit that fatigue does occasionally set in—my brain keeps thinking on other projects, and if I don’t let my fingers at least get a few things down my creativity goes haywire. The timeline for your series looks pretty extensive, so I can’t help but ask how you stay dedicated to a single series for so long without going nuts.

HA! I am nuts, just ask anyone who knows me.
It helps that as I’m writing, I’ll write scenes or chapters in the future or past (other books). I have at least four or five projects going at once, so if I tire of one, I can keep momentum and interest going by working on another… or stepping out of the office and down to the studio and doing some art. There are also movie nights. When my hubby and I merged households, our book and movie collections threatened to form a singularity. To appease the various gods of chaos, we watch a movie every couple of days.

On the flip side of building an entire world, you also do the “Six-Word Story Challenge,” telling scenes not only with six words but with a unique image in the background. Now I know you’ve been doing this for at least a year, even creating these six-word stories with alphabetized theme words. I believe you’ve had an exhibit for these pieces of storytelling art, correct? How on Tamyrh did you get into this unique vein, and how would you say it powers your creativity?

“Six-Word Story Challenges” are great little warm-up exercises. Sometimes they’ll lead to a much longer scene, and other times, they’re the perfect summation (I’ve even hidden a few in the books).
The art exhibition was more of a happy coincidence. A friend and I were going to do a joint exhibit and then she had to withdraw due to poor health. The show was scaled back (I had to omit pieces that were designed for a larger space) and come up with something that could fill the void. I opted to have my show become interactive by encouraging people to look at the art (paintings, sculpture, and prints), then write a six-word story about their experience. I had about forty responses, half of which were genuine attempts. The other half were by someone who liked noodles.

I think it’s safe to say all writers have their own writing Kryptonite. Mine’s that dreaded phone call from the school principal—kills my creativity in a heartbeat. What’s your writing Kryptonite?

I lived in East Africa when I was growing up. A Cheetah has to eat its kill soon after it’s brought down; they don’t eat carrion unless the situation is dire. In the past, tour buses would come in close so the tourii could get better shots, the noise would scare the kitty off, and the poor thing would have to go and find another gazelle to run down. This was a problem because of the enormous amount of energy they expend in the chase. After being run off a third time, some were too weak to make another try and actually died.
Laws were passed to prevent the tour companies from harassing the wildlife.
When my hubby closes the door to his office, he’s busy. When I close the door to my office, it means I’m writing. If I’m pulled out of my groove to do something that didn’t really need me to do it I’ll get peevish and make snarly noises. If it happens three times in a row, I’ll try to eat the tourist.

You are an AMAZING supporter of fellow indie authors in the blogging community as well as on social media. What advice would you give newbie writers as they work on building their own author platforms?

Why thank you! 😀
My advice is to share posts, create engaging content, leave reviews, be positive without looking for immediate evidence of karmic return. In other words, treat people the way you’d like to be treated.
Ultimately, it might even lead to Jean Lee inviting you to appear as an interviewee on her awesome blog.

Aaaaw, shucks. 🙂

What would you say are common traps for aspiring writers, and how would you suggest avoiding them?

1. Don’t edit as you write, only edit after you have the first draft done.
2. Schedule your time on social media like it’s a job. Have a reason to be there and a time when you log off.
3. Take breaks, stretch, and remember to go outside and play with your friends.
4. Drink more water.
5. Remember to sleep.

Do I do all of these things? No, but I’m aspiring.

What would you consider to be the most problematic practice in the publishing industry, and how would you try to change it?

I’ve never been a fan of politics, and it seems to be a constant in any field, creative or not. I would love to win something like a Hugo or a Nebula Award at some point before I die, but the former has become highly political from all accounts, and I’m not traditionally published in the case of the latter. I’m not holding out much hope.
How would I change that? It’s out of my power. However, if you can’t bring about big changes, change something in your own neighborhood, right? There are a lot of indie publishers who embody positive energy and support their fellow authors; actions like theirs make everyone stronger. Model the behavior you wish to see, be the person you want to encounter and boost the worthy folks you meet. Pay it forward.

Oh! Tell us about your current project(s), please!

I’m currently working on books three through six of “The Korpes File Series,” painting the cowling on my Vino scooter before I put it back on the road, finishing up some WAY overdue art commissions, and creating a character sketchbook for my patrons (that’s due out in 2020).

Many, many thanks, my friend! I hope you’ll check out J.I. Rogers’ amazing stories on her Amazon Author page as well as subscribe to her newsletter. You can also find her on Twitter and on her website.

Stay tuned for yet another lovely indie author interview next week–in fact, I’ve actually gotten requested by more authors to interview them, soooooo this interview-a-thon may very well spill into May. We shall see!

In the meantime, here are links to my novel and FREE short stories, juuuuuuust in case you haven’t checked them out yet, wink wink nudge nudge say no more. 😉

Read on, share on, and write on, my friends!


Lessons Learned from #HollyBlack: #write a #hero with #hopesanddreams for compelling #fiction

A lot can happen in sixteen years.

A boisterous kid becomes a moody teen.

A free-spirited college student becomes a career-obsessed adult.

A writer becomes a…writer? Yes, still a writer. But a stronger writer.

I’m looking at you, Holly Black.

This woman’s got phenomenal talent. Black’s written books that lure you to dive head-first into her world. She’s got a strong following of readers, and one look at books like The Cruel Prince and The Wicked King show why. The relationships are complex, the conflicts compelling. We want to see what these characters do next, especially Jude, the teen protagonist.

Now I’ve talked a bit about Jude before, both in my post on tragic backstories as well as dissecting one of the briefest chapters ever written. Today I want to return to Jude because of another Holly Black title, the first Holly Black title:Tithe.


Sixteen-year-old Kaye is a modern nomad. Fierce and independent, she travels from city to city with her mother’s rock band until an ominous attack forces Kaye back to her childhood home. There, amid the industrial, blue-collar New Jersey backdrop, Kaye soon finds herself an unwilling pawn in an ancient power struggle between two rival faerie kingdoms – a struggle that could very well mean her death.

So over the course of sixteen years, Black wrote two different series about two teen heroines dealing with faeries. Fairies. Fae. However you spell it.

