#Lessons Learned from #MotherNature: #Inspiration for the #Monsters of #Fiction Hide Under Every Leaf.

With the eighteen gazillion snow days my kids have had this winter, reading’s been all but impossible. Cabin fever sets in sure and fast, nerves fray–you know the drill. It’s like the fall after our basement flooded, only now we can’t even utilize the outdoors much due to the extreme cold that sweeps in, sweeps out.

Yet here I am, determined to write a “lessons learned” post SOMEhow. Look to something I read a while ago? Well I could, but that would take some research time that I don’t have because my job interview for teaching full-time’s in…90 minutes.

AAAAAAAAAAAAAAAAAAAAH!

Don’t worry, this is NOT like the panic of yesterday. It’s just that I haven’t worked full-time since Blondie was born, making even the potential for this culture shift intimidating. As Bo says, though, it is NOT worth worrying about unless I actually get the job.

So, let’s divert from that bridge for a moment and think of warmer climes, where dew drops hug the tree leaves and a million lives scurry around us, out of sight. Every day, every hour, these lives are in life or death struggles to eat, fight, and survive. Duels over prey, wars over homeland. Nonstop action at every turn….

…until winter when everyone’s gotta hibernate.

I’m talkin’ about bugs.

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Photo by Pixabay on Pexels.com

Bash is our bug kid. He’ll stare at books on insects for ages. He’ll watch ladybugs and ants traverse across the sidewalk (until Biff comes over to stomp on them). The tiniest life fascinates him.

I forget how, but I stumbled upon a cancelled show still on YouTube that brought his love for bugs to his siblings. This show was a savior during the snowdaypacolypse.

I’m talkin’ about Monster Bug Wars.

Just listen to that cool movie-trailer voice they got to narrate this show.

Every episode is like this! “In this life and death struggle….For the centipede, will it be fight, or flight?…The katydid, katydidn’t.”

Okay, I made that last one up, but this narrator is full of dark and dangerous turns of phrase to make every showdown the most epic showdown of them all. You’d think you’re watching a wrestling match, or some action schlock movie (probably why like it, then, ahem).

But more than the voice, my attention was hooked by the bugs. For instance, check out this snippet on the moss mantis.

Look at that camouflage, all the little mossy-like bits on its exoskeleton. How it sways in the breeze like any other leafy growth.

Imagine something like that the size of a dog. A bear.

Suddenly those hooked arms and mandibles are pretty damn terrifying, aren’t they?

~TWO HOURS LATER~

How in Hades did I forget about the time difference?!

Okay, the job interview is done and done. A bit of rambling, a bit of awkward Loony Tunes-style vocal staggers into the phone, but I was me, and that’s…well, dramatic, to say the least. No different than I am in the classroom.

Anyway. Back to bugs.

As a fantasy writer, the pressure’s always on to create worlds unique unto themselves. This means I–and I’m assuming other writers–feel like we have to create from scratch. Yet when I look at creatures like this mantis or spider, I can’t help but wonder: why are we starting from scratch when such amazing monsters already live among us?

No, I’m not saying you make giant bugs be the monsters of your stories. What I am saying is that these creatures are a wealth of inspiration: the way they melt into their surrounding environments. Their weapons. Their weaknesses. Their fighting styles. The way they hunt, breed, survive.

Our world overflows with creations both beautiful and terrible. In the writer’s quest to bring the unique and never-before-seen to readers, we too often forget the wealth of unknown predators that move in our oceans and forests. Utilize the mind-blowing traits of such predators, and you’ll create a monster that truly terrifies characters and readers alike.

Speaking of creepy monsters in the forest that want to feast upon you, nothing says “Happy Valentine’s Day!” like a book about monsters, magic, and love. Check out my novel on sale for 99 cents!

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. (15)

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

JeanLee-nameLogoBoxed

Some days my #family shares amazing #writing #inspiration. Other days, not so much… #marriage & the #writinglife

In posts past I’ve mentioned I get inspiration from my kids–something they say, for instance, or a struggle they’re facing in school. 

There are other times, however, when inspiration is the last thing I get from my family.

Take this month. Writing’s been a tough racket, what with preparation for a new term, snow days, and teachers cancelling school for “professional development.” But I am a hearty Midwesterner and shall prevail! I continue working on the third Fallen Princeborn novel while prepping the first novel, Fallen Princeborn: Stolen, to go on sale for ALL OF FEBRUARY.

(Oh yeah. Watch out for that price drop. Tell your fantasy-lovin’ friends!)

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. (14)

I’m also brainstorming up some fresh’n’FREE Tales of the River Vine and a few other stories to be shared exclusively with newsletter subscribers.

(What? You’re not subscribed to the monthly newsletter yet?

*GAAAAASP* Fix that now!)

Anyway.

So I’m developing another project, one I alluded to a while back: a fantasy adventure story featuring twins who need to learn the strengths of brotherhood. (Can’t imagine where I found the inspiration for that story…)

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There goes Bash of the Yukon on another expedition…

I had an epiphany about what to name the brothers, but realized the names would require permission from a big-time person in order to pull it off. That meant having a title and rough synopsis worked out. Typing up a wee synopsis was one thing, but the title…ugh, the title. This is a title that must reflect fantasy, adventure, and NOT romance. For once, let’s have a story where protagonists don’t find love and/or sex in the plot. The title needs to reflect that absence. Something strong…otherworldly…

I poke the back of Bo’s neck, for surely Blondie’s math homework doesn’t have to be reviewed right this minute.

Hey. You’re a guy.

“Yeeees?”

I need your take on a title.

“Shoot.”

Race the Bronze Breath.

Bo’s face twists. He stifles a laugh…then gives up and lets it out. “Seriously?”

What? It’s racing. It’s fantasy.

Bo’s still laughing. “What’s that even mean?”

I…I dunno. I just thought it sounded cool and steampunky.

“Well racing’s fine. Racing says something’s got a time limit, and it’s, you know, tense. But what’s bronze breath?”

Okay, I get it, it doesn’t work. What kind of fantasy adventure title would work for dudes?

Bo without blinking: “Not Game of Thrones.”

That is not a title.

“Says you.”

I think about my brainstorm of race names, the current YA titles out there that are really long, a touch blunt.

How about Break the Centurion or Die Trying?

Bo throws down the pencil: “Again, what…are you trying to be Sergio Leone?”

Well then YOU think of a cool dude title.

“Racing Adventure with Marathon Quest.”

O-kay. But that doesn’t sound really dangerous.

