#AuthorInterview: #indie #poets David Ellis and Cendrine Marrouat discuss #reading #inspiration, #writing #poetry, and #submissions for the @abpoetryjournal

Happy March, everyone! Spring is coming slow and steady to the Midwest. Let’s celebrate a new month with two amazing indie authors who’ve founded a literary journal currently open to submissions.

Let’s begin with the niceties. Tell us a little about yourselves, please!

Cendrine: My name is Cendrine Marrouat. I was born and raised in Toulouse, France, and now live in Winnipeg, Canada.

I am a photographer, poet and the author of 15 books in different genres: poetry, photography, theatre, and social media. In my career, I have worked in quite a few other fields, including translation, teaching, social media coaching, and journalism. I was a content curator and creator, as well as an art critic for a while too.

David and I launched Auroras & Blossoms Poetry Journal and the Poetry Really Matters show in 2019. I am also the co-founder of a photography collective called FPoint Collective. Finally, I created the Sixku (a poetry form) and the Reminigram (a type of digital photography).

My website can be found at www.cendrinemedia.com.

David: Hello, my name is David Ellis. I am a British born and raised, I live in the South-East of England.

I am the author of several collections of poetry (my debut collection won an international award in the Readers Favorite Book Award Inspirational Poetry Category). I also have authored a short story collection, co-authored several books with Cendrine and co-founded Auroras & Blossoms Poetry Journal with Cendrine too.

I have interviewed hundreds of authors about their creative drives and what has inspired the writing in their lives.

My website can be found at www.toofulltowrite.com.

What was an early experience where you each learned that language had power?

Cendrine: My mother was a teacher. She was adamant that I learn to read, write and count before the end of kindergarten. My father is an avid reader, like she was. As I discovered the world around me, I realized that words mattered, that the way a person spoke or wrote had an impact on people’s perception of them. Then I studied English and (some) Spanish in school and at university. My understanding of the power of language increased tremendously as a result. 

David: I think for me, my epiphany with the power residing in language started with and will always be indebted to the late author Terry Pratchett. I remember when I first started reading his books that I needed a dictionary to keep up with some of his turns of phrase. What I believe was happening was that he was planting seeds that were evolving into the more humourous aspects of my writing. My English grades actually went up higher than any other subject at the time, due to Pratchett forging a love of language inside of me, as I devoured his fantasy Discworld series.

Furthermore, it has been through the act of writing poetry for many years that I have discovered my passion for crafting inspirational and motivational verse. The reactions from people regarding how I have encouraged them over the years with my words have given me even more respect for the magical power that language can have, along with how words can heal people and bring them closer together.

Who are your favorite under-appreciated writers/photographers? Let’s spread the word on them, here and now!

Cendrine: My favorite poets: Kahlil Gibran and Alphonse de Lamartine. The Prophet is loved worldwide. But very few people actually know that Gibran wrote many other stories. His drawings are also beautiful.

Lamartine was a French writer, poet and politician whose most famous piece, The Lake, also contains his most famous words:

“Oh, Time, stop your flight!  Hours, don’t run away!

Allow us to savor this delight, the best of life’s brief day!”

My friend Isabel Nolasco, the other co-founder of FPoint Collective, is a very talented photographer. She hails from Portugal and the world is starting to discover her images.

David: If we are talking poets, I would definitely have to go with Edgar Allan Poe, since I wrote an entire book of poetry inspired by all of his poetry! I would say that Poe is remembered more for his short stories but probably less well known for some of the unique gems in his poetry collection. Leonard Cohen is another hero of mine, who I think gets more focus on his music than his poetry, which I find to be really sensual and compelling.

I have a few favourite indie writers who could always do with more reader love any day of the week. Christie Stratos (www.christiestratos.com), who has her own podcast interview show and writes really unique fiction books (check out her Dark Victoriana collection). JD Estrada is another amazing author who has a ton of brilliant books covering fiction and lots of incredible poetry, you can find him at https://jdestradawriter.blogspot.com/. Finally, I would also like to put out a quick shout out to Anais Chartschenko, who is a fabulous musician, poet, author and fellow lover of tea! She can be found at https://anaischartschenko.weebly.com/. All of them are extremely friendly, multi-talented and very inspirational to me in many different ways. They are definitely very groovy people, so go check out their wares soon!

Cendrine, you also regularly update your growing collection of photography. How does visual expression differ from written expression? What does a composition need to contain before you feel ready to hold your camera up for the shot?

Cendrine: Photography and poetry are the same to me. Whether I pen a piece or take a photo, it is all about telling a story but in the “show don’t tell” fashion.

Composition is in the mind before it ends in an image or a poem.

David, you find inspiration in the classic writers of the past, including Edgar Allen Poe and William Shakespeare. What is it about such writers that brings the poetry out of you?

David: I’m fascinated with the poetic language that they employ in their writing works. I remember at school being overwhelmed by having to work out what every sentence of Shakespeare’s plays meant, line by line, I actually ended up feeling it was quite a tedious process. It wasn’t until years later that I developed a real fondness for the bard (I’m glad my school years didn’t completely put me off!) when I discovered how he was playing with the language he was using and inventing many idioms that we commonly use to this very day.

I’ve felt that Edgar Allan Poe combines the art of storytelling with his poems magnificently. ‘The Raven’ stirs up such vivid imagery and emotions in me, when I read it and listen to it being read aloud.

There is so much inspiration in the past, providing that you have unique ways of navigating it, appreciating its splendor and inherent beauty. I draw a lot of energy and writing experience from these authors because of what they are describing and the filters they interpret the world through in their own eyes. I find it a privilege to be reading the classics of the past, absorbing them and reinterpreting them for an appreciative future audience.

For me, I’ve actually reached a point where I’ve realised that I can literally find infinite inspirational material from the past and that is an incredible feeling to have in your life. Now, I just have to find the time to keep writing and publishing all of the ideas that I have!

Together you two have created a poetry journal, Auroras and Blossoms. Are you currently accepting submissions? What does it take for a piece of writing to be featured in your journal?

Cendrine: We accept submissions all year long. Our magazine promotes inspirational and uplifting poetry and poetry-related content, no matter the topic. We accept everyone (adults and teenagers alike), as long as they have something positive to say.

Auroras & Blossoms Poetry Journal is family-friendly, which means that the poetry has to be clean. No swearwords and no erotica / political pieces. The poems we select come from people who understand two things: the meaning of the word “positive” and the essence of poetry as an art form. They have a great message to share, a message that can help readers see the world in a different way.

David: Cendrine and I joined forces together on Auroras & Blossoms Poetry Journal because we both have a vision to share more inspirational poetry with the world, written by very talented people from all around the world. This specific type of poetry is the main reason why we both started writing and publishing books.

We encourage people to submit to us from all walks of life, we do not judge people on whether they have been published in previous journals. We prefer to instead look at the quality of the poetry a person writes and whether it could deliver an inspirational theme and message to our readers.

We don’t really have a specific type of poetry style that we are looking for, we will accept short and long pieces. As long as you take us on an inspirational journey with your writing and give us reasons to believe that your poem was written to be positive, uplifting, and/or motivating then you have an excellent chance of being published with us.

If you had to do something differently as a child or teenager to become a better poet/photographer as an adult, what would you do?

Cendrine: I would not do anything differently. I had a difficult childhood followed by challenging teenage years. I learnt a lot from my experiences and that is what makes me the artist I am today.

David: As a child, I think I ignored my literary instincts for quite some time, until it became apparent that I was excelling at English Language and English Literature more than any other subjects I was studying. I also developed a passion for song lyrics, in addition to poetry but I refrained from attempting to make music for many years. So, my advice to my younger self would be to start writing and refining your craft as soon as possible because it will take you many years to discover what you are truly good at and what motivates you to write every single day. That’s when the really exciting part of your life begins!

What is the most difficult part of your artistic processes?

Cendrine: Nothing, really. I am just a slow writer. But I have improved over the years.

David: I think for me it is having too many ideas to deal with at once and engaging in the necessary discipline to sit down and list out all of these ideas. This can extend to listing down ideas that I have about the project itself. When I find my focus, I can keep going for hours, often at the expense of not noticing where the time has gone. So yes, focus is the most difficult part for me in the artistic process, once you nail it down and commit to a project, that’s when you can ignore all other distractions and get on with completing a project to the best of your ability.

Does writing energize or exhaust you?

Cendrine: It energizes me greatly!

David: I used to find writing exhausted me when I worked on many different aspects of it at the same time. Take National Poetry Writing Month for example. When I participate, I tend to write and edit poems every day for a month, make a professional looking blog post and share many other poems that I find too and then attempt to read them all as well. When you are looking at tens, possibly even a hundred posts at a time, in addition to trying to write your own polished post, it is easy to get burnt out.

I’ve therefore learnt to be more considerate of my own time and not to try to cram too many things into one day. Writing has become a lot more fun for me as a result and I can do much more of it, when I appreciate and reflect on how much I have achieved in a single day.

Do you think someone could be a writer if they don’t feel emotions strongly?

Cendrine: Strongly? I’m not sure. But you cannot be a writer if you are afraid of sharing your voice and emotions (even indirectly) with the world. Because every word you leave on a page bears your mark one way or the other.