I–and many other readers, I imagine–connected with Jude because of her hopes and dreams. Jude is a girl struggling for identity inside her mostly Fae family as well as the Fae society. She witnessed her human parents’ murder by a Fae general, was then ripped away from the human realm along with her twin sister and half-Fae sister to be raised by that same general, and now attends school with other Fae gentry. She is living, breathing evidence of her mother’s desertion, yet this general fathers Jude like one of his own. In turn, Jude yearns to train and serve the Fae royalty as a knight despite being mortal. She loves her little brother, the Fae “son” of the general and his new wife. This is a girl fighting to make a place for herself in a world not created for her. She’s so desperate to make her mark in the Fae courts that she’s willing to kill in order to achieve her dream.

And then, there’s Kaye from Tithe.

Lots of people like this book, so I assume they must like Kaye as well.

But for me…look, this isn’t a roast of of Tithe. There’s plenty of strong elements here, and when one considers this is Black’s debut novel, those elements should be all the more commended. She blends Faerie and human realms seamlessly. The Fae are quite unique between Seelie and Unseelie. The black knight Roiben provides a wealth of inner conflict: magic compels him to do despicable things under the command of the Unseelie Queen, including killing a friend of Kaye’s. When we read from his point of view, we learn just how much he hates himself because he so often he has no control over his actions. A reader’s sympathy for him grows with every chapter.

And then, there’s Kaye.

Kaye took another drag on her cigarette and dropped it into her mother’s beer bottle. She figured that would be a good test for how drunk Ellen was–see if she would swallow a butt whole.

This is the first paragraph of the Prologue. This is our first impression of Kaye.

Already I’m wincing, but maybe that’s my prudish Midwestern nature. Plenty of kids have shitty parents, drinking parents. Plenty of teenagers pick up smoking. Turns out Kaye’s mother sings in a lousy club band and is dating one of its members, the “asshole Lloyd.” During the wrap up after a gig, Lloyd for no understandable reason tries to stab Kaye’s mom but Kaye stops him. (It is later learned he’d been entranced, for the record.)

We’re only a couple pages in, and Kaye’s witnessed an attempted murder. Normally this sort of thing, especially when family’s involved, would leave some sort of mark on a person, be it physically, emotionally, mentally, or all three. This is something that spawns nightmares, phobias, fixations on danger and/or thrills.

Yet Kaye and her mother Ellen only talk about moving in with Grandma. No confusion or anger over what Lloyd did. No fear over how they’re going to live next. No anxiety over whether or not Grandma will accept them after a six-year absence. Just…

“Honey,” Ellen said finally, “we’re going to have to go to Grandma’s.”

“Did you call her?” Kaye asked. …

“It’ll be a little while. You can visit that friend of yours.”

“Janet,” Kaye said. She hoped that was who Ellen meant. She hoped her mother wasn’t teasing her about that faerie bullshit again. If she had to hear another story about Kaye and her cute imaginary friends…

As you may have surmised, this is when Kaye started to lose me.

Yet I kept reading. Openings are tough. Kaye’s got to get back to her childhood home somehow, soooo okay, this works. Now Kaye’s on the New Jersey shore, walking and talking with her friend Janet on their way to hanging out with boys.

“Kaye, when we get there, you have to be cool. Don’t seem so weird. Guys don’t like weird….don’t you want a boyfriend?”

I had to stop there.

What did Kaye want?

From my impression of Kaye’s memories of her mother falling asleep in toilets and attaching herself to loser after loser, Kaye clearly doesn’t dig the life of a traveling musician. Yet her grandmother’s demands that she attend school are met with the same lack of enthusiasm.

In fact, Kaye doesn’t talk about anything with enthusiasm except Roiben, a lone faerie she helps on the roadside.

“Look, I’m only going to be in town for a couple of months, at most. The only thing that matters is that he is cross-my-heart-and-hope-to-die beautiful.” Kaye waggled her eyebrows suggestively.

Perhaps Kaye is a girl who’s never allowed herself to dream. We can be like that too, I suppose–too fearful of failure, too weary of life’s obstacles to dare hope for anything beyond what’s in front of us.

So when Kaye is told she herself is a faerie who’s been glamoured to look human since birth, she…well, what do you think?

She was shaking her head, but even as she did it, she knew it was true. It felt true, unbalancing and rebalancing her world so neatly that she wondered how she didn’t think of it before now. After all, why would only she be visited by faeries? Why would only she have magic she couldn’t control?

Such a revelation alters everything: her human family’s not really hers. She’s not human at all. Any hope, any dream she had for her future must now be sacrificed–

Hang on.

She didn’t have any aspirations. This revelation, this life-altering revelation….just what exactly does it change inside Kaye?

I’m going to stop dissecting Tithe here. I’ll still recommend it for the world and for the conflicted Fae knight Roiben, but I cannot recommend Tithe for its heroine. For all her dislike against her grandmother’s “normal” lifestyle and her mother’s alcohol addled life on the road, has she honestly not once hidden a special passion for something to keep herself sane? One would think it’d be her “cute imaginary friends,” but Kaye’s first reference to her Fae visitors from childhood was “faerie bullshit.” So as of the beginning of this novel, faeries were no longer special. She keeps no journal, no art, no collection of little things she’d never dare show her mom. Even Janet, the one friend she’s been emailing from libraries, is completely blown off once Roiben comes onto the scene.

Readers care about characters who care. The character may be a jerk in many ways, but even jerks can have a soft spot. Jude committed murder in The Cruel Prince, yet I still found myself rooting for her. Why? Because she was fighting for her kid brother’s safety. Because she wanted the enemies of the old Faerie king to pay for their treachery. She gets her heart broken by one Fae boy while finding her fate entwined with another. Jude IS passion–hardly the “he’s so dreamy” passion, but the “I want my family to survive a coup” passion. The “I want to LIVE” passion.

That’s passion any reader can feel beating in his/her own heart.

Kaye never seems to feel that. She simply floats along whether she’s human or faerie, accepting whatever situation she’s placed in, fearful only of losing Roiben.

How often are we telling our teenagers not to wrap their entire lives around one other human being? To have their own hopes and dreams, because someone who truly loves them will love those dreams and help find a way to achieve them?