“Super Killer Race of Deathly Death.”

No.

“Bloody Hearts of Death Kill the Dead.”

NO.

Blondie looks up from her fraction muddle. “Bloody Heart of the Dragon’s Throne!” 

Hush, that doesn’t…well, hmmm. I write it down anyway, even though I wasn’t planning on having any dragons this time round. Time for a squeeze and a kiss for my eldest.

Thanks, Kiddo. Now back to those fractions!

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A picture of Blondie and her bottle snowman, just because. x

Bo follows me as I scribble in my notebook, all the way down the hall where I plop down on our bed. I click the pen in that fast, annoying fashion Biff adores, and say:

The problem is I do want a bit of camp to it, like Death Race 2000. Suppose I can’t call it Lethal Prix or Killer Run.

“Not if you don’t want Roger Corman to sue you…oh hey! Let’s Get Sued! Great title. And then I can get an autograph.”

That would be first on your mind, wouldn’t it?

BloodDeathKillQuest. All one word.”

NoIdon’tthinkso.

A Good Day to Die Hard…oh wait. That’s kind of taken.”

Yyyyeah.

Killing Starfighters of Justice. Keep it vague on purpose so people question if the starfighters are killing people, or if we’re killing the starfighters.”

The grammar humor of Airplane! likely ain’t gonna translate to the teen male audience.

“Well then there’s only one title that’s going to reach those readers.”

What?

Amazonian Thrill-Whores.”

Boob Race.”

Okay, okay. I give up. Forget I asked–

Outpacing the Inevitable….wait for it…Boobs.”

OH WOULD YOU JUST STOP IT

Sooooo I’m still working on that title. It’ll come to me. Hopefully without the aid of Amazonian Thrill-Whores, but who knows…

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.

~*~

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.

~*~

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.

~*~

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.

~*~

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.

~*~

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.

~*~

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

An #Author #Interview with @Celine_Kiernan, Part 2: #writing #characters to hook #readers of any age

199_Celine_webCeline Kiernan’s critically acclaimed work combines fantasy elements with the exploration of political, humanitarian and philosophical themes. She is best known for The Moorehawke Trilogy, a dark, complex trilogy of fantasy YA books set in an alternative renaissance Europe. In this second part of our interview, I ask Kiernan about writing characters and storytelling for a Middle Grade audience in her latest book, Begone the Raggedy Witches.

You created some amazing characters when you wrote The Moorehawke Trilogy. The trio of friends in the first book, The Poison Throne, are delightfully unique, genuine, and engaging. So much can happen in five years, especially when one changes from a child to a teen. What do you feel was the most challenging aspect of writing teenaged characters for The Poison Throne as opposed to writing them younger, or as fully-grown adults?

I didn’t find it a challenge. To be honest, I just write my characters as they are in my head. I make no conscious decisions re market or target audiences or anything. A book occurs to me and I write that book.

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Razi, Christopher, and Wynter of The Poison Throne

I think young characters can be tempting to write about, because it’s a time of life when you’re not too much tied down to the minutia of daily life (paying bills, feeding babies, getting to work on time) and so your mind can be better focused on big issues – and freer to physically engage with changing injustices. Everything is so new too – first love, first sex, first meaningful encounters with death, injustice, triumph, philosophy etc. In Resonance, however, the young characters are very much the working poor and so their minds are on how to get and keep work, how to pay the bills, how to survive in an unsympathetic society, while also battling the uncaring supernatural forces which want to use them up and discard them. In Moorehawke and also in Begone the Raggedy Witches, there are many older and middle-aged side characters which bring balance to the younger, innocent and more idealistic main characters.

Now the heroes of Into the Grey caught my attention for a different reason. Here, the protagonists are twin brothers. Being a mother of twin boys m’self, I find this particular bond both fascinating and exasperating. As a writer, what led you to select this specific kind of protagonist duo to head the story as opposed to, say, twin sisters?

41qspFfxpCL._SY346_Funnily enough there are a lot of twins in my books. Ashkr and Embla, the twin brother and sister, in Moorehawke; Dom and Pat, the twins in Into the Grey. Though it’s never made much of in the book I also always think of Aunty and the Queen in Begone the Raggedy Witches as being twins. I also have twins in two of my unpublished novels (brothers in one, sisters in the other) It had never occurred to me before to explore why, but I do think it’s probably because of my fascination with the different paths people take in life. What could be more interesting than two identical people, starting from an identical base-line, growing into individuals?

The twins in Into the Grey had to be boys as it was specifically a boy’s experience of war which I needed to explore in that narrative.

Now this year you published Begone the Raggedy Witches, the first book of a new trilogy. Unlike your previous works, this trilogy is geared for Middle-Grade readers. What are the benefits—and challenges—of writing this story for a slightly younger audience?

None really, to be honest. I just approached it as I always do. There was no historical research to these books, though, I guess that’s one difference. I was writing purely to explore personal and sociological themes within a pure fantasy set up. But the books didn’t feel easier to write than the more historically based ones. In fact, they’ve taken me longer than most of my other books to complete. (Mind you, this is happening more and more – I think it’s because I’m better aware of the craft now. My first draft takes longer to produce, but nowadays they’re more complete and better polished than previously.)

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Okay, I just have to end on the first line of Begone the Raggedy Witches, because it is KILLER:

“The moon was strange the night the witches came and Aunty died.”

Ye gods, we’ve got time, intrigue, magic, and doom all packed into one sentence! How on earth did you create this first sentence, and do you have any tips for other writers in creating that killer hook of an opening line?

The first chapter is nearly always the last thing I write. That’s not to say I have written a first chapter ( I write liner narrative, so I work from the start to the finish of every book) It’s just to say that I always go back to the first chapter and refocus it so that it better leads into the narrative. By the time you get to the end of your novel you’re always so much better tuned in to what the themes are, what the characters’ motivations and personalities are etc. etc., the first chapter should evoke or foreshadow these things, I think. Make a promise to the reader as to what journey this novel will bring them on. Often you can’t do that properly until you’ve taken the journey yourself. Funnily enough though, the first lines of most of my books have stayed the same through all the drafts. I can’t explain why. I think it might be because they’ve always been the point from which I enthusiastically dived into the process of starting a new novel. That excitement and enthusiasm doesn’t always last for the whole long, siege-like process, but its almost always there for the first line.

“The moon was strange the night the witches came and Aunty died.”

“We were watching telly, the night Nana burnt the house down.’

‘The sentry would not let them pass.’