David: I think it is imperative for writers to be empathetic and to feel emotions strongly because they can then act in ways that people would do in real life. They can get under the skin of a character or subject matter and write in a way that emotionally connects with the reader.

All I know is that I write deeply, emotionally stimulating poetry and it creates a magnetism that helps me connect with like-minded people. When this is lacking in writing, whether it be the passion, focus or drive from the writer, if this emotional distance is conveyed to me as a reader, I am not going to be compelled to read more of their work, plain and simple.

What are common traps for aspiring writers and photographers, and how do they avoid them? (My young daughter is quite keen on both photography and writing, so I’d love to share your advice with her!)

Cendrine: Most of the aspiring artists I have met lack self-confidence and compare themselves to others way too much. How do you avoid those traps? Do NOT listen to naysayers.

Just know that you cannot please everybody. Do not take negative criticism personally. But pay attention to constructive feedback. Compare yourself to others only to understand your own style.   

David: Read the kind of books that you would like to write. Think of the kind of things that you would like to see written but can’t find and then go write them yourself.

Take advice from “How To Guides” as a means to enhance your own creativity but just take what things work for you and discard the rest. Don’t buy many guides and spend all your time reading them as an excuse to neglect your writing.

By all means be prepared but only do enough research to get yourself started. Starting is always the most difficult part in any endeavour. Find a theme, think a bit about it, do your research and get writing as soon as you possibly can. The rest will follow soon enough. If you need guidance, write a short outline of what you want to achieve and then work through all of those points but don’t spend all your time planning and get writing!

Try to write every day, even if it is only a few lines. I have been told constantly in any artistic profession that anyone, no matter how busy they are, can spend at least ten minutes a day indulging in their own creative expression. You will make more time as your passion grows. Diligently find the time to fuel your creative passions, watch an hour less TV a day, shut yourself away for small periods of time, turn off the computer or put aside your mobile phone if you have to and make time in your life to create, your soul will thank you for it.

Be sure to share your work with friends and other writers. Be willing to take constructive (not negative) feedback for your work. Write until you have so much good material that you simply have to publish, then work to get it published!

Just one of the amazing photos from FPoint Collective!

~STAY TUNED NEXT WEEK!~

It’s high time for some powerful music, especially since it was such a joy to use music to welcome spring last year. I am finally, FINALLY working on a bit of short fiction, and would like to share it with you! We also need to consider the dangers of altering characters mid-story, and how those changes cause disconnect among fans…not to mention plot points.

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

#AuthorInterview: #indie #writer @ColinGarrow discusses #bookreviews, #SherlockHolmes, #writing #MG and #mysteries, and the importance of following through on the #writingprocess

Hello hello, everyone! Once again, it’s been…oh, it’s been a week at the good ol’ American public schools. Between tweens yelling at me that they don’t have to do their homework because I’m not their mom, to kiddos my sons’ age hitting each other because the other “was going to do something bad”….well, it’s no wonder I have some of the university students I do. Eeesh.

So, let’s focus on something lovely and positive, shall we? Let’s celebrate one another with a delightful indie author interview. Colin Garrow is a FABULOUS writer of mystery and spine-tingling adventures for adults and children alike. His latest for tweens, The Curse of Calico Jack, and his latest for adults, A Tall Cool Glass of Murder, are available now on Amazon and Smashwords. Check’em out! (After the interview, of course.)

Let’s begin with the niceties. Tell us a little about yourself, please!

You might think from some of my previous jobs (taxi driver, antiques dealer, drama facilitator, Santa Claus impersonator, fish processor, etc) that I’m a bit of a Jack of all trades, but let’s just say I like variety. When I left school, I had a vague idea of becoming either a rock star or a novelist. At the time, I was too timid to strut my stuff on a stage, and instead spent many hours churning out short stories and poems. In those days (late seventies), there were hundreds of what were called ‘little press’ magazines on the go, all looking for talented writers.

So, sending my scribblings out to such literary tomes as Stand Magazine, Envoi and Staple, I managed to collect a huge pile of rejection slips, and though I did eventually get a few poems and a short story published, it was studying for a BA in Drama that really made the difference to the quality of my writing. After that, I spent a few years writing plays, some of which were eventually performed by my theatre company in Aberdeen, but I didn’t start trying to write novels seriously until 2013, after a failed relationship left me living alone in a damp, mould-infested hovel, with little money and a lot of spare time. That summer I decided to try and finish a book I’d started a few years earlier. It was called The Devil’s Porridge Gang and was set in a fictionalised version of the town where I grew up.

I suppose I started writing for children because I didn’t think I had the talent to write for adults, so my Terry Bell and Watson Letters books didn’t get under way until a few years later. Now, having recently published my 20th book, I’m feeling a lot more confident about my creative abilities.

TWENTY BOOKS, my goodness! I tip my hat to you, Friend, and admire your years of experience in this publishing jungle. As a book reviewer and writer, what do you see as the most unethical practice in the publishing industry?

Aside from Kirkus reviews which, at several hundred dollars a pop, should never be considered by any sane person, I think the practice of paying a reviewer for his or her opinion is dodgy, to say the least. Even if you believe the individual is completely unbiased, you’re never going to know for sure. Readers too, are aware of this practice and if a book has too many five-star reviews on Amazon, it can give the impression someone is taking backhanders, even when that’s not the case. I’ve also seen books with six or seven reviews that sound so similar they could have been written by the same person.

Indie authors often give away free books in the hope of prompting readers to buy some of our other wares, or at least to leave a review. While I don’t have a problem with this, it’s not the same as someone actually handing over hard-earned cash in exchange for a book. My own reviewing practice is to buy a copy of any book I intend to review, which puts money in the author’s pocket, and eans they also get a ‘verified’ review on Amazon. Even so, I do sometimes accept a free copy in return for an honest review, though this is mostly due to my being on Amazon’s Vine programme.

You review SOOOO many books that I’m always humbled whenever you read one of my stories. Plus, you clearly use your growth as a reader to build your own unique stories. What would you consider to be the most difficult part of your artistic process?

It might sound odd, but the hardest part is coming up with a title and a cover for the book. With these in place I then have the motivation to write the book and discover what it’s about. As an example, the cover for the second Terry Bell mystery, A Long Cool Glass of Murder had to fit with the design of the first book, so it took me a while to come up with something that made sense. It also gave me a title that suggested poison, which was a good starting point.

On the other hand, I’m currently working on a horror novel for adults (as opposed to children), which doesn’t have a title or a cover. I do have a working title of Witch Moon (which may end up as the actual title), and a vague idea of what the cover will be, so there’s enough to get started with but I’ll need to finalise both before progressing much further with the plot.

One of the reasons I jive so well with you is because you’re a HUGE Sherlock Holmes fan, just like me! Tell us about The Watson Letters.

I’ve loved Sherlock Holmes for years but not being a particular devotee of ‘fan fiction’ had never thought of writing about him. Several years ago, a friend and I started emailing each other under the guise of a variety of fictional characters, usually centred around toilet humour and fart gags. Our favourite roles were Holmes and Watson, so when I started a website in praise of Arthur Conan Doyle and the associated books and movies etc, I included a spoof blog called The Watson Letters inspired by our musings. Some years later, my friend having taken to producing fewer and fewer emails in response to my attempts to create actual stories, I often found myself writing both parts of whatever adventure we were ensconced in, and when she eventually gave up altogether, it occurred to me I might take selected episodes of the blog and knock them into some sort of book.

The first book, The Watson Letters vol 1: Something Wicker This Way Comes was a bit of a hotchpotch and I didn’t really expect it to catch on, particularly as it jumped around a lot and didn’t exactly have a ‘through line’ in terms of the plot. It’s also very short, at around 23,000 words. But considering a second book, I opted to write three complete adventures and continued with that idea for books three and four. The current book, Murder on Mystery Island is different, in that it’s one complete adventure, and the next book, The Haunting of Roderick Usher will probably be the
same.

By this time, I’d scrapped the original website and started a new Watson Letters Blog, so what hasn’t changed, is that I still write each story on the Blog first, before putting it into book form. I’m aware that this practice limits me to what I’ve already written, but it’s good to have a challenge.

Another challenge in writing new stories with established characters comes in the
expectations of the reader. (Pretty sure Disney’s feeling this challenge with their
attempts at creating Star Wars sequels, but I digress
.) How do you create an original story while also delivering the kind of story readers want in a Sherlock Holmes adventure?

Hmm. This is an interesting one, as obviously there are tons of books written about
Holmes, Watson and several of the other characters created by Conan Doyle. I think
if you’re going to be true to the characters and attempt stories that reflect ACD’s
style and character traits etc, then that’s great, but since the original books are perfect as they are, I wanted to do something different. Taking a bunch of well- known characters, moving them off into a parallel universe, having them swear and do battle with villains like Hannibal Lecter and Bill Sikes, I hoped readers would go along with it, recognising I’m not trying to copy the original, but to create something different, though with a generous nod to the originals. Of course, one or two readers have complained that Holmes doesn’t use the F word, and Watson would never urinate on a pair of ne’er-do-wells, but when you’re in a parallel universe, anything can happen!

Ha, eeeeexactly! One of the fun things about writing fiction is that you don’t HAVE to follow “how things work.” I recall Colin Dexter saying as much about his Inspector Morse mystery series. Still, writing historical fiction is going to require some sort of research. What kind of research do you do, and how long do you spend researching before beginning a book?