Love can be a powerful force in a fantasy, to be sure.

But so is hope.

So are dreams.

Which fictional hero or heroine inspires you to dream? Let me know in the comments below!

Thanks, too, for your encouragement during my saga over the full-time slot at the university. I didn’t get it, but I’m hopeful for the next time. 🙂

Don’t forget to pick up the March edition of my newsletter!

And if you’re a fan of dreamers (and stories of dreams gone fantastically awry) I hope you’ll check out my novel, Fallen Princeborn: Stolen. It’s free on Kindle Unlimited, and my short story collection Tales of the River Vine are all free to download from Amazon, too.

Read on, share on, and write on, my friends!

#writerproblems: #characterdeath in #storytelling (Part 1: Noooo, Billy!)

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You know the scene.

The kind that makes you go, “NOOOOOOOOOO!” because a beloved and/or cool character is about to die.

Every time. Seriously, every time I see PredatorI say, “Nooo, Billy!” at the screen. As a member of the audience, I’m invested in seeing the characters’ survival against the Predator. I want to see the characters’ skill sets aid them in overcoming the conflicts and obstacles that await them before the journey’s end.

This can be said as a reader of any high-stakes story, really. Look at a few big SFF series for examples. We want Captain Kirk and his crew to survive. We want Harry Potter and all his friends to survive. We want the Fellowship of the Ring to survive. We want Katniss Everdeen and her loved ones to survive. We want Luke Skywalker and his friends to survive.

We know these people are fictional, but there are facets of these characters that connect within us. This makes us care about them, so of course we go “NOOOOO!” when Dumbledore is struck down by Snape, when Prim and dozens of others are bombed by a device made by the Katniss’ oldest friend, Gabe.

And then…

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…and then there are the deaths that just don’t feel necessary.

Now I just want to pause here that I’m talking about this as both a reader and a writer. I get that pain and consequence have to occur in a high-stakes story. You can’t threaten death without delivering at least a little bit of death or you risk hollowing out the stakes.

What bothers me as a reader and worries me as a writer are those unnecessary character deaths. You know you’ve encountered stories with this problem. That’s why I showed the aforementioned Predator clip of Billy. Billy, the biggest and buffest bad-ass of Dutch’s team, stops on the tree-bridge to face the Predator. Why?

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On screen, we’re not given a reason apart from MANLINESS. Just look at him, stripping down and cutting his own chest. It’s the ultimate bad-ass standoff!

Only in the story, it’s not the ultimate bad-ass standoff. That’s for Dutch (also stripped down) and the Predator.

So why did Billy have to die?

As a “reader,” I could shrug to “noble sacrifice,” except no other death has bought the survivors time or advantage. Billy would know that. I could also shrug to “acceptance,” since earlier in the film Billy says, “We’re all going to die.”

But as a writer, I think I really know why.

It’s because you can’t have an ultimate bad-ass standoff between TWO good guys and a bad guy. Plus, in terms of physique, Billy and Dutch are an equal match. Heck, I think Billy could have beaten Dutch in arm wrestling.

So Billy had to die.

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It feels like when there has to be a bit of death in the story, writers sometimes choose the character most similar to the protagonist. Take Finnick Odair from the Hunger Games trilogy: he’s strong, knowledgeable, another survivor of the Hunger Games (also: pretty). We meet him in Catching Fire, grow connected to his personality and backstory, root for him when he gets married….aaaaand watch him die on the assault on the Capital. Now it can be argued his arc’s complete, so the audience knows who he is. SOMEone’s got to die in a war; his death will have the strongest emotional impact while primary heroine Katniss can continue on.

Fine. Fair enough. At least Finnick got to die on page/screen, UNLIKE BILLY.

Notice how after all his bad-ass preparation, we never get to see Billy fight the Predator. We just hear his anguished scream, and know he’s dead.  Such off-screen deaths drive me nuts. Harry Potter and the Deathly Hallows is guilty of this, too, both in book and on film, when it comes to characters like Professor Lupin and the Auror Tonks. They die during the battle at Hogwarts while Harry’s elsewhere, so we never see their final moments. They’re just dead.

Wow, I went off longer on this than planned. Dammit, Billy, you got me all wound up!

I get that I have to accept beloved characters dying. I just want those deaths to MATTER. You bet your ass I cry when Beth dies in Little Women. I bawl when Clint Eastwood’s character Walt is shot in Gran Torino. I refused to believe Hercule Poirot was really dead in Curtain until I went online for evidence to prove otherwise…and couldn’t find it. Even Dobby, that goofy little house-elf Dobby, had me sobbing both while reading and watching Harry Potter and the Deathly Hallows. I hated that these characters had to die.

But their deaths help spur the protagonists–and the narrative–forward. Without their deaths, there is less at stake; therefore, there is less concern for the characters.

Now I have waaaaaay more to say about character death, but Bo’s up and given me the giggles by saying, “Billy will always be in the chopper of your heart.” Yes, yes he will!

So let’s pause to talk. Is there a story with a character death that really frustrates you? Should I kill more characters in my own books?

Lastly, be sure to stay tuned to my monthly newsletter. Big changes are coming, and I don’t want you to miss out!

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#Readers, Start the #NewYear With Amazing #Indie #Fiction #SerialReads. #Writers, Why Not Give #Serial #Writing on @_Channillo a Go?

Ah, January 2019, you give me so much hope for the coming year! We must begin with stories, for of course we must. Whether you love to read or to write, you are here to experience a story.

Have I got the stories for you!

Not just my own fiction–I’ll get to that. No, I’d like to introduce you to some wonderful indie writers who have been publishing on Channillo, a subscription-based publishing platform stocked with hundreds of stories written by talented writers from around the world. A few Channillo writers have stopped by to share their stories as well as why they feel serialized fiction is awesome for readers and writers alike.

urban in motion (2)Let’s start with some basics. Your name and title(s) on Channillo, please!

coverpic-2127 Jamie Seitz, Nick & Amy

Nick and Amy have been married for seventeen years which is a big deal because marriage is hard and messy and a fifty percent divorce rate and all.  Nick and Amy live with their three kids in the middle of the United States, in a place like Iowa or Ohio or some other smallish, flat state with too many vowels, growing corn and soybeans, making it basically indistinguishable from any of the other states around it and uninteresting to anyone that didn’t grow up there.  Nick is a procrastinator by nature which drives Amy crazy and Amy is spicy when she gets annoyed, which Nick adores.  Together they are every marriage still trying to keep it real after almost two decades together while dealing with the not-so-fun parts of everyday life.