‘For a moment, the Angel looked directly at him, and Cornelius’s heart leapt with joy and dread.’

All these lines were bringing me somewhere. All of them were promising me something – I had no choice but to follow them onwards.

My deepest thanks to Celine Kiernan for sharing her stories and experience in the writing craft. It’s an honor to speak with one whose creativity has influenced my own imagination for decades. Please check out her books & her site at https://celinekiernan.wordpress.com/.  Be sure to share a review when you read her, too!

Every Reader Matters!Thank you, dear readers, for buying Fallen Princeborn: Stolen! 

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.It’s still hard to believe my debut novel is out in the world. This story was born the same year as my daughter. Like Blondie, Stolen has gone through many growing pains before setting out to forge its way through the world (or elementary school–that’s epic enough for Blondie). Every time I see a purchase or read a review, my soul goes runnin’ through the clouds. To those who’ve read Tales of the River Vine or Stolenplease share your thoughts with me on Amazon or GoodreadsYour reflections mean all the world to new writers like me!

Shouting for Shout-Outs Again!

Now that we’re halfway through November, I’d like to start gathering up kudos and plugs from fellow creators to share on my newsletter on the 1st of the month. If you’ve a book, an album, a site, or all of the above you’d like to share with new readers, please email me and I’ll hook you up. 😉

Read on, share on, and write on, my friends!JeanLee-nameLogoBoxed

 

 

 

 

An #Author #Interview with @Celine_Kiernan, Part 1: #writing & #worldbuilding in #fantasy #fiction with a little help from #history

199_Celine_webBorn in Dublin, Ireland, 1967, Celine has spent the majority of her working life in the film business, and her career as a classical feature character animator spanned over seventeen years, before she became a full-time writer. I am honored to spend this week and next sharing her thoughts on world-building, research, character, audience, and hooks.

First, let’s talk about the imagination behind the worlds. I see on your biography you spent years in film and animation. What drew you to visual storytelling as a profession before written storytelling? How does your work as an animator influence the way you write today?

 

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Illustration of Chris and Wynter from Poison Throne

From the moment I could hold a pencil I was always either drawing or writing. In terms of satisfaction, I don’t think there’s a dividing line between the two disciplines for me. But at different stages in my life one has dominated the other by the simple fact of making me a living. At the age of nineteen I left college for an apprenticeship with the brilliant Sullivan Bluth Studios, and as a consequence of that went on to a 25 year career as a classical character animator (Land Before Time, All Dogs Go to Heaven, Anastasia, etc.). Animation is a great love of mine ( I animated the book trailer for Raggedy Witches and it was tremendous fun)–

 

 

–but it’s not really ‘story telling’ for me. It’s more akin to acting or dancing, where you’re using your skill to enhance or express someone else’s story. To me writing is my true story-telling outlet. You’re god of your own universe in writing. You get to explore the themes you want to explore, with the characters you most want to be with, in a world entirely of your own invention. Its purity has no equal. (I am a compete sucker for graphic novels, though. The combination of pure story telling and visual representation there is intoxicating. One day someone will offer to pay me to sit down and draw up one of my own scripts, at which stage I may just implode with happiness. Until then I get great joy in drawing bookplates and small illustrations for readers who contact me about my stories.)

I love utilizing the world around me as a foundation for world-building, which means Wisconsin’s landscape is a heavy influence in my work. Into the Grey and Resonance are both set in different historical periods of Ireland: the former in the 1970s, and the latter in the 1890s. What logic led you to choose these particular periods for these stories? Are there any pieces of the Ireland around you that helped inspire the settings? 

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Book plate for Into the Grey

Both Into the Grey and Resonance are set in very specific time periods due to the long and involved back stories which feed into the protagonists’ experiences. Although they are both readable simply as supernatural adventures (Into the Grey is a haunted house tale of ghostly possession; Resonance a story of inter-dimensional aliens and ‘vampiric’ immortal humans) there are deep historical roots to both that not only feed the story, but also the themes that I was exploring as a writer. For instance, Into the Grey explores the divided nature of Ireland’s history and the way our view of our selves and our lives is warped by the stories history tells about us. Resonance explores the value human beings place on themselves and on others, what does it mean to be alive, to be ‘worthy’ in other peoples eyes, etc. These underlying themes are the reason I write in the first place – I write in order to explore the world around me. But I love the stories to be readable as adventures too, to be scary and fun and exciting (in as far as you can ever anticipate what others will find scary and fun and exciting. I’ve found it’s best to just please myself in that respect and hope at least some others will enjoy them too.).

OLYMPUS DIGITAL CAMERAThe mansion in Resonance was deeply influenced by the exterior of Belvedere House in Co Meath and the fabulous interior of Bantry House in Cork, in which my son shot the linked video. (Bantry House is not at all spooky, but this video was shot as a specific tribute to Italian horror movies, so it gives the place the exact frantic, off kilter vibe that the I wanted for the later scenes of the book. It even has a dollhouse – though, admittedly, this one lacking a blood soaked four-poster bed!)

Question about your Moorehawke Trilogy: research. Clearly you did your share of research on medieval life to transport readers into the castle’s kitchens and secret passages. Ugh, that research! I know some writers love the research—friend and author Shehanne Moore does a ton of research for her historical romances, whereas I only research when I have absolutely no other choice. Now granted, that’s partly because I just want to write and work out the nitpicky things later, but the other part is that I get so overwhelmed in the data I can’t decide what details are necessary for the narrative’s clarity and what’s minutiae. Can you share some tips on how to research productively and selecting the best details to ground your readers in the setting?

I usually have a book in my head for a long time before I start writing it. For example, when my first agent took me on I was just finishing up writing The Poison Throne, the first of the Moorehawke trilogy. I still had to clean up draft one of Crowded Shadows and still had to write all of Rebel Prince. There was years of work ahead of me on Moorehawke (taking into account editing etc.) but I arrived at the agent’s with a biography of Harry Houdini in my hand, my reading material at the time. I’d already consumed many books on the history of the American slave trade and was nibbling away at websites and articles about the history of Jewish persecution in Europe. I knew that all of these things would feed into the characters and setting of Resonance, which was the book I planned to write after Moorehawke.

download (2)If memory serves me, it would be at least two years before I started draft one of Resonance, but at that stage I would have had over three years of historical research floating around in my head. I do this with all my books, this years of reading before writing. It means that when I start to write, my story and characters are already pretty firmly grounded in a time, place and setting. They live for me already. So, in a way, it feels like I’m writing about contemporaries. I’m used to the world they live in, and the relevant details settle naturally into the narrative. As I write then, it will be small things that need clarifying – was that type of knife available then? Did they eat that kind of bread? Would they have had access to carriages, to time pieces etc. etc. – and those things only crop up in the narrative if they’re important to the scene. You can quickly check them and move on with the story.