In general terms, I don’t do a lot of research for my books, as I believe it’s a writer’s
job to make stuff up. However, there are some things you just can’t make up and need information or detail to give the writing an authentic feel. Usually, I leave it until the point in the story when I need specific information before I’ll start looking for it. In the case of my middle grade series The Christie McKinnon Adventures, the first book begins in Edinburgh in 1897, so I used an old map of the city to work out Christie’s routes between one place and another. I did the same thing with The Maps of Time series which is set in 1630s London. In that instance I also wanted to use the old street names, like Cheap Syde and Fanchurch Streete.

For the Watson Letters books, which often use dates on letters and telegrams etc, there came a point when I confused myself and had to resort to using an online calendar to work out when things happened. This was particularly noticeable with The Curse of the Baskervilles adventure. The book starts in 1891, but the first story actually goes back to 1884, with the adventure following it beginning in 1889. For other books, there have been times when I’ve needed to know about air rifles, handguns, specific types of period clothing and how to use skeleton keys. Anything that requires lots of research is probably something I’ll avoid writing about.

That’s a great piece of advice. Would you like to close out on any other important writing tips for aspiring writers?

I think the advent of eBooks and the ease with which virtually anyone can become a published author, has also created its own set of problems. It’s not so much of an issue now, but a few years ago there were an awful lot of people churning out books that were nothing short of abysmal—packed with clichés, typos, poor sentence structure and a lot of really bad writing. I’ve had a few people approach me for advice on their own work and overall, they thank me profusely for pointing out their mistakes, realising no-one can produce a perfect novel all by themselves. Of course, there are those who think their immense talent should be obvious and the only motivation for asking my opinion is so I can tell them how wonderful they are. I know it’s hard for newbies to get started and forge relationships with other writers, editors, beta-readers etc, but I do think it’s essential, especially for indie authors, as we all need to know how other people see our work. As well as having two editors, I have several writer pals who proofread my books, while I do the same for them, so even if you can’t afford a professional editor, there are always people who can help out. It’s the same with book covers too—unless you happen to be Stephen King, a rubbishy cover will never sell your books. I have a reasonable ability with Photoshop, so I create my own covers (though I’m aware some of the early ones need updating). If you’re not gifted in that area, there are plenty of generic cover creators who can adapt a cover with your name/title etc for a reasonable price, so your book at least looks professional.

As Smashwords boss Mark Coker says, ‘…it’s the readers…who decide what’s worth buying. Bad books will sink.’

So, essentially, you need to write a good book, get it proofed, edited and pop on a good quality cover that tells us what the book is about, and off you go.

Thanks so much for sharing your thoughts and insights, Colin! Folks, you can find Colin all over the place–go, visit, see, read!

~STAY TUNED NEXT WEEK!~

Seeing the students I do, I think I’m ready to write about villainy. Dark, impulsive, whiny villainy.

But if my soul’s been sucked too dry by the American education system, then count on Blondie to come to my rescue with her awesome stories–and book reviews, too!

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

#writing #music: #DarkCrystal by @DANIELPEMBERTON

Good morning, all, from a wintry Wisconsin! At long last, snow’s found my corner of the Midwest. Biff, Bash, and Blondie had a blast sledding upon our wee hill. It’s the sort of blizzardy day that encourages one to tuck into a blanket and a book–not that I can, with my pile of student projects requiring grades and the kids now planning to convert the house into one giant Gotham City/Sodor hybrid because I was fool enough to leave those old toys out. Still, isn’t it a lovely thought to just wile away the day with a cozy mystery? Or, perhaps an epic adventure into the Elsewhere…

Dark Crystal is a film I’ve only watched a handful of times, and yet I can still remember the awe of my first encounter. Everything glowed, moved, lived. I knew these were puppets, and yet they felt real to me, so real that their torture under the Skeksis scared the pants off of me. Heck, I still have the occasional nightmare about that chair.

AAAAAAAAAAAAAAHHHHH!

Dark Crystal is also one of the few creations by Jim Henson Disney doesn’t own, which is why Netflix was able to produce its own prequel series. I’ll be the first to admit I was skeptical, but the music alone has won me over.

To the lovers of fantasy, the lovers of adventure: here is a theme to call you over that threshold for a hero’s journey.

Oh, Daniel Pemberton, you do not disappoint. The mix of zither and medieval instruments atop a foundation of strings inspire the feeling of a dirt track beneath leather boots, of dusty wind whipping rain-washed hair. We close our eyes to a sun first rising over old forests and older mountains, the road lost in a valley of thorns and uncertainty.

I’m such a sucker for the medieval flair in this score. The feel of history, I think, and the simplicity in its emotional expression.

The score to Dark Crystal: Age of Resistance doesn’t just count on the medieval flavor, however. The moments of synthesized melodies seems to hearken back to the 80s while also remaining distinctly…distinctly itself. “Unnatural” would be my description, an antithesis for the skin drumheads and soft flutes of before. The result unsettles the imagination, cracking it as a clawed foot cracks the ice.

When winter turns our real world bleak with cold, music like Pemberton’s reminds us there’s magic both frightening and fragile beyond the snow. We’ve only to turn our writing eyes inward, and watch music awaken Story’s Landscape.

That, and there’s nothing quite so lovely as a fluttering solo violin. 🙂

Someday, I hope to see the story actually paired with Pemberton’s music (Yes, I’m one of thooose people who has no streaming service of any kind.) Until then, I’m thrilled Pemberton’s found a way to bring the music of Henson’s original story together with his own, just as the writers of Age of Resistance found a way to create a new story in Henson’s universe.

May your own stories, whether unique to you or inspired by others, contain such magic as to enchant your readers and leave them breathless in a land of hope and shadows.

~STAY TUNED NEXT WEEK!~

I’m keen to get back into my Star Wars series by studying some plot holes in The Force Awakens and how those holes affect the strength of the trilogy overall. I’ve also got some FANTASTIC interviews lined up, with the first to be posted in the next few weeks. Blondie’s also been pestering me to write on here, too, so you may be hearing from her soon. xxxxxx

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

#lessonslearned in #writing #fiction from #RobertMcKee & #StarWars: there are consequences to shoddy #worldbuilding. Part 1: the ignored blueprints of #StarWarsRebels.

But  the love of a good story, of terrific characters and a world driven by your passion, courage and creative gifts is still not enough. Your goal must be a good story well told.  

Robert Mckee, Story

It’s an opening as known as Once upon a time. It’s the sort of opening to calls upon readers to leave the reality they know and enter a story both of the future and of the past—a hero’s journey, a villain’s redemption, a coming of age, a coming together of hearts, of friends…

…and Ewoks.

In other words: timeless. (Except maybe for The Battle for Endor, but anyway.)

The dialogue over Disney’s contributions to the Star Wars universe has been….well, a pretty shitty one. We’ve reached the point where Star Wars fans are like the Yooks and Zooks of Dr. Seuss’ The Great Butter Battle, and if you know that story, you know it doesn’t end well for anyone.

So let’s just put aside our Bitsy Big-Boy Boomeroos for a second, lean against the wall à la Charlie Brown–

–and talk like storytellers. Not as rabid fans, or haters, or menaces, or warriors. Just people who love crafting good stories as much as they love experiencing them. And what better way to focus on the craft than by utilizing wisdom from one of the most revered voices in storytelling?

Robert McKee has been a revered voice in Hollywood for decades, as he’s taught notable storytellers like Peter Jackson, Paul Haggis, and William Goldman. His book Story is one of the few texts I’ve kept from my hellish graduate school days, as it utilizes films from several different genres to show how smart writing with character development, tension, and scene structure can build a powerful story with which audiences can connect.

It is with McKee’s craft lessons in Story I’d like to discuss the flaws that plague Episodes VII, VIII, and IX of the Star Wars saga. As storytellers, I think we can all agree on some pretty important things are necessary to make a strong story, and therefore understand certain choices that both JJ Abrams and Rian Johnson made with their installments. To be clear,I’m not going to bash either director. On the contrary, I think both brought some positive elements to Star Wars that shouldn’t be dismissed just because you don’t agree with all of their other creative choices.

No, the flaw lies in the foundation of the sequel trilogy. Like the parable of the foolish man who builds his house upon the sand, the recent Star Wars trilogy was built without a solid foundation. In other words, the creative powers of Disney failed to do the necessary worldbuilding—galaxy-building, if you will—for the stakes of the new trilogy to appeal to audiences old or new.

In this blog series, I’m going to utilize McKee’s words on story craft to break down where the sequel trilogy’s potential shines as well as where it dims. Every film has its moments, so I’m not going to dwell for a thousand words on one and then just rush through another.

And the truly tragic part? This could have aaaaaaall been avoided had Disney stuck with what it already built.

Story is about originality, not duplication.

Robert McKee, Story

Disney purchased Lucasfilm and rights to Star Wars in 2012, and by 2014 had created its own original storyline in the Star Wars Universe. The story was set between the prequels and original trilogy, a time when the Empire are hunting down any surviving Jedi and the Rebellion is slowly beginning to form.