 

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Vista of a sisyphean mind series looks at the world in a unique perspective that is inspiring and motivating. The series is an exploration into the greatness of life.

 

 

 

 

coverpic-2011 Guenevere Lee, Leda and the Samurai 

Leda, a young woman who moved to Japan to escape her abusive family, is slowly adjusting to her new life. She’s learning Japanese, making friends, and enjoying the summer festivals. On the day of the famous Tanabata festival, she finds a small shrine – but when she steps out of the shrine, she steps into Edo Era Japan.

Trapped 400 years in Japan’s past, what follows is half fantasy, half historical fiction. Is her coming here an accident? Or does it have something to do with the sudden appearance of European ships off the coast? Leda must discover how she ended up in this situation, and how she can get back home – or if she even wants to go back.

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What made you choose publishing your work as a serial as opposed to a collection/novel?

Seitz: I do write novels in the traditional way, but writing Nick & Amy as a short story serial on Channillo gave me the opportunity to put something out every other week and get immediate feedback, which is not how writing a novel works.  It’s quite refreshing to show the world what I’ve been working on for a week, get a laugh or two, and then do it all over again, while working simultaneously on a novel project that no one will see for months.

Oga: I choose to publish my work as a serial because I don’t have a complete manuscript. It gives me to the opportunity to share the parts I have written and see how interested people are in the work. Also, the pressure to publish the next installment in the series is a good motivation to write. Writers love deadlines.

Lee: I wanted to write a serialization. I guess I was inspired by things like manga, which have contained stories within an overall larger arc – and can go on indefinitely. I was also romanticizing the turn of the century, where authors like Charles Dickens would publish their novels as serials, sometimes not even knowing the ending or how long it would be.

I like how flexible serialization is.

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I found this quote published in The Washington Post back in 2015, and I’d like you to comment on it:

Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity.  -Hillary Kelly, “Bring Back the Serialized Novel”

Seitz: There is truth that serial literature requires a reason for the reader to keep coming back for more, and maybe it works best as a cliff hanger for many serial stories.  But at the heart of any story, a hard cover NYT Best Seller or an online serial, isn’t that exactly what every author is striving for?  Spinning a story so thrilling or hilarious or mind-blowing that their reader can’t stop turning the pages though it’s hours past their bedtime.

Lee: You can’t tell me that modern novels don’t rely on cliffhangers. Have you ever read a YA novel? Look, cliffhangers aren’t bad, tension is not bad, motivating your readers to read the next instalment by getting them emotionally invested in a character is not bad.

A novel is like a movie, it comes out all at once. A serial is like a TV shows, building anticipation for the next chapter every week.

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What benefits have arisen with plot, character development, and/or voice as you write a serial?

Seitz: I wanted to write Nick & Amy as a series of realistic fiction vignettes, every day funny stories about a regular married couple that don’t necessarily build on each other, but add another layer to the relationship with each new installment.  As a serial, it’s been a fun way to play with building strong character development little by little in Nick and Amy, exposing deeper aspects of their marriage, relationships, and personalities through whatever daily adventure I’m putting them through.

Lee: I can experiment a lot more. I can have story arcs that focus on one particular character, or do a fun story that really has nothing to do with the overall arc, but adds to the atmosphere and the tension in the story. I feel like I just have so much more liberty telling this story.

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What do you think draws readers to read serial (non)fiction?

Oga: Brevity. Our attention span is getting shorter as there are more and more things vying for it. People are drawn to serial works because the instalments are succinct. Serial successfully heighten pace and suspense. It enlightens and entertains long enough to hold the reader’s attention. It gives readers breaks between instalments to get them interested again. Each instalment starts strong, finishes strong, and creates suspense to intensify anticipation for the next.

People also like the participation in following a serial. Without the ability to read ahead, people are on the same page in terms of discussions of the work. Everyone tries to keep up with the reading in order to keep up with the conversations.

Lee: I think people like the anticipation. They like being rewarded every week with a new instalment. They like to wonder between instalments about what’s going to happen next. It’s a kind of interactive way to read a novel.

What advice do you have for fellow writers who want to give serialization a go?

As with anything artistic: just do it. If you don’t like it, or it fails, you have nothing to lose. It’s all experience that will help you with your next project.

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Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments?

Oga: Comments are important. Good or bad, they reveal how readers perceive my work. I cherish comments a lot because they help me better understand my expression of thought and plots. Comments help answer a lot of questions for me. Did my work inspired the emotions I hoped to raise? Did it enlighten the reader as I’d hoped? What is the reader expecting in the next installments? Is my work gripping enough?

I use comments to write better.

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What advice do you have for fellow writers who want to give serialization a go?

Seitz: Give it a try!  Serial fiction certainly wasn’t in my wheelhouse, but it’s helped me grow as an author, forcing me to work harder at making a story tight, concise, and well done in less time and in less words.  It’s sharpened my skills as a writer and it’s been a fun learning curve.  It certainly helps to do some planning beforehand to decide what you want the series to look like, but beyond that the freedom it gives you makes the writing rewarding.  It helps to find it a good home for your serial, like Channillo, where the diversity of material, styles and authors is celebrated and embraced.

~*~

Many thanks to my fellow Channillo writers for their time! It’s important for us to challenge our writerly selves, just as it’s vital to expand our reading horizons. Channillo gives the opportunity for both. I do hope you’ll check them out…and perhaps my own books, too, nudge nudge. 😉

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I’ve also got the latest edition of my newsletter available for viewing! If you haven’t yet, please subscribe here.

Okay, that’s enough self-promotion. Be sure to tune in this month for another author interview, some thrilling music, and, of course, storytelling.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#Writing #ParentProblems: O Holey Night

“Mo-om, these pants have a hole in them.”

“Mom, can I throw this sock away? It’s got a hole.”