I do the same with all my novels (at the moment – while writing the Wild Magic trilogy – I’m consuming biographies from the 1700s, trying to understand the lifestyle and mindset of the people I hope to populate a future novel with.).

Don’t forget too that editing is a writer’s best friend. You should feel free to put as much useless trash into the first draft as possible. If it makes you happy or interests you, put it onto the page. You can always cut it later (as I’ve got more experience, I’ve learned to cut more and more. I’m far more spare a writer now than I was at the beginning.)

Another element in The Moorehawke Trilogy I LOVE is your world-building. You base the world in an alternative medieval Europe, where cats can talk to people and ghosts are common to see, but religions such as Christianity and Islam have a strong presence. You also explained much of the inner workings of castle life without making readers feel like they had wallowed into info dumps. Exposition can be such a dangerous line to walk in epic fantasy—how on earth did you craft those paragraphs to help readers learn your world without slowing down the narrative?

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Tattoo design for a Moorehawke reader

 Thank you, that’s so nice of  you to say. I do feel that one person’s excruciatingly slow narrative is another person’s meaty delight, so I think the best approach is to write as you like to read and try and be honest to that. However, it’s a good idea to ask yourself in edits whether the information is truly important to the story itself – whether it furthers the readers understanding of the characters, or the plot; or whether it nudges them deeper into the mood or atmosphere of the scene. If it does any of those things, then it’s working for you and you might consider keeping it. Get honest beta readers too – people who will tell you where and when the story has begun to slow or drag for them. Try and get a few of them. If they all tell you that a specific portion of the narrative is a slog for them, then you need to consider cutting a little deeper or refocusing. Make sure the narrative is telling the reader something new or important, and that they feel rewarded by the read.

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Stay tuned next week for more from Celine Kiernan! Now pardon me while I, an 80s child raised on Bluth films, fan-girl squeal for the next several hours. To meet a storyteller of powerful fiction who also helped create the visual stories from my own childhood is soooooo awesome! EEEEEEEEEEEEEEEEEE!

Ahem.

Time to be professional.

Stolen-KindleCvr-MARKETINGI’ve more thanks to share with wonderful indie writers who took time to talk to me about my novel, Fallen Princeborn: Stolen. 

+ Writer and Environmental Lawyer Pam Lazos shared such a lovely interview–I blushed when she called me “a writer’s writer!” Thanks, Friend!

+ Young-Adult Sci-Fi Author S.J. Higbee wrote both an interview and book reviewThank you SO much!

+ Writer and fellow Wisconsinite Jon also wrote both an interview and book review, and on top of shepherding a church, too! You’re too kind.

These are talented writers with stories of their own to tell, so I hope you check them out. Please be sure to share your own thoughts on Stolen or my FREE collection Tales of the River Vine on Goodreads or Amazon–I’d love to hear what you think. 🙂

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

JeanLee-nameLogoBoxed

 

Surprise #Countdown! My #debut #darkfantasy #YA #novel Fallen #Princeborn: Stolen will be #FREE on #Halloween!

Eight years of writing. Rewriting. Creating. Destroying. Crying. Laughing. Dreaming.

Now, after all those years, it’s just a couple more days until Fallen Princeborn: Stolen is released.

Let’s get into the mood for tricks and treats by stepping out and enjoying the bounteous harvest of pumpkins…and fellow writers. 🙂

My many, many thanks to these comrades in words for sharing their thoughts on my writing, or letting me share a bit of myself on their sites.

TalesRiverVine-Cover-COLLECTION-wBranchesWriter and reader Cath Humphris provided a lovely book review of one of my Tales of the River Vine some time ago. I’d love to share it here now!

 

 

 

 

 

Laurel Wanrow_author photoFellow Indie fantasy author Laurel Wanrow interviewed me on her site not too long ago. Read it here!

 

 

 

 

warmerstar21Painter and writer Sue Vincent invited me to share some imagery from Wisconsin and how the landscape inspires my writing. Check out the post here!

 

 

 

 

More guest post links and reviews will be harvested and shared over the next few days. If you have already read one of my stories, I’d love to hear what you think! There’s plenty of room on Goodreads and Amazon for your thoughts.

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

JeanLee-nameLogoBoxed

#writers, when good #storytelling requires #fieldresearch, you better be prepared.

I’ve been putting it off for months. Last week’s interview with Laurel Wanrow, however, brought matters to a head.

It’ll take too much time. C’mon, is it reeeeeally necessary for the sake of the story? Just watch a video or something.

Jean, you’ve got no life experience for context. No member of your family ever did it. No mere video will give you the sensations and emotions, to build upon for the plot and character development.

So what?! I can still make up stuff.

Jean, you gotta do it.

No!

You gotta.

I don’t wanna!

Do you care about the story or not?!

…Yeah.

Then you go in there and face that source of embarrassment and anxiety.

NO NO NO NO NO NO!

If you truly care about your next Tales of the River Vine story, you must…

…have a go at canning.

My ineptitude in the kitchen is legendary. I’ve started no less than three fires in my oven. I’ve burned food to the bottom of pots so badly we had to throw the pots out. Even the most basic of cookbooks goes all twisty-turny in my brain so that I switch ingredients, switch steps around, mix up cooking times, etc.

But field research isn’t about doing what’s easy, or doing what we already know well. It’s time to step outside those comfort zones and experience something new, dammit!

Now granted, there’s only so much one can spend in the name of field research. It’s not like my family’s budget allowed for me to take a hot air balloon ride solely for “experience” to write “No More Pretty Rooms.” I simply drew on the experience of parasailing with an improperly buckled harness. Puh-lenty of excitement and terror in that memory from the teen years.

So to begin this adventure into canning, I get some books from the library with emphasis on making small batches with natural ingredients.

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(Yes, I was won over by Marisa McClellan’s inclusion of many pictures so I had a clue what the finished product should look like.)

I poured through the recipes with focus on canned fruit. Something with a realistic fruit for Wisconsin, and with minimal ingredients to befit an impoverished pantry in the wilderness. (That, and fewer ingredients means a smaller dent on the food budget.) Gimme something with five ingredients or less, you books!

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Aha!