Star Wars: Rebels ran for just four seasons, but in that time gained a solid following of fans, a good merchandise line, and even splinter stories in books and comics. The cast was a mix of alien and human-like folks, male and female, adults and kids, each with unique talents that came together to create a strong team to deal with a vicious gallery of Imperial foes.

The storyline fit snugly in the between the established trilogies without disturbing any of the arcs of previously established characters in the Skywalker episodes. Audiences were happy to go on adventures with the scrappy kid, laugh at the cranky droid, marvel at the piloting smarts of the lady alien, feel for the Jedi mourning the loss of his brethren…

…in other words, Disney had successfully built a solid setting in this galaxy far, far away that was unique while also adhering to the state of this galaxy as Revenge of the Sith left it.

Story is about eternal, universal forms, not formulas.

Robert McKee, Story

You’d think that for a studio that loves making live-action remakes of their animated properties, bringing a live-action adaptation of Rebels to film would have been the easy-peasy choice for their feature debut with the Star Wars franchise. They had fans happy with the show, they had storylines all written out ready to go, characters fun and fleshed out. All the hard work of worldbuilding, character development, and plotting was already done.

But perhaps, to those Disney Powers That Be, this was the problem.

Ezra the kid wasn’t like Luke enough.

Hera the pilot wasn’t like Leia enough.

Kanan the Jedi wasn’t like Kenobi enough.

The Inquisitor wasn’t not like Vader enough.

Rebels wasn’t enough like Star Wars’ original trilogy, a film series loved by millions across multiple generations. Rebels’ own successes just weren’t enough.

Disney was determined to repeat the cosmic success of the 70s and 80s, and decided the best way to do this was by treating those original films as a formula to follow.

This choice, right here, before ANY director could say “Action!”, marks the beginning of the troubles for Disney’s Star Wars films. Had they begun with a feature film cast with their own characters and followed previously tested storylines, they would have planted the seeds of goodwill among audiences while also learning the ins and outs of producing a sci-fi adventure epic that is a Star Wars film.

Instead, they chose to fly as close to A New Hope as possible. Too close, as we shall see.

~STAY TUNED NEXT TIME!~

Oh, I’m keen to do some analysis of the entire sequel trilogy, so you’re stuck with me on this topic for a little while. 🙂 But I’ll also throw in some AMAZING music by Daniel Pemberton I got for Christmas, plus there’s some swanky author interviews coming, too.

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

#AuthorInterview: #indie #writer @julidrevezzo discusses #historicalromance, #steampunk, and other #magic delights in #writing #standalones and #novelseries

Good morning, fellow creatives! While I frantically put together my analysis of Aunt Maria for Witch Week, please welcome the magical Juli D. Revezzo, author of over a dozen novels of magic and love. Tell us a bit about yourself, please!

Hello, I’m Juli D. Revezzo. I write fantasy, fantasy romance, and historical romance. I’ve written The Antique Magic series, including its latest release, The Dragon’s Seamstress, the Celtic Stewards Chronicles, and several historical romances.

Your historical romances, like House of Dark Envy and Courting the Stationmaster’s Daughter, are set in the 18th and 19th centuries. What draws you to the Victorian and Gothic periods? What kind of research do you do to help you prepare for storytelling in the past?

Well, House of Dark Envy and Courting the Stationmaster’s Daughter are both set in the 19th century. My Gothic paranormal romance Lady of the Tarot is set in the 18th century and Fifty Measly Bucks, the 17th. I’ve also written in the Medieval periods–and one in World War II. 🙂 What draws me to the Victorian era, though, is… well, actually, I have a degree in Literature and from my early 20s have been reading Victorian lit through the lit of the mid-to-late 20th century ever since. And most of my biggest influences (sans Moorcock) are the writers of that era. I find the 19th century sense of wonder and drive for exploration particularly inspiring, they let their imaginations run wild (whoever thought we might travel faster than a horse?? Our 19th century ancestors, of course!), and that was for the most part, the birth of the fantasy genre, as well as the birth of women’s rights. So it’s a ready made hotbed of conflict.

Your time-travel novella Fifty Measly Bucks features protagonist Denver being caught up in the Salem Witch Trials. What would you consider to be the ethics of writing about historical figures?

There are none in my novels. Well, no. Not often, I should say. I’ll mention them, but I have a particular aversion to putting words in a real figure’s mouth. I don’t know why; I just always have. So, I write around them. I change names and invent characters to stand in for them. There might be gossip a figure overhears about such and such a real life character, but I always try to corroborate the gossip. If I can’t I don’t use it. The only time I ever have was in House of Dark Envy. My hero corresponds with Tesla (yes, the Tesla) and I struggled with that, until I found the tidbit that said “Tesla wrote hundreds of letters” so….why couldn’t he have correspondence with Felix? 🙂 Fifty Measly Bucks, though, I mentioned the judges and the girls (Betty Parris, Abigail Williams, and Ann Putnam, Jr.), but extended the period deliberately to push out having to involve the three girls–and made one character a friend of the girls…. I can’t explain much more than that without spoiling it. Everything in the book, though, happens because of that extension.

You recently published the fifth installment to your Antique Magic series, The Dragon’s Seamstress. Congratulations!

Thank you. I hope your readers will love The Dragon’s Seamstress. It was a different assignment for Caitlin and Trevor but I couldn’t resist? Who wouldn’t love having a dragon drop in for help? Its synopsis (because, why not? ;)) is as follows:

Since Caitlin and Trevor vowed to assist the Otherworld and opened their enchanted antique shop, they’ve seen many strange things. But now, someone comes in asking for a mundane item: kitschy “witches” brooms. Has their magical life returned to normal? 

As the couple prepares to host a family gathering, fate intervenes and something they’ve never seen before roars into their life: A creature out of Welsh legend and fantasy: A blundering, somewhat underdeveloped dragon—not at all the type of dragon they ever expected to meet.

Forced to undertake his unique challenge, Caitlin and Trevor are perplexed by his demands, but the magical beast is certain they are the only witches who can help him.  Doing so might unlock an ancient hidden secret. Refusing might destroy them.

This series has a unique episodic feel thanks to the profession of your protagonists Trevor and Caitlin, married owners of an antique shop that attracts gods, ghosts, and more. Earlier this year I discussed the writer’s problem of writing cliffhangers vs. standalones; do you feel having an episodic series is a strong compromise of giving readers more of the heroes they want without leaving them hanging when a book ends? (Gosh, I hope this question makes sense)

If I understand the question correctly, yes. Maybe? I do try to tie up the end of each tale. Caitlin always finds the answer to each client/sellers’ problem/mystery, book to book, but where the “episode” comes in is that their year progresses–or by this point, it’s been five years. 🙂 There’s a progression book to book of Trevor and Caitlin’s ages, their anniversary, the holidays. While there’s also two characters in school and their education advances, the biggest hold over is the Curse that hangs over the heads of Trevor’s family. So the question of why did that thing happen to his brother, sister, and mother casts a long shadow over the series, despite each wrapped-up happy ending. To my longtime readers, I know the answer to that question, and yes, you will be getting it soon.

That’s just a long way of saying, yes having an episodic series is a compromise, but more, I’ve done it because it felt right to continue following Caitlin’s life, in a linear progression. But finding where to cut without a cliffhanger is too much of a nuisance, so I’d rather have a clear end to the manuscript. Otherwise, the five books would still be in my computer, and we wouldn’t be having this conversation.

You write fantasy and steampunk as well, such as Watchmaker’s Heart. Do you find yourself doing the same kind of research as you do for historical romances, or do you toss history out the window and write the world as you wish? 🙂

A little bit of both. The thing about Steampunk is that it’s the aesthetics of our 19th century with the technology of…well? Star Trek but run on steam. So, as much as you get to have fun coming up with airships, gaslamps, and steampowered cars and weird robotic things, Queen Victoria is always in charge (unless there’s been some coup by we pesky Americans! ;)) and there’s always some 19th century cultural something or ‘nother going on. So, depending on what that cultural something is I want to noodle with, I’ll have to delve into the research lake. In Watchmaker’s Heart it was the mechanics of the underworld, as my hero is an ex-gang member trying to go straight, and I also had to do a little bit into the workings of the House of Commons for another character. With House of Dark Envy, again, that was such a time of technological exploration, and I had a readymade Steampunk feel in the work my hero (and in real life history of the time Tesla) were doing concerning DC and AC power, it was easy to just throw in some goggles and arcing magic Tesla beams. With a book like my faery tale-based/faery godmother story Changeling’s Crown…well, it was a mixture of faery tale setting and real world setting so that was fun to play with. Having castles on one hand, and cars and modern ranches and cell phones on the other. J And Caitlin even dips into the historical through the Antique Magic series, with the psychic trips the things in her antique shop sometimes spring on her. So far, she’s been hit with the prohibition era, the ‘60s,  Civil War battles, (due to a Civil War fort she lives near, and the ghost of Trevor’s ancestor from the 19th century who lives in their house and *cough* helps out more often than not), and the most recently, a glimpse of Medieval Wales.

Thank you so much for sharing your stories with us, Juli! Let’s wrap up with one last craft question. How do you balance making demands on the reader with taking care of the reader?