“Not THAT hat, Mom, there’s a hole!”

Since the start of school Biff and Bash have put holes in three hats, five pairs of pants, two pairs of snow pants, six socks, and one snow boot. Hell, Biff still  has a hole in his smile.

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It’s only taken, oh, EIGHT MONTHS for just one front tooth to show up.

The holes in the new Star Wars hat were particularly impressive. “What was he doing, growing horns?” said Bo when I showed him. Biff can only shrug as he kneels with his cars, the knees of these jeans already threadbare.

Unlike my grandmother, I am no seamstress. Better to find a pair of jeans at the thrift store for a couple of dollars than to poke my fingertips with a needle for hours. Unfortunately, this propels the vicious cycle of worn jeans wearing out faster with boys who love to crawl, kneel, wrestle, and so on. All I can do is keep the few pairs of still-kneed jeans safe for school while the torn pairs are worn on weekends. Surely God doesn’t mind seeing bare grubby knees in church now and again.

Curious: as a child, I never wore anything torn. Oh, we had hand-me-downs galore, but everything was always kept stitched and tidy. Perhaps it was a point of parenting pride for my mother, that even on so little, her children would always be presentable.

And to a point I have to agree: I can’t bring myself to take the kids on errands in their PJs. I’ll use my own spit to wipe a child’s face if I don’t see a bathroom anywhere. It’s a point of parenting pride that my kids are dressed and (mostly) clean.

But holes in knees, in sleeves? Pish. That’s what duct tape is for. The kids’ll outgrow those clothes soon enough.

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It’s the holes in character I will not abide. Not as a writer, not as a mother.

What do I mean by holes in character? Lack of empathy. Kindness. Imagination. Ever since my boys were toddlers I’ve had to pull them apart, bear cubs down to the clawing hands and vicious growls. I’ve feared one, even both, could grow up to be a bully feared by other children. Ever since my daughter discovered technology I’ve feared that she’ll let the virtual world dance its pretty colors to bewitch her, each new button click a chip at her creativity until it is utterly broken and buried beneath the hulking troll of apathy. I’ve seen these holes in other children. They belittle, dismiss, hurt. And the earlier these holes appear, the bigger they’re going to get unless they’re patched.

Mothers are often seen patching holes, but what of our own holes? Ever since the summer of stitches my confidence in safety has been torn wide open. I’m quick to see the worst-case scenario in everything. You say “trip to the park,” I say “Falling off the monkey bars.” You say “swimming pool,” I say “drowning.” You say “getting groceries,” I say “running into an old lady while fighting with the grocery cart and knocking over a display of glass olive oil bottles.” (And I can say that because this nearly happened. I managed to stop the cart after only one bottle fell and not all several dozen.) Point is, I’ve a hard time patching up my fears. Damn hard, after seeing the blood pour from holes in my sons’ skin.

But the holes in Bash’s eyebrow, on Biff’s forehead–they healed. These little bear cubs may fight now and again, but they help each other, too. When Bash was too tired to keep trick or treating, Biff asked for candy to give his brother. When Biff was sick, Bash gave him extra blankets and comfie animals to hug.

And Blondie? Oh, Blondie. Sure, she enjoys her game time, but even she grows tired of the screen. She can build up and take down Lego concoctions for hours. She’ll make up conversations between characters in her favorite comics, and later draw her own.

More than anything else, each child is filled with unbridled joy over sharing love. Blondie’s excitement to use her own money to buy presents for her brothers. Bash’s happiness to snuggle with me next to the Christmas tree through the dawn. Biff’s glee to stand with me in the church choir and sing the Hallelujah Chorus, his voice loud and proud, so excited he cheered for us all at song’s end. “That was amazing! Fist Bump! High Five!”

So their snowpants are patched with duct tape. So we go back to the thrift store for more pairs of worn jeans. We’re all of us frayed somewhere, but that does not stop us from living. That is the mark of strong character: for all the scuffs and tears upon us, those tears do not destroy what’s in us. My children remind me of that every day as they run, knees popping in and out of decimated denim, lost in yet another story of their creation. Holes are nothing to the binding threads of love and imagination.

As 2018 draws to a close, I want to give a special thanks to all who have supported me on my journeys as a writer and mother. Your support here gives me the gumption to keep my chin up no matter what shit life threw at me. You are all blessings in  my life I shall never take for granted. 

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Yup, these are mine. Couldn’t be prouder. 🙂

Now, let’s see what 2019 shall bring us, eh? Perhaps another novel or two? Perhaps some tales of adventure from my children real and fictional? Perhaps some naked mannequins glued to wings and hanging from the ceiling above a giant carousel while the Four Horsemen of the Apocalypse gather dust by the dead orchestra? 

Sure, let’s do aaaaaaaaall of that. 🙂

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#Author #Interviews: #IndieAuthor @wezlo on #family, #faith, #fantasy, & #photography in the #writinglife

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Reverend Wesley Allen is a delightful friend and fellow indie writer with a new book, In the Land of the Penny Gnomes.  Today we discuss our mutual love of writing fantasy, balancing family and the writing life, and more.  

On Family

I love this line from your “about” page on your site, Painfully Hopeful: “I hope that I can be a decent pastor, geek, father, and husband. It’s just sometimes I’m painfully aware that I’m not quite all that I want to be.” Let’s address your family first. You have a wife, two teenagers, and a baby. Just…I cannot fathom having a baby at this point, let alone with  teenagers in the house. Do you manage to squeak a little writing time in every day, or just on Sunday afternoons, or when? Does your family root you on in the writing process, or do you keep your stories to yourself?

I am also unable to fathom having an infant in the house. Still, he’s pretty cool and I’ve raised kids through adolescence so poopy diapers and crying isn’t as daunting as it used to be. When Bump doesn’t want to sleep at night, though, I get a bit cranky.

I do write a bit most days, but I’ve managed to write only one short fiction piece for my blog since Bump’s been born. I need to get into a mindset to write, and it’s been hard to find the space to get there. My imagination is still going strong, though, and I’ve got stories running around in my head. I also have to write a sermon every week, so there’s that.