Look at that: four ingredients. Peaches are…okay, they’re a bit of a stretch, but doable, as peaches supposedly came to the American colonies in the 1600s. Since Wisconsin became a state in the 1840s, it’s reasonable to expect peaches are in the state by the early 1900s, which is when “Preserved” takes place. The only other items I need are a lemon, some sugar, and bourbon.

Welp, the kids weren’t gonna touch the stuff anyway.

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That be a lot of peaches.

Okay. I gotta just hack them up to get the pits out, boil the jars, boil the fruit and then plunge them into ice, skin them, cook sugar water, pack peaches, pour some cooked sugar on them, add the bourbon, then cook the lot. Sounds straightforward enough.

So, first: a pot and a round cooling rack.

You know, the round cooling rack YOU DON’T HAVE.

NO! I WILL do this! I just need to utilize that beloved resource most assuredly available one hundred years ago: The Internet.

Aha! I can build one of my own with aluminum foil! That’s…not entirely appropriate, but at this point, I don’t care. I didn’t buy 6 pounds of peaches for nuthin’. I need the sensory experience of canning, not the…you know, technical whozamawtzits.

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With foil grid thingey in place, I can start boiling the jars. I’m only making four pints’ worth, so I can get these jars done in one go.

Eeeeexcept they don’t fit in our pot.

Well…whatever, I gotta slice the peaches up.

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“Eeeew, peach brains!” says Bash, all too eager to poke’em around. Blondie makes puking noises. “I’m never eating peaches again.” Biff just shoves a peanut butter sandwich in his mouth and continues reading his Calvin and Hobbes, devoid of interest.

“Scoot you, Mommy’s workin’.” I go over the book’s directions again to see what else I can do while the jars are heated. Hmm, I gotta simmer the lids, okay, and then cook sugar water into syrup, and boil the peaches for one minute at a time to be tossed into the ice-water for peeling.

Well I can’t wait to see you swing that, Jean, since you only have TWO WORKING BURNERS on that stove. 

Bo comes in from work to find the kids munching supper and me staring at the stove, utterly flummoxed. “Well?”

“This is going to be an epic failure,” I say, and lob another peanut butter sandwich over the kitchen counter to Biff. “We don’t have a stock pot or the right cooling rack. And we don’t have four burners.” I tip a tablespoon’s worth of  hot water from our electric kettle onto a small bowl with the lids.

“Waaaaaaaaaait, wait wait.” Bo puts his lunch cooler down and looks at the directions. “You did read this before you got started, right?”

“Yes!” I’m all indignant about it, but how well did I read it, really? I was so fixed on finding a recipe with minimal ingredients, let alone fixed on canning in general, that I didn’t once stop to study the logistics of it all. I just assumed one needed a pot, some, jars, and some fruit. Wasn’t that how it used to be?

If field research is to be helpful, we can’t treat it as some slipshod affair. One can’t try ice fishing without the right gear. One can’t learn to sew without certain materials. So one sure as hell ain’t gonna can fruit unless she’s got some basic tools like four working burners on a stove. Had I bothered studying the recipe’s logistics, I’d have seen the futility of this field research and saved myself a lot of time…not to mention six pounds of peaches.

“Honey. Schmoopie. Darling.” Bo takes me by the shoulders and kisses my forehead. “I love you. I love how smart and creative you are. You’re beautiful. You’re amazing. You’re not afraid to try new things outside your comfort zone. But with all that research and prep, you’ve been foiled by boiling water?” He turns off the burners, pulls down the Halloween Oreo cookies for the kids.

“No. I’ve been foiled by that flippity flappin’ stove.” I harrumph and try to peel the peach skins, despite the peaches not even being ripe enough for this exercise, or cooked long enough, or cooled long enough.

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Of course, it doesn’t work.

Hmm. Maybe I can utilize my frustration into the narrator. Maybe he doesn’t get the canning done the way he normally does because he’s being distracted by taunts over transformers and peach brains and grilled cheese and…maybe not that last part, but still, there’s an emotional bit of field research done here.

And a wise lesson learned, too:

GET A NEW STOVE.

No, no…well yes, there’s that.

Always have a chest freezer in case you end up with two baking trays filled with peaches that will hopefully keep for a winter’s worth of peach cobbler.

Yes, okay, I GET IT. My point, patient writers and readers both, is this: never let ambition lure you into the field before your creativity–and your common sense–are ready.

coverOctober is almost here! That means a new installment of my monthly newsletter will be hitting your inboxes on the 1st. I like giving kudos to kindred creative spirits in my newsletter, as well as sharing updates about my Fallen Princeborn Omnibus and other writing endeavors. If you haven’t subscribed yet you can do so here

 

 

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

 

JeanLee-nameLogoBoxed

 

 

#writerproblems: #creating #trauma in #character #histories

Nobody cries crocodile tears quite like Bash.

“This is a SAD BIRTHDAY!” he wails, complete with a “WAAAaaaaAAAAaaaa” that could drown out a fire truck. My mother holds him, soothes him, to no avail.

Why the tears? Because “There are NO TOYS ARE PRESENTS! I WANT A TOY!”

Meanwhile, Biff sits content with his new collection of Disney Cars stories, and Blondie–who already shed her tears over the fact that today isn’t her birthday–eyes the cupcakes, knowing she at least gets sugar and a race car ring out of the deal.

Despite having received toys at the party hosted by in-laws less than 48 hours ago, Bash continues sobbing until bedtime. “This was a SAD BIRTHDAY,” he declares again, thoroughly traumatized.

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Annoyed as I am, I can’t bring myself to scold him for his meltdown. Our basement flooded two weeks before his and Biff’s 6th birthday, sending the house into chaos. Everything is everywhere. Stuff’s crammed into the garage, piled in the living room. There’s a mattress and box spring tipped on their sides in the hallway. Decorations are somewhere in the labyrinth of tubs frantically filled as water seeped up through the seams of the house’s foundation. We’re all stepping on each other’s toys, books, and nerves.

It’s lousy.

But is it traumatic?

Sure, if you spin it right. Horror fiction’s got a knack for taking anything–like a ruined birthday party–and turning it into motivation for a killing spree.

But if you’re not out to birth a slasher, then what qualifies as “traumatic”?

TRAUMA : a very difficult or unpleasant experience that causes someone to have mental or emotional problems usually for a long time. medical : a serious injury to a person’s body.      Merriam-Webster Learner’s Dictionary
So often trauma is used as the seed to germinate our characters’ motivations. We want our pro/antagonists compelled to act in such a manner as to drive the narrative forward. Sometimes that drive comes from the goal that lies ahead: the love interest, the home, the chance for redemption, etc.