Critique Partners! In series (like Antique Magic), it gets particularly sticky, as I try to explain as much as I think necessary, but I have to leave it up to my critique partners to let me know if more is needed. And even then, sometimes, we miss. Personally, I see no need to regurgitate the entire story in all books throughout a series; in fact, that bugs me to no end when I read other writers doing it. I’ve skipped more pages, and put more books I read down for that than I have for not understanding something in a series of which I neglected to read from the beginning.

But editors and cps seem to think differently, so I sometimes have to overcompensate to bring them up to speed. I hope I don’t bore the heck out of my longtime readers when they pick up a #x story, doing a recap, but if so, I hope they’ll forgive me. So, how do I balance it? Very carefully and not without pulling my hair out. 😉 So, The Dragon Seamstress, while it can stand alone, being the fifth time I’ve revisited the couple, is very much part of the series. I hope your readers will enjoy them all.

I’m sure they will, Juli, especially when you share of your novellas for FREE! That’s right, folks–you can get the ebook Caitlin’s Book of Shadows for free right now, at this very moment, instantly, today.

Though their fame became legend, a rumor cropped up about the Fulmer family: Something terrifying stalked Caitlin and her beloved Trevor. Something the bits and pieces she left claimed she had to make sense of. When the curator of their collection finds Caitlin’s long forgotten diary, she wonders will it tell the whole tale? Will it tell why Caitlin seemed so determined to tell the difference between reality and nightmare? Why she thought herself a witch?

What will the holidays hold for Caitlin? Perhaps the answer lies between the lines of her story, one of lessons, struggles, and hopes for each new year.

*

For more on Juli and her work, check out her website and Amazon page. You can also sign up for her newsletter here.

~STAY TUNED NEXT WEEK!~

We are diving deep into a world of witchcraft and waltzes, haunting melodies and dissonant sexes.

Blondie is also super excited to share a project she’s working on, and I might just have a spooky surprise or two in store for you before All Hallows’ Eve.

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

#writerproblems: finding help #writing that d*** #bookblurb with #inspiration from #tvthemes

A few years back I wrote about the struggle to create a blurb for my YA Fantasy Middler’s Pride. Studying the blurbs of my favoritest of favorite writers Diana Wynne Jones helped me see that so long as I gave readers the protagonist and problem in as few words as possible, I’d be okay.

However, as book reviewer and author S.J. Higbee has often noted, many authors and/or publishers feel compelled to stick waaaaaaaaaaaay too much information into the book blurb. (Click here for just one of MANY reviews where Sarah touches on the problem of chatty blurbs.) Where is the line between too much information and too little? We want to give readers a taste of the story inside, but we don’t want to ruin their appetites. We want to engage readers without killing all the story’s surprises or subverting all the expectations.

Which got me to thinking about M*A*S*H. Yes, the TV show.

I never watched M*A*S*H as a kid, nor did I know about the original book on which the film and television series are based. I only knew that whenever the theme song started playing on the TV, I went off and did something else.

Just listen to that mellow song played alongside these doctors and nurses treating soldiers near enemy lines. The show’s opener had the look and feel of some medical drama, the last sort of show Little Me would want to watch.

Then I learned after marrying Bo that this show was a comedy. A COMEDY?! How the heck is someone supposed to catch the comedy vibes from that opener? The melody’s a sad one; heck, the original song’s called “Suicide is Painless.” We see no happy or positive expressions on people’s faces, only the urgency of aiding the wounded. There is absolutely nothing present in this theme to tell one that they’re about to watch a comedy. Imagine if a book tried to pull this same stunt with their cover art and blurb. How do you think the ever-watchful Goodreads community would respond?

As writers, we need that blurb to give readers a genuine sense of the story-world they’re about to enter. Usually just a few elements of the genre are enough to tell readers, this is what you’re in for. If you dig X, then you’ll love this.

Since television themes are always held to a similar degree of requirement (unless it’s M*A*S*H, apparently), let’s use a few more for examples: Bonanza, Twilight Zone, and Dragnet.

Not one of these theme songs is all that long, but we get enough out of the music to know the genre of each show: the twang of the western guitar, the dissonance of an eerie suspense-filled horror, the stalwart drums of justice. With just a few seconds, these themes accurately and concisely provide the audience a sense of the stories that will accompany the themes.

Now I’m not saying that chattiness is always bad. Heavens, Rod Serling’s speech for Twilight Zone’s theme is iconic. Then you have shows like Dukes of Hazzard and A-Team, which just so happen to be Bo’s and my favorite TV shows from childhood. Both are spot-on with their carefree guitar and military snare, and both directly address the audience with the premise of the show (only the A-Team don’t need no Waylon Jennings to sing because they got Mr. T, fool!). These themes are slightly over a minute long, but they don’t overwhelm the audience with information. We only get what we need: Protagonists and Problems. It’s up to us to stay tuned for more.

So what happens when that blurb of a theme does give us more?

This is where I think we enter the “chatty” territory, the “too much” territory. Allow me to force more of my 80s upbringing on you for examples.

Okay, I’ll let the monotonous “Teenage Mutant Ninja Turtles” sung over and over in the background slide because it’s like a companion to the drums. But do we really need to hear the traits of every main character in the opening of EVERY episode? She-Ra and Masters of the Universe did that, too, always breaking down every damn character so you would know just who the good guys and bad guys are, and who knows the secret identity stuff and who doesn’t, because apparently you, you snot-faced lump of Cheetos-dusted child, are too dumb to catch on to any of this when watching the show.

And I think this is what really gets to me about those chatty blurbs on books today. It’s like the publisher/writer thinks they have to talk down to the reader to ensure they understand the story’s premise and conflict. Sure, no one wants the reader to feel confused, but the consequence of over-talking is that we make the reader feel inferior.

Hero, or Villain? Gosh, I just don’t know!

Yes, there are some that like having all the dots connected for them, but not this gal, not this gal’s kids, and I have a feeling that you don’t dig being babied, either. Plus, it says something about us as writers when we don’t trust our own storytelling skills to adequately show readers who’s who and what’s what inside the story itself.

There simply comes a time when all we can–all we should–give readers are duct tape, a lemon, and a broken magnifying glass. If they’re intrigued with the few pieces you leave for them to find, then you can bet your MacGyver-lovin’ boots they’re comin’ into the book for more.

Anyone else have a favorite television theme to share? I was trying to figure out how to squeeze in Hawaii Five-0, but I just couldn’t make it work, dammit.

~STAY TUNED NEXT WEEK!~

I’m really keen to dig into Pan’s Labyrinth: The Labyrinth of the Faun. There’s a lot to learn here about the use of the fairy tale’s structure to create some very real history in a story’s world-building.

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

My #western #fantasy #novella is #onsalenow for #99cents! Plus, #lessons learned in #worldbuilding for #writing #fiction: #AnEasyDeath by @RealCharlaine.

Hello, everyone! At long, long, loooooong last, my novella “Night’s Tooth” is alive and kicking on Amazon!

Mississippi River Valley, 1870s. The white man wields rails and guns to bring law to the land. But there are more than wild animals hiding in the territories, and it will take more than guns to bring them down.

Sumac the bounty hunter needs no guns to hunt any bandit with a price on his head, even one as legendary and mysterious as Night’s Tooth. But Sumac didn’t count on other bounty hunters coming along as competition, nor did he expect hunters sharing his own magical gifts.

It’s one man against a gang and a mystery, all to protect a train that must cross the territories at all costs…

Inspired by classics like For a Few Dollars More and fantasy cult favorites like Highlander, “Night’s Tooth” is a western with a fantasy edge set in the Fallen Princeborn universe.

Once Biff, Bash, and Blondie are all in school, I hope to get “Night’s Tooth” on Draft 2 Digital so it’ll be available on other markets. Click here for an excerpt of the novella. The whole thing’s just 99 cents–easy on the wallet. 😉 Don’t forget to leave a review, too!

Like “Night’s Tooth,” Charlaine Harris’ An Easy Death is a mix of fantasy and western, but while my novella takes place during the “official” time period of the Wild West, Harris’ story is set in an altered, no-longer-United States. I picked up An Easy Death after reading SJ Higbee’s glowing recommendation, and after reading it I can see why Time magazine lists An Easy Death as one of its top 10 fantasy novels of 2018.

Let’s take a walk through the first two chapters and see how Harris builds this broken world.

In the morning I got Chrissie to cut off all my hair. Tarken and Martin would be tinkering with the truck, which was our livelihood….My neighbor Chrissie was not too bright, but I’d watched her trim her husband’s hair and beard as he sat on a stool outside their cabin. She’d done a good job. She sang as she worked, in her sweet, high voice, and she told me about her youngest one’s adventures with a frog in the creek.

I see a few key words in here that can make the imagination fill in some mighty big blanks. “Cabin,” for instance, isn’t a term for a home in an urban setting; therefore, we picture the two characters someplace rustic. A child playing with a frog in a nearby creek emphasizes the country-type of location here.

A truck tying to livelihood tells us we’re dealing with transporters of a sort–a cross-country kind of job. We should expect to see a lot of the story’s landscape with this narrator.

Chrissie and the narrator, Lizbeth, have a conversation on the second page. I’ve copied nearly the whole page here because, like Agatha Christie, Harris packs a lot of information in dialogue that only takes a few minutes to read. (Still, it’s a long passage to blog, so I’ll break it up a bit.)