And Sunday afternoons are not good writing days. My introverted brain is basically a bowl of oatmeal by Sunday afternoon. It’s all I can do to scream at the Eagles when they’re playing. (1)

My family really isn’t involved in my projects. My wife isn’t a fantasy fan, my daughter likes to pretend she doesn’t care (2), and my older son just kinda grunts at me when I mention I wrote something. Bump drools on my keyboard. I’m sure if I pushed things a bit more they’d show more interest, but I don’t feel compelled to do so. When I was growing up my family referred to my daydreaming state as “Wes World.” I could dive so deep into my imagination people could be screaming at me and I would barely notice — it was my place to be one my own with my thoughts. As my writing basically emerges from that space it continues to be a solitary endeavor.

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Duke of Gloucester Street – Williamsburg

On Faith

As a child of a preacher m’self, I know how one’s life merges to be one with the church sometimes. Personally, I like when storytelling allows me to separate from that environment, but there are ways when faith weaves itself into the fantasy world-building whether intended or not. Do you consider your faith to be a major or minor influence in your writing? How so?

I’m not sure I’d categorized it as “major or minor,” as that would imply faith was merely a component of who I am. Faith is the core of my being, it’s who I am.

But, because I’m quite comfortable with faith being who I am I do not set out to write “Christian stories.” In fact, using the word “Christian” as an adjective to describe a particular set of pop-culture media makes me want to throw up. I guess I’m with Tolkien — too much of what I see in “Christian” pop-culture is reduced to a blunt allegory which has deluded itself into believing it’s subtle. It’s icky.

At the same time, because faith is what I am, of course there are aspects of my faith which can’t help but be seen in my writing. But I try to evoke them as applicable expressions. The idea that good exists, that there is always a larger narrative, and that a people’s story matters all spring into my work though my faith. But I hope they resonate with any reader, and not just “religious” ones.

Having said all that, I am working on a devotional which works around short fiction pieces, but even then the pieces are there to provoke thought and not just telling people what to believe.

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Wissahickon Gorge

About the Pictures

On top of all this, you still find time to get out with your camera! Do you find the images you capture to inspire your storytelling, or do you enjoy time with your camera as a break form words?

Since I love to take Bump for walks, I’ve been able to keep up my photography hobby throughout his early months. I don’t know if photography is a break from words so much as it is permission to pay attention. I live in  my head, photography gives me a window to see the world. At the same time, I hate photographing people. I love landscape, as they don’t look at you funny.

And, yes, photography has inspired me to write. When I share photos on my blog they are accompanied by a short meditation, which helps me process what I’m seeing. And the third world I’ve created, The Kingdom of Parallel, was inspired by a photo I took at  Sunset. The story has evolved away from the inspiration that photo provided, but the world wouldn’t exist without it.

Click here for even more amazing photos!

About Techno-Joy

You’re also keen on using technological resources. I’m hoping to finally start using a program or two m’self, such as Scrivener. As a writer with multiple devices and obligations, which program do you find most useful for building and writing a fantasy world and why?

As you mentioned, Scrivener is huge. I’d be lost without that program, and version 3 on the Mac is superb. All my writing is done inside Scrivener.

For world-building Aeon Timeline is an application which helps me give context to my writing. I love visuals, and the character creation tools inside Aeon Timeline help me visualize how old the characters are at the time of the story. I have to imagine ahead of time, which takes out a lot of the guess work.

And then, interestingly enough, I love minecraft as a world builder. In fact, the first novel I completed, Welcome To The Valleys, was started because I wanted to write the story for the world I’d both explored and created. As I explored villages, terrain, and roadways I could visualize the world as a living space, which made it fun to write.

About the Book

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Now let’s talk about your book, In the Land of the Penny Gnomes. Not only do you have an omniscient narrator to tell the story, but the Narrator himself is a character that interacts with the young hero, Will. Can you explain the process that brought you to this writing choice? What have been the challenges of such a choice? The payoffs?

The Narrator is a combination of techniques both Terry Pratchett and Jasper Fforde use in their work. Pratchett is famous for his footnotes, in which the Narrator issues an aside to the audience. So my use of footnotes is an homage to him. At the same time, Jasper Fforde uses footnotes so characters can communicate with one another (3). These two techniques became the genesis of the Narrator, a literal bridge between the reader and the characters in the story.

The main challenge was to not have the Narrator appear to fix everything on every other page. I’m not sure he’s Omniscient in the usual sense, because he’s on the journey with Will. He knows things, but there’s still things for him to discover, which is unusual for the Narrator. The biggest payoff is what Pratchett discovered, breaking the fourth wall to have the Narrator speak with the reader is a great way to add some weight to the connection.

One of my favorite elements in your book are the unique traits that go into the characters, like Professor Nobody, the gnome fixed upon the creation of the perfect snack chip. What on earth (or elsewhere, of course) did you find the inspiration to gather up such traits, let alone names?

Professor Nobody was named because I loved the gag his name creates. The Narrator can say things like “Nobody smiled,” and every time he did it would make me laugh. Nobody is my favorite character to write, there’s a lot of depth in that mad scientist.

Bug was named just because I wanted a name to match his personality. His last name is really bad Koine Greek, and means, “Not of me.” So Bug’s name, though Bug is actually a  nickname, basically means, “Don’t bother me.” He’s unhelpful, grumpy, and points out the foibles of his own people group — which is something we are not supposed to do. Bug’s my hero.

Other names just… came to be. Though Grimby’s name is easy to confuse with “grimey,” which I enjoy.

The snack chip thing. I have no idea. I think Nobody pointed it out to me, if I’m honest, because it makes zero sense. I remember I liked the slogan “Snack Like Nobody’s Business,” which is a great pun on a number of levels, and ran with it.

While I have no idea how I came up with the whole snack chip think, their presence became a sign that he wasn’t giving up on The Realm. Nobody needed something to work toward, and what more ecould a deranged professor of Applied Imagination want than great snack chips?

Now I know you’ve got big plans for Realmian, what with saving imagination–and snack chip creation, and coffee, and Will–from pesky camouflaged lawyers in The Realm. Is there a sequel in the works with Bug, Professor Nobody, and the rest of the Penny Gnomes?