 

But sometimes that drive comes from what lies behind in the histories of the characters, and what lies behind them is often traumatic.

The most popular “trauma” I find in storytelling is personal loss. Take comic books, for instance. How many become superheroes because they lost a loved one? Batman–parents. Spider-Man–uncle. Green Arrow–parents. Punisher–family. Nightwing–parents. Flash–mother. Captain Marvel–parents. Daredevil–father. The list goes on for a looooooong time.

Now I’m not saying that personal loss isn’t traumatizing. I should know: I’ve watched grandparents waste away. I drove to the hospital thinking my father ill only to be told at the door he’d died of heart failure. Everyone else already knew, but didn’t want to say anything until after I’d arrived.

Loss fucking sucks, and you’re damn right it changes you.

But there is something cliche about a backstory of personal loss driving one to heroics. Must a character always become a warrior for justice when his parents are shot in a dark alley?

51j9XTR5oZL._SX324_BO1,204,203,200_No. Take Jude in Holly Black’s The Cruel Prince. A Fae general comes into her house, kills their parents before her eyes, then takes her and her sisters back to the land of the Fae to raise them as his own. Is Jude driven to heroics?

She kills at least two people and readies herself to kill more out of loyalty to her new Fae court. She’s got the drive and calculating mind of her “new” Fae father.

Not sure what Bruce Wayne would make of that.

Trauma doesn’t require death, either. Consider Starlight from the comic book series The Boys. Of all the young superheroes, it is she who’s given the chance to leave her ultra-conservative group Young Americans and join the Seven, the most powerful group of heroes on the planet. She gets there, thrilled to take the last test and make a difference…

…only to discover the test is having oral sex with Homelander and two other members.

Do they force her? Use their own superpowers to render her helpless?

No.

Starlight consents.

And for the rest of the series she has to struggle with that decision and all its consequences.

Trauma’s not just about losing a piece from our lives, but a piece of ourselves. I know this first-hand. When your body becomes someone else’s thing, you don’t want it. You don’t want to take care of it. You want it to remain separate, the real you buried in the bile churning at the bottom of your gut. You separate your soul from your body because if you don’t, then your soul’s as worthless as your body, as much a nothing to be spat upon and left in the alley. That separation means survival.

But survival and living with oneself are two very, very different things. Trauma, from my experience, does not inspire love.

More like the opposite.

We survive. And we hate that we survive.

Athanasius-TitleImageAthanasius, one of the little boys in my first short story “The Boy Who Carried a Forest in His Pocket,” was so desperate to flee his “survival” of an abusive home that he happily left with the first stranger he met. Fallen Princeborn: Stolen opens with Charlotte running away from an abusive home. We learn in the opening pages that she’s a fighter, so much so she’d rather punch out your teeth than listen to you talk.

That drive to violence–to hurt others before they can hurt us–that’s what trauma teaches us. This can easily drive a character to do terrible things to those around her. But it is also this drive that can be nurtured to make one want to defend others before they get hurt. It all depends on the character’s environment when the seed of trauma is planted.

Again, there doesn’t need to be some dark, extraordinary experience for a “traumatic event” with long-lasting impact. In my serialized novel Middler’s Pride, Meredydd recalls a moment in childhood when an evil sorcerer attempted to curse her family’s land, but was thwarted when child Meredydd interrupted the spell. Sounds pretty traumatic, running into an evil sorcerer. Yet Mer’s driven, obstinate attitude was the same before and after this event. Apart from shaking hands, her body’s the same before and after this event. So what drives her onward into the story’s narrative?

Markee'sA childhood without affection. No one abused her, killed a loved one in front of her. Heck, the girl never even broke a bone, or went a day without a full belly. But year after year of watching her step-siblings receive love and attention while she must catch scraps of love from others outside her family…that can hurt far more than any magic curse.

So consider carefully, writers, whether or not your character truly needs trauma in her past for present-day motivation. Death can make its mark, but sometimes the mark need only be a scar, a touch, a moment of undulated terror. Or perhaps it need only be the gathering of little things, subtle as water beneath the ground to eventually flood over your character, altering her nature for the better.

Or worse.

PrettyRooms-TitleImageAnd what natures are to be found in one pretty little room beyond the Wall? Find out in “No More Pretty Rooms,” the fourth installment in my short story collection Tales of the River Vine, coming September 15th!

Once upon a time, in the hinterland behind a wall of ancient magic, a cruel prince was imprisoned with his fellow shapeshifters. He was born of a wicked king and a very wicked queen, and is ruled by a beautiful but evil mistress who’d slithered up from the Pits below…. Is redemption possible for those who feed on the hearts and dreams of men?

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

JeanLee-nameLogoBoxed

 

#lessons Learned from @HollyBlack: Start the #storytelling with #writing the departure from the #characters’ normal.

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Snagging readers is always one of the greatest challenges writers face. First fifty pages nuthin’. We gotta grab readers in the first five pages. Heck, if we can’t grab an agent or publisher with the first five sentences, we are out of luck.

Holly Black establishes just enough intrigue within her first lines of The Cruel Prince to hook readers and keep’em on the line until the last page. Let’s dissect a few of these opening sentences, as well as the entire first chapter.

(Yes, I said entire first chapter. Don’t groan yet.)

Prologue:

On a drowsy Sunday afternoon, a man in a long dark coat hesitated in front of a house on a tree-lined street. He hadn’t parked a car, nor had he come by taxi. No neighbor had seen him strolling along the sidewalk. He simply appeared, as if stepping between one shadow and the next.

Inside the house, Jude sat on the living room rug and ate fish sticks, soggy from the microwave and dragged through a sludge of ketchup. Her twin sister, Taryn, napped on the couch, curled around a blanket, thumb in her fruit-punch-stained mouth. And on the other end of the sofa, their older sister, Vivienne, stared at the television screen, her eerie, split-pupiled gaze fixed on the cartoon mouse as it ran from the cartoon cat. She laughed when it seemed as if the mouse was about to get eaten.

The first four sentences take care to show something abnormal is in the works. While the first sentence of “a man in a long dark coat” sounds ominous, it’s a common sort of ominous–oh no, a dude in a coat. Aaaaah.