“You heading out soon? I saw them farmers at Martin’s place, when I was coming back from the store.” Chrissie’s trousers had long tendrils of dark hair all over’em now. She’d have to brush’em.

“Yeah, we’re leaving as soon as it’s near dark.”

“Ain’t you scared?”

Sure, I was. “Of course not, the only ones should be scared are anyone who tries to get in our way.” I smiled.

“You’ll kill’em dead, bang, bang,” Chrissie said in a singsong voice.

“Yep. Bang, bang,” I agreed.

What have we learned? Lizbeth is leaving with some farmers, who must be riding in that truck, her livelihood. It’s Lizbeth’s job to kill anyone who tries to hinder them. Considering Chrissie’s innocent tone in describing this, killing people has become a mainstream profession, and by Lizbeth’s tone, we get the sense she knows what she’s doing…even if the job still scares her.

“Why are they going to New America?”

“The farmers? The part of Texas they live in got swallowed up by Mexico a few years ago. You remember?”

Chrissie looked dim. She shook her head.

“Anyway, the government down there has been telling the Texans that they’re not real Mexicans, and their land is forfeit.”

Chrissie looked even dimmer.

Their land is getting taken. So if they’ve got kin up north or anywhere, even in Dixie, they got to leave Mexico to have a chance.”

Dixie was so poor and so dangerous you’d have to be desperate to flee there.

What have we learned? America is weak enough that other countries like Mexico have taken control of its land. Notice Lizbeth doesn’t say “North America” or “United States,” but “New America” and “Dixie.” This isn’t the traditional 50 states of our reality.

Chrissie ran her fingers through the short hair on the left side of my head, and shook her head. “Anyone ever go to the HRE?” she asked.

“Chrissie,” I said. She bent around to meet my eyes.

“Oh, sorry, Lizbeth.” She began to work on the right side, following her own whim. I tried to remember if I’d ever seen her cut anyone’s hair besides Norton’s. “I forgot you don’t like them grigoris.”

No. I did not like magicians.

What have we learned? The HRE is not someplace you want to find yourself because–and this is the part that hooked me to the story–there’s magic in this world. Magicians are part of the normal fabric of society; not liked, maybe, but still, they are as normal as killing people to protect others fleeing the country.

So, over the course of two pages, we have a sense of narrator Lizbeth’s no-nonsense attitude thanks to her clipped prose and dialogue. We know her profession. We know she has some prejudices, and some inner conflicts. We know something of the world, though we don’t know why it is the way it is. All we know is that it’s dangerous, and people are desperate to flee from that danger. Harris successfully builds the world just enough that we can move forward without tripping on any exposition dumps.

A couple pages later we learn the term for Lizbeth’s profession.

I passed Rex Santino. “Easy death,” he said in his gruff way.

That’s what people wished gunnies. It made me feel good. I nodded back at him.

Not quite “gunslinger,” but it’s close enough to familiar terminology that readers get what Harris is going for. On this version of the North American continent, hired guns are a must for safe passage from one country to another. Connections like roads and rails, amenities like electricity and plumbing, they’re all as fickle as the law one finds from town to town.

We were on a good part of the road, one that hadn’t been broken. There were still stretches around like that. My mother had told me that once almost all the roads were smooth, and that when they cracked, they got repaired. It sounded like a fancy dream.
….

If the New America patrols stopped us, we’d be fine. People were legal cargo, and respectable people like this were even welcome in New America. But if bandits caught us, well, that was why Galilee and I were on duty. That was why the oldest brother had hired us to get the two families through the lawless land along the border between Texoma and New America.

What have we learned? When we consider how the roads were built to help unite a country, is it any surprise the roads are among the first things to rot in this fractured land? It’s also clear that the new countries don’t much care for watching each other’s borders, but will instead keep to their own; hence, the “lawless land.”

Chapter 1 ends with an ambush. All the gunnies but Lizbeth are killed, the truck destroyed. In Chapter 2, an injured Lizbeth tracks the bandits and farmers. She discovers the body of a teen girl along the way.

There must have been more gunfire after I’d been hit. She’d tried to run. Lots of families taught their girls to run, figuring that a bullet in the back was quicker than what waited for them after capture. My opinion, sometimes they were right.

What have we learned? The violence of the bandits tells us just how much human life is worth between the countries: absolutely nothing.

Lizbeth kills the bandits, rescues the remaining family members, and successfully escorts them to New America on foot. During this trek the farmers get to talking, which allows Lizbeth to think about historical context for the reader’s sake. (Last excerpt, promise)

“Since the president died, the world has gone to hell. God help us all,” Jeremiah said, and his brother nodded.

When people said “the president,” they meant the last elected president of the United States, Franklin Roosevelt. When he’d been assassinated in some city in Florida, before he could be sworn into office, the government had started down a slope that had gotten slicker and slicker…..After the white government had collapsed, the Indian tribes who could muster up a group of warriors had taken back the land that had been theirs….And bandits were everywhere, especially in Texoma, New America, and Dixie. I had heard that in Britannia, the area that had knelt to England, there was so much law that bandits were caught and hung quickly. The same for Canada, which had expanded to take in a lot of northern America. Canada had its horseback police, who were supposed to be crackerjack at their jobs. The Holy Russian Empire had a squad of grigoris and militia whose job it was to track highway robbers and kill them on the spot.

But in Texoma and New America, formal justice was scarce on the ground.

What have we learned? Ah, now we get the mother-load, for now we have a time frame to work with. FDR was indeed fired upon by Giuseppe Zangara in 1933. For those who don’t know, Franklin Delano Roosevelt took the helm of the United States during The Great Depression and remained in the presidency through much of World War Two. He’s the only president to have served more than two terms; in fact, the man had been voted to serve a fourth term when he died in 1945.

All the world was in flux in the 1930s. The aftermath of World War I, the rise of fascism and communism, the transformation of media and transportation….Life. Was. Changing. Just as a single assassination tipped Europe’s political scales into warfare in 1914, Harris shows us how the United States could have been broken by assassination in 1933. And when one considers the political climate of that time, are we really so surprised?

Now Harris doesn’t clearly state how much time has passed since FDR’s assassination, but when Lizbeth does meet two grigoris who want to hire her for a job, we learn a bit more about the Russian monarchy that escaped the communist uprising as well as magic’s role in this new world.

But that’s for you to discover in An Easy Death.

When a writer sets out to cut history’s timeline and paste it somewhere new, she has the advantage of using some common history to give the reader context before guiding the reader into unfamiliar territory. It’s a tried and true method used by many to their advantage, and there’s no reason you shouldn’t, either. It all comes down to pacing–rather like helping a rambunctious kindergartner glue string on top of his fish picture. Sure, you can just squirt a HUGE glop of glue on the page and just slather it everywhere; it gets the job done, but then all you both see is the glue smears over his nice fish. If you carefully squirt teeny dots all along the string, the string will remain in its place, and the fish is no longer smeary.

…sorry, that’s quite a mom-metaphor there. Point is, you don’t want readers to see nothing but the exposition. You want it to blend into the story, right? So don’t slather that world-building everywhere, blurring what could be an amazing story. Bead it along, letting it glue together scenes of conversation, conflict, and discovery.

Thanks so much for reading! I do hope you enjoy “Night’s Tooth.”

~STAY TUNED NEXT WEEK!~

The kids will be in school!

I mean….

The kids will be in school.

(Honestly, it’s a mix of both.)

Anyway, September and the fall season await with more delightful author interviews, some studies of scary tales, a hunt for fun’n’freaky music, and hopefully some updates on my current WIPS–both novellas, both dark fantasy, and both spooooooookily inspired by Wisconsin’s North Woods.

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

#writers, what #writinginspiration can be found in your #homestate? In #Wisconsin, one #setting to spark your #storytelling is #theHouseontheRock.

We drive, kid-free, through the silent Wisconsin countryside. Clouds hang silver and heavy over the corn and soy fields. The occasional tractor turns earth, the sporadic cow chews cud, the episodic cyclist scowls.

Yeah, sorry about my use of the thesaurus here, but I couldn’t help myself, not when I saw “odd” is a synonym for “occasional.” For amongst the normal, humdrum sights in rural Wisconsin, Bo and I are going to a truly odd place. One of the oddest in all the States, in fact.

Bo finds just the right music for our mission.

“What I want to know,” Bo ponders as we park, “is why no Bond villain ever stationed himself here.”

I nod. Christopher Lee’s funhouse set-up in The Man with the Golden Gun has nothing on this house.

No, the house.

The House on the Rock.

Like Dylan Thuras (in the above video), I also grew up hearing the tale that world-famous architect–and Wisconsin’s own!–Frank Lloyd Wright had spurned Alex Jordan’s own architectural designs, motivating son Alex Jordan Jr. to build The House atop a natural tower called Deer Shelter Rock…an area less than ten miles away from Taliesin. The tale is likely a crock, and yet…you know, why else would you build so flippin’ close to each other?

I’d only visited The House on the Rock once in my teen years. It’s the sort of place that sticks with you no matter who you are or where you’re from; one visit affected Neil Gaiman so deeply he set a piece of American Gods at The House on the Rock–and yes, they even filmed an episode of the television series there.

Sadly, my phone’s camera cannot do this place justice at ALL, but I do have a few snaps I can share mixed among the far better photos on the Internet.