Yes, and I have you to thank for it, as you were the one who told me to keep exploring this world. In the second book the story will center around two the supporting characters I really enjoyed from the first book. It’ll follow Grimby the Dwarf and Fineflen the Darned Elf as they investigate a conspiracy to corrupt the Penny supply. The other characters will shift to supporting roles, with the exception of Sills.

Right now I’m mapping out the story in Aeon Timeline ahead of time, which will allow me to keep two separate story arcs in sync. This is fun, because it’ll be the first time I’ve tried to do this!

This is going to take a while. In the last six months I’ve managed to map out exactly two chapters!

If anyone wants to follow updates on The Realmian Adventures I encourage folks to follow @PennyGnomes on twitter. This is where I’ll be sharing updates, and where the characters sometimes decide they want to hijack the feed to add their own commentary.

1. And that’s if they’re winning. If they’re losing I get downright grumpy.
2. Which she sometimes forgets. She once told me she thinks Penny Gnomes should be a movie, but then remembered herself and shrugged with feigned nonchalance.
3. It’s complicated.

Aw, I was helpful! Well I can’t wait to see where you go next in The Realm, Wes. I think the cast change-up is perfect–just like Diana Wynne Jones in the Howl Trilogy. 🙂

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THIS HOLIDAY SEASON, GIVE THE GIFT OF WORDS

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Photo by NastyaSensei Sens on Pexels.com

I love giving books for Christmas: they engage and inspire over and over again. My kids are getting books, my husband’s getting books–words for everyone!

Feel free to give my book to people, too, nudge nudge. 😉

We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams. (3)

Know what? Authors would love to receive YOUR words for Christmas, too. Book reviews help writers reach new readers on Amazon and Goodreads. So spread some cheer this season by sharing your love  of your favorite stories online. We authors will love every word you say!

Read on, share on, and write on, my friends!

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#Lessons Learned from #RaphaelMontes: #Writers Don’t Need to #Write a Spectacle to Have a Spectacular Ending.

Last week’s post on Alan Silvestri’s score for Predator didn’t have any room to touch on the bombastic ending that was Schwarzenegger vs. Alien From Unknown Planet.

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Man, what a spectacle. Muscle and teeth and gutteral roars vs. creepy four-pronged jaws and lazers and bombs and stuff. Lazers! Helicopters! Green gooey blood! HUGE explosions! It’s an ending that has you knocking your beer over as you cheer for Earth’s Last Action Hero. Kick interplanetary ass, Arnie!

Now, what if I told you that the ending to Raphael Montes’ Perfect Days is just as powerful as the Predator’s time bomb?

Perfect Days doesn’t end with an explosion, or aliens, or any of that. It’s a novel of the thriller genre, a tale told of one man’s love for a girl and the lengths to which he’ll go–i.e., abduction, rape, and murder–to have her.

(Spoilers abound. I still recommend the read, if you can handle this sort of thing.)

Are you familiar with the concept of “bookending”? It’s a method I recommend to my students when they don’t know how to write a conclusion paragraph for an essay. You look at how you began your work, and see what element can be brought back in the end.

In short, set up in the beginning for the pay off at the end.

No, it’s not easy, because for once it’s a pay off you don’t want readers looking for. This element needs to be something it feels like characters have walked away from, discarded, grown from, etc. Such is the case with Teo, a student on the verge of graduating med school. The book opens during one of his last classes.

Gertrude was the only person Teo liked. The other students weren’t quite as at ease around her….Teo didn’t want anyone to notice how good he felt there. He’d walk over to the metal table with his head down.

There she’d be, serenely waiting for him. Gertrude. …

In her company, his imagination knew no bounds. The world melted away, until he and Gertrude were all that was left. (1-2)

Teo, our main character, has forged a relationship with a corpse. Not physical, but intimate. Opening this way, Montes not only shows readers how uncomfortable Teo is around other people, but how much his imagination fills in reality for him; for instance, when another student makes a conclusion about something, Teo wants to laugh, “And if Gertrude could have heard that nonsense, she’d have hooted with laughter too” (3). Teo “knows” Gertrude, even though Gertrude is not this corpse’s name. He’s studied this body, and imagined all the rest. When the class–and chapter–end, so ends his time with Gertrude, and Teo is “alone again” (4). The character must now move on from this point.

So readers move on as well, and see Teo attend a party with his mother and meet Clarice, a petite free-spirit whose brief conversation leaves him absolutely smitten. He uses the university database to find her and, after another encounter, ends up striking her unconscious and taking her to the flat he shares with his mother.

He felt bad: it was the first time he had thought of himself as a villain. By stuffing Clarice in a suitcase and bringing her home, had he become a criminal? (32)

(I just had to share that line. No, this isn’t asked sarcastically–Teo genuinely contemplates whether or not he’s done something wrong. What a killer bit of pov.)

51SfedaRD6L._SX325_BO1,204,203,200_For the majority of the novel, Teo has Clarice locked up in two different cabins Clarice has used in the past, cabins owned by others who are used to her coming and going. At one point in the first cabin they’ve settled into a routine of sorts, and Teo begins to open up about his personal life.

He even mentioned Gertrude….He told her a serious [sic] of funny anecdotes about things he’d done with Gertrude. Clarice found it interesting that he was friends with a much older woman and said she wanted to meet her….It made him a little ill at ease, as he didn’t want to spoil things by telling her that Gertrude was a corpse. (81)

Teo doesn’t talk about Gertrude again with Clarice, and as tensions mount in Teo’s determination to keep Clarice and avoid arrest, readers don’t think much about Gertrude, either. Teo kills Clarice’s boyfriend, rapes Clarice, and even severs her spine to prevent her escape.

Climax: Teo is driving off a ferry, certain Clarice is still unconscious in the passenger seat from the last dose of sedative. But Clarice suddenly yanks the steering wheel, and their car goes straight into a restraining wall. Teo wakes up in a hospital. Surely it’s all over, with her family and police present, asking questions.

Yet there are no charges.

He asks to see Clarice, and is escorted to her room.