The next sentence plays upon our reality’s norms and begins to trim them off: no car, no taxi. There go the typical, nondescript forms of transportation. Black’s not going to insult our intelligence and list other vehicles not used, like RVs, semis, and so on. If my son Biff’s taught me anything, it’s that kids will notice any vehicle bigger than a car, and they will make a big deal about it. “Mommy, a truck! Mommy, a bus! Mommy, an RV!”

The third line continues to nullify yet another assumption: he didn’t walk there. If Black can say no neighbor saw him “strolling along the sidewalk,” then that means neighbors are currently outside to witness such things.

But no one did. Which means that when “he simply appeared,” he literally did just that.

Now that is abnormal.

In the next paragraph we meet our protagonist Jude and her two sisters. Black has situated this family in a very typical setup: snacking and watching television.

It is this sort of normal the man of the long dark coat penetrates.

I don’t have to share the rest of the prologue with you to know there was something abnormal in Jude’s normal–her elder sister Vivienne has “eerie” split pupils. As the narrator explains, Jude and her sister accept this without question; after all, they’re identical twins, which is weird enough. For them, this is normal, and therefore requires no further explanation.

But they do get an explanation with the man’s arrival.

He is not human.

He is also their mother’s first husband, and Vivienne is his daughter. Jude’s father tries to fight him, and dies. Jude’s mother tries to run, and dies.

He takes all three girls back to his home in Elfhame.

51j9XTR5oZL._SX324_BO1,204,203,200_Now here Black makes an interesting writing choice: while the prologue is given in 3rd person past, Chapter 1 shifts us into first person present.

CHAPTER 1

In Faerie, there are no fish sticks, no ketchup, no television.

That’s the whole chapter.

(Told you not to groan.)

What good is a one-line chapter?

For starters, Black’s story isn’t about little kid Jude and her sisters. In Chapter 2 we learn ten years have passed since General Madoc killed their parents and brought them to his home. The Cruel Prince will share the tale of these girls finding their place in–or out–of Faerie. 

Ten years is a HUGE amount of time to cover in any book, let alone a sentence. So let’s see what Black did to help us make that leap.

First, she establishes the time with “are.” The events of the prologue are done. The narrator’s in a new time.

What place? “Faerie.” For all the variety of worlds made about fairies/faeries, we do tend to make similar assumptions about what these magic folk don’t have: cars, for instance, or computers. Black builds on this concept–ruling out what isn’t in the world before building on what is–by listing the three simple things that symbolized the normal of Jude’s life: fish sticks, ketchup, television.

“Television” clearly encompasses technology of all sorts, but for a kid, no tv is, like, huge. It’s a primary resource for entertainment, education, distraction. It’s challenging enough to limit a kid’s screen time. Can you think of completely removing the tvs, computers, tablets, phones, and all the rest out of your life, let alone a child’s? Let that sink in. Now you appreciate that dose of culture shock for Jude and her sisters.

“Ketchup”–so often associated as the go-to dipper for kids. They’ll draw pictures in it, squirt each other with it. Adults can show their age if they like by using more “sophisticated” fare like oils, glazes, marinades, or sauces constructed with food processors and farmer’s markets and sweat, but if a kid’s got the choice between some organic garlic beet radish kale compote and “ketchup,” what do you think he/she will take?

Same with “fish sticks.” Microwaved, no less. One of the staples in a family’s fridge, fish sticks are a primary example of the pseudo-nutrition parents like to use to keep kids’ stomachs placated. Heck, I used’em for Blondie last night. (Biff and Bash don’t like them. Hmm, maybe they’re from Elfhame. It would certainly explain their ever-warring natures…) The easy, go-to processed food kept frozen by technology and heated at the click of its buttons is only memory to Jude.

By grouping this little trio of food, pleasure, and entertainment in the normal of Jude’s young life, and emphasizing with three No’s that these do not exist in her new normal, Black successfully jars readers out of Jude’s childhood and shifts them into the plotline for The Cruel Prince, told by Jude with intimate immediacy.

If your story needs a setup, consider how much you can pack into a single line. Think about what will separate this setup from the rest of the story, and what voice is best suited to prepare readers as well as engage them for the story proper. Do not think you must provide a detailed summary of the time passed over between setup and story; rather, consider what can symbolize that which is now lost, or gained, or transformed. Let that symbolism speak the necessary volumes for you while you lure readers into the shadowy realm that is Chapter 1.

#Author #Interviews: #indie #writer Christopher Lee discusses #pointofview & #worldbuilding in #writing #fantasy

n7r9UyID_400x400Christopher Lee is the indie author of Nemeton, Bard SongWestward, and Pantheon. He is an avid history buff, mythologist, bardic poet, and keeper of the old ways. Here he takes a moment to share a few favorite photos of his Colorado landscape as well as his thoughts on the challenges of point of view and world-building.

 

Let’s begin with a little about you. What was the first story you encountered that made you want to be a writer?

Ok, that is an easy one. Star Wars was the reason I became enchanted with the prospect of storytelling. When I first watched the fantasy and adventure of Han, Luke, and Leia, I was entranced. The vastness of their world, the complexity of the universe was gripping. As I grew into my teen years I became intoxicated by the idea that I would create worlds like that one day.  After years of creating a fan-fic world within the Star Wars Universe, my lifelong friend and I decided to divorce our concept from the Star Wars Universe and make it wholly our own. Since that time, I have crafted many worlds from the realm of my own dreams, and don’t believe I will be stopping anytime soon.

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You clearly enjoy creating worlds complete with vast, populated lands. What kind of creative process did you follow to develop the world of your first novel, Nemeton?

Nemeton is part of a grand epic that encompasses the whole of human history. When I first got into it I had a fraction of an idea, and zero clue about how to build a world as complex as was necessary. When it comes to worldbuilding there are literally thousands of angles to consider. I was overwhelmed at first, but I kept beating my head against the wall, and slowly it came into sharper focus. Overtime I developed an outline structure that I use in all of my worlds that dials in the world. This is my favorite process in creating because it allows me to see a completely new complex world. Nemeton relied heavily on readily available human myth. It was an attempt to blend the many voices of this world’s culture into a cohesive structure that was both believable and enjoyable. There were many hours in libraries, on Wikipedia, and scouring the internet for ancient documents that gave me a clear picture of what it might have been like to live around 3,000 BCE.

I’ve always felt writing characters of the opposite gender to be a tough gig. Any tips on how to swing this as you do for Sam of Nemeton?