House on the Rock’s exterior (from milwaukeemag.com)
Japanese garden set outside the Original House
Just one of the many clusters of self-playing instruments. There used to be one that played The Benny Hill theme, but they moved it. 😦
The House on the Rock is FULL of stained glass pieces. (from pinterest)
Sure, why not pack a cathedral’s worth of bells into one side of The House? Makes total sense. (Yes, there are more bells outside the photo.)
Kitchen/dining area from Original House. (from wikimedia.org)
The Lounge in the Original House (from tripadvisor.com)

One of the major architectural highlights is the Infinity Room.

It ain’t exactly a place you want to walk in when lots of people are there–it heats quickly, and, um, wobbles a bit. Still, I managed to get a shot with Bo while the natural light was good.

I didn’t say it was a good picture.
The Infinity Room exterior/interior (from pinterest)

Once you exit the Original House and Gate House, things start to get really weird.

Entry into “Heritage of the Sea” exhibit (from reddit)

Ah, the vicious Lake Superior Squid duals with the tempestuous Duluth Whale of Doom.

(Them’s the jokes, folks. For legit humor writing, talk to Bo.)

Yes, you walk a good three flights up and around this whale. (from tripadvisor.com)

Would it surprise you to know that tiny children sobbed as their parents dragged them by the whale’s teeth? I sure couldn’t blame’em–I was freaked out when I first saw all this, and I was old enough to drive a car. Bo, bless him, humors me as I grip his arm tight enough to leave a mark as we descend…yes, we not only have to climb up and around this mouth–we have to do it aaaaall again to get out.

The Streets of Yesterday’s a touch more tame. It reminds me of the Streets of Old Milwaukee exhibit at the Public Museum–a quiet, created thoroughfare.

The Streets of Yesterday (from cultofweird.com)

With dolls. Lots of dolls.

Soooooo creepy….

Oh, I’ll get to the dolls. Just you wait.

Anyway, here we transition with a big ol’ organ into room, after room, after room, of these giant orchestral mechanics.

One of the many giant engines and organ wagons on the Streets of Yesterday (from Cloudfront.net)

Mechanical orchestrics.

Soooo many rooms are filled with these giant self-playing orchestras. This one plays an excerpt from The Mikado. (from wikimedia.org)
Sorry my pictures aren’t better. 😦

You get me.

One of the many rooms of nightmare fuel: a mannequin orchestra with self-playing instruments (from tripadvisor.com)

This place just goes on….and on…and on…you move from room to room, warehouse to warehouse. You walk on yet another street of yesterday dedicated to cars, hot air balloons, airplanes. You pass hundreds of trinkets and trunkets of store displays, guns, circuses, dollhouses, DOOOOOOLLS, pipes, ivory carvings, costume jewelry, armor. Battle scenes complete with armored elephants and dogs.

Did I mention the dolls? Like the giant carousel FILLED with dolls?

I swear, this thing had to be at least two stories high. Of course, you gotta walk aaaall the way around it. (from pinterest)
Bo faces them down. I spot one (off camera, sorry) that’s tipped off its horse. Drunk riding, I guess?

And then there’s the room with the world’s largest indoor carousel.

Over two hundred animals, none of them horses. (from pinterest)
See what I mean? (from tripadvisor.com)
Just one of several walls filled with carousel horses (from tripadvisor.com)

In case you’re wondering what’s hanging from the ceiling, those are mannequin angels. Dozens, upon dozens, of mannequin angels.

Why?

Probably to fend off Satan from eating people.

Yup, the Devi’s mouth (and moving eyes!) is right smackin’ next to the carousel. Watch out Bo!

I walked down Satan’s gullet, stumped.

“What’s wrong?” Bo asks as we step out onto Inspiration point.

The sudden exit from hours among electric candelabras and mannequins makes my head hurt a little, but the foliage and peace of the forest around us more than make up for it. We’re at Inspiration Point, or Deer Shelter Rock. You can just see the Infinity Room behind the trees.

We must have missed something, I say, staring at a lone red barn on the far hillside (that I failed to get a picture of–sorry!). Wonder what that farmer thought, watching AJ Jr. haul materials and build his crazy concocted collection year after year after year. Did that farmer pay to take a tour like so many others in the 60s? Or did he just wave it off as so many ol’ Wisconsinites do and get back to the plow?

“How?” Bo takes a swig of apple juice as we sit on a bench. It’s our first break in three hours of walking, as our bodies are quick to tell us. “There’s only one way through this whole thing. The staff haven’t let us go off-course. What could we have missed?”

I grimace at the glass wall behind us. “We didn’t see the Four Horsemen of the Apocalypse.”

Bo rolls his eyes. He doesn’t remember the Horsemen from his childhood visits, and has been skeptical of their existence. “Well we’re not done yet.”

But how much left can there be? I ask for my curiosity…and my legs.

“We gotta double-back for another level and…yeah, the map here shows we’ve got a whole ‘nother room yet.”

Oh goody.

But I promptly told my leg cramps to shut up once we got there.

Organ room (and brewery room? Drum room? Steam boat engine room?) from Fangirlquest.com

This is, by far, my favoritist place at The House on the Rock.

See? Drums! Oodles of them! (from weburbanist.com)
And organs! Chords of them! (from weburbanist.com)
The one shot of mine that turned out in this room.
Gah, too dark!

Pillars–no, trees of drums and lights with delicate, narrow stairwells that wound and wound like vines. It was an other-worldly realm, a land of machine and music bathed in softly lit scarlet. It was a sort of room where you knew, you knew, magic awakens when the right song is played.

But alas, we had to move on. There was but one more pathway to the exit out, a pathway that went around the top of the carousel…

…and there they were.

Ladies and Gentlement, may I introduce Death, Famine, Pestilence, and War. (from staticflickr.com)

Gaaaaaaaaaaaaaaaaaaaah that walkway is so close to these guys Bo could literally reach out and touched Death–

–not that he does, thank goodness.

At last, we find ourselves back by the Japanese Garden and the exit from this one-of-a-kind place.

Outside courtyard, from tripadvisor.com

If Life’s Road ever brings you into Wisconsin, you must find a detour, any kind of detour to bring you to this place. It’s a day you’ll not soon forget, I promise you.

Want more information on this peculiar place? Check out the book The House on the Rock by Alex Jordan.

Fangirl Quest and Web Urbanist have amazing photo collections on The House on the Rock I only partly pillaged for this post. Check them out!

I think every land’s got to have a place like this–not something like The House on the Rock per say, but that unique oddity, that portal where the boundaries between reality and fantasy are frayed, and you can feel magic hum in the air you breathe. What would you say is your land’s portal to an Other-Where? Let’s chat in the comments below!

~STAY TUNED NEXT WEEK!~

The House on the Rock isn’t the only place to inspire a story. I utilized a bit of history from the Mississippi River Valley to help me write my upcoming release, the novella Night’s Tooth. You can read about it here, and pre-order it for just 99 cents here! The novella officially launches next Thursday the 29th, when I share my study of Charlaine Harris’ own fantasy western, An Easy Death. Don’t miss it!

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

#AuthorInterview: #SFF #writer #AdrianTchaikovsky discusses #writing #openinglines, #worldbuilding, and other bits of the #writinglife. Thanks, @aptshadow!

Happy Thursday, everyone! While Biff, Bash, and Blondie go after each other–and occasionally me–with squirt guns, it is my pleasure to introduce you to Adrian Tchaikovsky. He’s penned over two dozen books, including the Shadows of the Apt series and Children of Time, winner of the 2016 Arthur C. Clarke Award.

In short, Tchaikovsky is an amazing creative soul that we should all get to know a bit better. 🙂 How would you describe what you do, Sir?

So basically I mostly write books about spiders. Also dogs, AI, shapechangers, insect-people and anything else that lets me get out of a human skull. There’s not much more to me than that, in all honesty.

Considering the depth and breadth of your work, your imagination must have been nurtured with rich inspiration from little on. Are there any folks or favorite authors from your childhood that helped spark your passion for storytelling?

Absolutely – my great storytelling guru from teenage onwards was Diane Wynne Jones.

(Insert girly squeal here) I’m a huge fan, too! Her life is such an inspiration, not to mention her use of classic literature to help create new timeless stories and her knack for building complete characters we readers want to cheer for time and again.

Oh yes, she vastly expanded my frame of reference as to what you can do with a story, how you can play with reader expectations, that sort of thing. The Homeward Bounders and Power of Three, especially. Jones pulls a number of switches on the reader in Power of Three, with regard to precisely what the setting is, who are the ‘good’ and ‘bad’ people, all that, which really opened my eyes. Before that, as well as cutting my teeth on Dr Who novelisations, I loved Tove Jansson, because she built such a wonderful world with her stories.

My home state of Wisconsin is a curious patchwork of farms and wild places. I love exploring this landscape in my mind, creating stories to give shapes to the shadows hiding just out of sight. Would you say the landscape around you inspires your writing, or has been utilized in some way to help build a story’s setting? That swamp you describe at the beginning of Guns of the Dawn feels like this horrible place I knew near my summer camp… 

So… actually no. I don’t tend to relate much to places I’ve been, per se. No more than places I’ve read about or seen pictures of. It all just feeds into the general melting pot in my head that I draw new creations from. I’ve never been in a swamp like that, but I seem to be able to imagine these places and put them on a page well enough to make them real to my readers.