When Clarice looked up at him…she stared at him with unprecedented interest… “I’m sorry, but… who are you?” (253)

She couldn’t remember having seen Teo before, or what had happened in the previous month or year…. She seemed truly perplexed that she was engaged. (254)

The advantage of her lack of memory was that he could tell her whatever he wanted; he exaggerated the details in order to make it all sound poetic and inevitable. (255)

As the last chapter progresses, we can’t help but think Teo’s won. He’s successfully avoided the police and familial scrutiny. He marries Clarice, and all is as it should be.

Clarice was having fewer nightmares, although sometimes she’d still wake up acting strangely, and it was very distressing–she’d shout and break plates of food against the wall, saying they’d been poisoned. Maybe their marriage wasn’t perfect, but there were much worse ones out there. (260)

Last page: Clarice is pregnant. A family! Teo’s happy, and “Clarice appeared to be too” (260). Teo’s overwhelmed with love when they learn they’re having a girl, and is about to speak when Clarice interrupts him.

She smiled at Teo and said, “A beautiful name came to me just now. Gertrude. What do you think, my love?”

**********BOOM**********

No last-minute duel. No savior to put all things to right. But BOOM nonetheless.

Why?

A few things.

First, we’re left wondering about Clarice. Did she really lose her memory? She still calls him “my love.” But such a name as Gertrude…oh, that does not come out of the blue. We wonder now if Clarice is no longer trying to escape, but to dominate. Perhaps she has plans of her own for Teo.

Speaking of Teo, is he going to panic and kill Clarice? He’s killed his mother’s dog and Clarice’s boyfriend, so the act is not beyond him. He’s never handled moments of Clarice’s superiority well at all. Yet she’s smiling at him, calling him “love.” Will Teo leave his wife and unborn child lifeless as he did the corpse Gertrude at the end of the first chapter, and be alone all over again?

We do not know. We will never know.

That name, that single little element, is Montes’ bookend. He took the single most vulnerable point in the Teo’s life and gave it a body–a lifeless body, but a body nevertheless. And like all bodies left unburied, they come back to haunt even the most resilient of natures. By waiting until the absolute last line, Montes leaves readers in the wake of a narrative bomb: we don’t know if blood will be shed, if foundations will be cracked, or if all will go on as before, with “distressing” moments that might, just might, lead to a peculiar food poisoning.

So as you work out your ending, writers, ask: What element from the opening chapters can help create a narrative bookend? Perhaps a person, a token, a place may return. It could be as monumental as a dream fulfilled, or as momentary as a single name whispered on dying lips. It all depends if you wish to leave your readers happily tired by the journey, or blinded by the bomb. Either way, they’ll return to you knowing thrills are hidden in every chapter, right down to the final line.

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All aboard…for the December Newsletter!

(Oh don’t you think I’m done with Alan Silvestri yet. I’ve got a word or three to say about his score for The Polar Express.)

Subscribe so you don’t miss another round-up of terrific offerings from fellow Indie creators as well as updates on my own projects. I’d be happy to share your work, too! Just contact me with your plug and I’ll include it in next month’s newsletter.

Read on, share on, and write on, my friends!

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#writing #music: Alan Silvestri II… Silvestri Harder.

As 2018’s National Novel Writing Month draws to a close, I thought I’d offer a little music to help those entangled in face-offs and final battles. We all could use a little muscle to pull us out and onward.

What better muscles can I give you than these?

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Alan Silvestri’s music defined adventure during my childhood: Back to the Future, Flight of the Navigator, and Who Framed Roger Rabbit come to mind. This powerhouse of a composer knows how to carry audiences off into the air with heroic brass and whimsical strings.

I know: you’re not here to start an adventure. You’re here because it’s time for you–and the characters of your story–to kick some villainous butt.

So let’s join up with the best of the best, the men of muscle who fly across the border and walk into a guerrilla nest without flinching. Men who chew cigars, sweat through camo paint, and say lines like “I ain’t got time to bleed” and sound tooootally bad-ass.

Predator isn’t a scifi-action classic purely because of Arnold Schwarzenegger’s performance, or only because of Stan Winston’s monster creation. Silvestri’s score plays a HUGE role in this story’s atmosphere, too.

Arnie’s military group is sent on what they think is a rescue mission deep in central America–until they find men of a previous “rescue mission” skinned and hanging from a tree. We see no evil, but we see its horror. Silvestri gives only a single, drum-like percussion, far off. An alien’s heartbeat, an echo of another nature. It’s never completely gone; rather, it hides in the rest of the orchestra’s bursts of harmony in the brass, strings, and percussion. The music sweeps up, sweeps down, all stealth and caution….until the two minute mark. The low brass of epiphany emphasizes the characters’ realization the situation is not what they presupposed.

Silvestri nails suspense with a moment when Arnold’s crew sets a trap for whatever’s killing them. The strings remain high, tight. No aggression in these first few moments, only fear–though no one wants to admit it. The combination of high strings and oppressive jungle makes characters and audience alike ready to snap under the pressure to wait. This moment often helps me add extra setting details to make the characters look hard for the villain as they wait for  the trap to be sprung. And you’ll know when the villain comes, all brass and drums.

Silvestri and violins, man…he just knows how to set them running up and down in arpeggios to quicken the heartbeat. With opening in a dissonance, we put our survival instincts into a panic. We run with the strings, and the moment they stop we skid to a halt. The brass and piano takes up the chase, hunting us, hunting the characters, both.

And climax? Ye GODS, Silvestri knows his pacing. The first minute is almost sweetly mysterious with the strings as we think we’ve won against the fantastic thing, this hunter. We can stand over it victorious as its strange insides are exposed to us…until the brass and piano begin. They begin a steady build, add the percussion, build. Then the strings start to run and you know you’ve got to get the hell out of there before evil steals your victory in death.

We all want our heroes to win the day, but we don’t want it to be easy for them–there’s no story without conflict. We gotta make our heroes scared. It takes some serious fear to make the final victory all the sweeter for characters and readers alike.

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Last-minute call for shout-outs to go in my newsletter! I’d love to  share what you’re up to with my readers. Click here to subscribe my newsletter, too!

 

 

 

Your input could also be a huge help for my next batch of Tales of the River Vine. I can’t decide who to write about next! Do you have a favorite character from Tales or Fallen Princeborn: Stolen that you feel needs some extra page time? Please let me know in the comments below.

Read on, share on, and write on, my friends!

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