51fJFbzYHGLOh dear, this is something that I struggled with mightily. I wanted Samsara to be infinitely more complex than myself and slowly came to the realization that it was going to take more than I had in my toolkit. Writing the opposite gender is full of pitfalls which can either make or break your story. As a male, it was a struggle to craft a flawed, yet empowered eighteen-year-old girl that didn’t reek of male influence. I worked with a model I have seen in my own life as Sam is loosely based on my wife. I find that this process is helpful, especially when writing characters of the opposite gender, though it is also helpful in crafting characters of your own gender. Trust your heart, it knows how people interact, but you have to make sure to be honest in your assessments and resist the urges that don’t fit with the characters personality. Another thing to do is do personality tests as if you were the character. I find that to be thoroughly enlightening.

Your other fantasy series in the works are both episodic in nature. You explain this move to episodic writing and publication on your own website, but can you share your favorite reason to write serialized fiction?

Serial fiction is fun because the pressure comes off drafting a manuscript as a whole. It is then applied to crafting self-contained episodes that carry their own arch, on a much shorter timeline. The primary reason I like this method, currently, is that it allows me to track how the audience is enjoying the story in advance. With a full novel you often have no clue how an audience would respond, save with the help of a few beta readers. When you release content in quick bursts, you can hone the book for an audience long before you publish the entire Omnibus, and therein you find a proof of a concept, which is a huge hurdle for all writers. Imagine if your audience was your agent. They are the gatekeeper of the indie author. If one of my serials fails to draw interest, I can shift gears quickly and not lose the investment of my time. I can take what characters the audience likes and continue on their journeys, or scrap the idea all together, thus not wasting inordinate time and energy on an idea that doesn’t draw interest. But probably the best reason lies is audience engagement. Episodic releases allow me time to engage the audience and talk about what they dig. This is one way you can build a truly loyal audience, by simply responding to their feedback and giving them what they want more of. 

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Pantheon, your current project on Patreon, brings multiple mythologies together in a battle for supremacy. This reminds me of the Street Fighter arcade games of childhood. ☺ What inspired you to drop these characters into your arena? 

Well a few years ago, when I was still drafting Nemeton, I fell in love with this concept of the pantheons doing battle. Who would win? It’s kind of like Avengers: Infinity War. What if we brought everyone into the same space (No pun intended, as it is a space fantasy). I sat on the idea and toyed with it until it finally fully formed in my mind. I’ve always been obsessed with mythology, reading it is what prompted me to write Nemeton. Thing is Nemeton is primarily Celtic in nature and didn’t deal with the gods and goddesses of the other western pantheons, so I wanted to draft something that gave a stage to the forgotten heroes of humanity’s past. Pantheon is that homage to the legacy of mankind, a revamped, relived story where the prominent and some not so prominent myths of mankind are reborn for future generations.

 I can only imagine how hard it can be to decide which characters to use from these mythologies, and which to cut. Can you describe this process a little?

s985776399169836318_p14_i1_w640.pngA lot of reading, researching and world-building. I basically compiled lists of the all the characters and figured out which major story-lines would work in concert with the others. The characters that play large roles in those story lines became my main POV characters. At first I wasn’t sure how I was going to tie them all together, but remarkably they all seemed to fall into place, as though the story itself was commanding itself to be written. Each Pantheon has their own story arch that will occur in Season One, mimicking major events in that cultures myth. I simply had to pick the characters that jived with that story-line and just follow the blueprint that the ancients left us, and whallla–Pantheon! I only pray that I have given it its proper due.

Unlike Pantheon and Nemeton, your other serialized fiction series Westward takes place in 1860s America. Does it feel restrictive, working with a geography and history already established in readers’ minds? Why or why not?

Well not really, in fact it liberating. I don’t have to come up with the major conflicts or story ques. I can follow what happened in history and work off that, with subplots that are character driven. Imagine taking a historical event and adding a character that didn’t exist, then weaving that character and its fictional story into the one we know. It’s challenging in its own right, but it is also very freeing because it allows you to present a fantastical element to almost any element of human history. I liken it to reading conspiracy theories because Westward/The Occultare Series relies on an underground/unseen organization that combats magical/supernatural occurrences in the human world. All you have to do is imagine that there is one operating today. Because there is…or is there?

Unlike Nemeton, you also write Westward with a first person point of view. What do you love about this intimate perspective, and what do you find challenging about it?

coverpic-1998This was a HUGE jump. After half a million words spent writing Nemeton in the Third Person Omniscient viewpoint, first person was like trying on someone else’s skin. I thought it would be more difficult than it was, but once I sat down and just started to click the keys it flowed out of me. I’ve enjoyed it thus far because I can go deeper with the character than I can in 3rd, but it does limit a great deal of what I can do. I bend the rules a bit because my characters all have a little of me in them, aka a hyperactive mind, which may not be to the liking of all readers, but hey man–this is fantasy. Suspend your beliefs when you walk through that door.

Any last words of encouragement for your fellow story-tellers?

JUST KEEP AT IT! Everyday you should be writing, or editing, or at the very very least reading. Reading is the key to learning storytelling. There is no magic bullet, no blueprint. True storytelling comes from years of absorbing great stories. Read nonfiction books about writing, about life, religion, politics, history, enrich your mind with a wellspring of knowledge you can draw inspiration from. I know I couldn’t have crafted the religious systems of Nemeton without my previous interest in druidic religion. The key is to constantly look for areas to improve, steep yourself in the craft and you will grow. Probably the most important rule is this: You don’t have to please everyone, because frankly you can’t. There are going to be people who say you suck, there are going to be readers and fellow writers who tell you you aren’t good enough. POPPYCOCK! Straight up, not all readers will like your work. Your job is to find the ones that do and continue to better your craft to eventually envelope the readers who don’t. Rule number two, take what other writers say with a grain of salt. The Indie Author’s world is saturated with advice about how to MAKE IT. It’s bloomin’ bologna. You will find limited success this way, but you risk ending up a carbon copy of all the other authors out there right now. This flies in the face of art in general. Chasing fads, writing only in one POV to please the audience, or sticking a hard line on generalized writing rules are the plagues of the writing world today. Do not stymie the thing that makes your voice different. Learn the rules, perfect your craft, and then allow your voice to shine by breaking the rules as only you can. Only you can tell your story, not your readers, not your fellow writers, YOU. You have to believe in you because no one else is going to, save a few extraordinary folks. So get to it!

 

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Many thanks to Christopher Lee for taking the time to do this interview. Check him out at his website: https://www.christopherleeauthor.com/. He’s also on Twitter: @ChristLeeEich  Cheers, one and all!