All the more impressive, then, Sir, that you can stimulate the reader’s imagine to build such a real place known only in your own mind!

Now, let’s stick with Guns of the Dawn just a touch longer because it has an amaaaazing opener: 

I killed my first man today…

The air was hot,muggy with moisture, filled with flies. Emily had not known hot before she came to these swamps. Hot had once been pleasant summer days with the corn ripening gold in the fields. Hot had been the good sun and the rich earth, and the labourers scaring crows or bringing a harvest in; a picnic on the Wolds, with a blue, blue sky cloudless above. Hot was a fierce fire burning in the study when the world outside was chill. There must be another word for this all-encompassing heat.

I’ve already told my husband I’m treating myself to this book after I complete my pedagogical training this summer. 

Anyway.

So after a first line that provides the point of view, time, and controversial action, you launch us into a paragraph filled with extremely vivid sensory details further enriched by memories of the past. Thanks to these memories, readers get the impression of a narrator who cares more about the quiet life in the farm land–a stark contrast to one who’s said she’s killed a man. You strike a delicate balance of grounding readers in the present moment of the story while also flashing back into the narrator’s past and how the world once was. Can you describe your process of finding this balance? 

This is going to sound very zen, which frankly I am not in any way, but there is a big subconscious element to that level of my writing. I was never formally taught about writing technique, I just read a whole hell of a lot, and then I wrote a whole hell of a lot, and my writing got better with each book I tried. Although there is a definite conscious input, and as I’ve got better I’ve become more aware of things I can do deliberately to create an effect, a great deal of it just comes out of the way the words spill onto the page in their raw form.

Well paint me green with storytellin’ envy, Sir, because your opening lines are as consistently effective as those created by Diana Wynne Jones. A wee survey of your stories uncovers hooks both big and small.

From The Children of Time:

There were no windows in the Brin 2 facility—rotation meant that ‘outside’ was always ‘down’, underfoot, out of mind. The wall screens told a pleasant fiction, a composite view of the world below that ignored their constant spin, showing the planet as hanging stationary-still off in space: the green marble to match the blue marble of home, twenty light years away. Earth had been green, in her day, though her colours had faded since. Perhaps never as green as this beautifully crafted world though, where even the oceans glittered emerald with the phytoplankton maintaining the oxygen balance within its atmosphere. How delicate and many-sided was the task of building a living monument that would remain stable for geological ages to come.

From this paragraph we learn the story’s location, the time frame, and the narrator’s love of this created home. We are also left asking: “What happened to earth?” And we are driven to read on.

From The Expert System’s Brother:

It went wrong for me when they made Sethr an outcast.

From this sentence we learn the story’s point of view, that there is some powerful “they” capable of ruining someone’s life, and because one person’s ruined, so is our narrator. We are also left asking: “Who is this mighty ‘they’? Why should Sethr’s fate mess up life for the narrator?” And we are driven to read on.

Writing compelling openers is surely one of the most important challenges any writer faces. Do you have any advice for writers who struggle crafting their hook?

I am going to raise a hand and say that good lord I’ve had books where the opener has been a problem, and it is super important. Often it’s a matter of where in the story you start – easy to start things too soon and have too much lead-in. And there’s a huge pressure to start with everything on fire, meaning that certain types of storytelling are virtually extinct in the genre right about now. Sometimes I’d like to feel people would just amble with me a bit at the start…

I love the idea of ambling…and with over thirty titles to your name, there’s lots of ambling to do! Some of your titles are stand-alones, like The Expert System’s Brother; some are in trilogies, such as Echoes of the Fall; and then you have your TEN-book series Shadows of the Apt. I tip my hat to you for building worlds unique and complete time, and time, and time again, just like Jones. What thrills you about building a new world? How do you avoid the temptation of re-using elements? No writer wants readers to get déjà vu and think they’re just reading the same story over again.

Building worlds *is* the thing that thrills me, and I have a whole host of ideas yet to come. So far repeating worlds hasn’t been the issue (outside of sequels obviously). I’m more worried about repeating themes, because obviously there are certain things you come back to, each writer to their own, and there’s a real danger that you end up telling the same snippets of story over and over if you don’t remember to give them a different spin.

Another common problem for many writers–as well as movie-makers, I’d say–is crafting an action sequence that moves quickly and fiercely without confusing readers as to what’s going on. I know this was one of the toughest elements to hammer out in my own novel, which contains battles involving several key players duking it out all over the place. Your novels contain intense action on both an epic scale as well as an intimate one. How do you keep the language quick-footed without losing readers along the way?

Action sequences are very much an art of their own. Having a good grasp of the shape of the sequence is important I think – I plan a great deal anyway, and action sequences get thought through in the same way. A chase or a fight has a mini-narrative of its own, including opportunities to bring out character, to foreshadow, and to have their own emotional beats. A particularly big action scene can almost be a book in miniature.

How true!

Another resource that’s always helped me write action scenes as well as stay focused on the feeling of any given moment is music. For every author that tells me he/she loves having music to help set the mood for writing a scene, I hear from another author that he/she needs silence in order to write. Which camp do you call home and why?

I tend to listen to music when I write and have a series of playlists for different moods, to help me focus and blot out distraction. I generally listen to instrumental music from film soundtracks, computer games, and music written specifically for trailers (a good source of consistently hammery action music), Some composers you might not know who have some interesting stuff include Kyle Gabler, Lorne Balfe, and Bear McCreary.

(Gasps) GODZILLA?! Hell to the yes! Sign me up for some new composers to study later this year!

One reason I depend so heavily on music is because it helped me write when my children were small and at home all day. Now that my kids are old enough to attend school, I can usually find an hour of peace to write. Still, it’s extremely tough some days to balance parenthood and writer…hood. Authorhood. You get me. Do you have any tips for balancing writing and parenting?

Honestly my son’s 11 now so he’s more self-sufficient. I write in the mornings and very late evenings, though, which is a convenient way of working around family commitments.

Lastly, let’s talk about the ever dreaded Kryptonite. Writing Kryptonite, to be precise. There’s always something that can sap all creative power away in a heartbeat. For me, it’s a phone call from my sons’ school principal. It takes a good long while of watching my sons lose themselves in their own adventures with droids, transformers, and wild animals before my own creativity sparks back to life. What would you call your Writing Kryptonite, and how do you overcome it?

Arguments with my son will do it, but as a sort of contributor to a general cycle of depressive ups and downs that are quite capable of just doing their own thing with me, without any actual outside stimulus. Writing is a big drive for me, though. If I’m not writing, it has a serious negative effect on my mental state all its own. So although a downswing can make it hard to get going, once I’m actually writing I can generally retreat into it from my problems.

I know just what you mean, Sir. Do I ever know just what you mean.

My deepest thanks again to Adrian Tchaikovsky for taking the time to talk to us today! You can find him on Twitter, Facebook, Goodreads, and his website, too.

~STAY TUNED NEXT WEEK!~

We’re going to meander through some gorgeous western scores in anticipation of my upcoming Night’s Tooth.

Mississippi River Valley, 1870s. The white man wields rails and guns to bring law to the land. But there are more than wild animals hiding in the territories, and it will take more than guns to bring them down.

Sumac the bounty hunter needs no guns to hunt any bandit with a price on his head, even one as legendary and mysterious as Night’s Tooth. But Sumac didn’t count on other bounty hunters coming along as competition, nor did he expect hunters sharing his own magical gifts.

It’s one man against a gang and a mystery, all to protect a train that must cross the territories at all costs…

Inspired by classics like For a Few Dollars More and fantasy cult favorites like Highlander, “Night’s Tooth” is a western with a fantasy edge set in the Fallen Princeborn universe.

Did you miss my August newsletter? Here it is!

We’ll also do some adventuring about Wisconsin and do a wee worldbuilding study of a recent western fantasy, Charlaine Harris’ An Easy Death. More author interviews are on the way, too. I hope you’ll join me!

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

For the love of #westerns: one #indieauthor #writes her #fantasy world into a #timeless #genre.

Once Upon a Time in the West

I wish I could tell you just when it started, this love for the western. It should have been decades ago, when my brothers and I watched our old recorded VHS on the making of Star Wars yet again while Mom just wanted to sit and watch John Wayne in a classic like Stagecoach or The Searchers. But I had no patience for the kind of western where women clutch their aprons while Native Americans gallop by with villainous intentions and only John Wayne with his swaggering cadence can talk a coward into being a brave man just long enough to shoot the savage and save this little refuge of civilization.

Oh no. Iiiii had to sit and watch a rogue with a laser gun help out wizened old man and a snot-nosed kid who thinks he’s smart in the saddle hold out from attacks by corrupt powers….heeey…sounds, um…

Sounds kinda like a western. (More on that later.)

But aren’t westerns just glorified propaganda for western civilization uprooting native cultures? Don’t all their shoot-outs result in a lot of powder in the air, women swooning, and men clutching their chests going, “Aaaurgh!”?

Hardly.

Countless storytellers–be they writers, filmmakers, or game developers–refuse to leave the Wild West alone. Type “western” into the books’ search engine on Amazon, and thousands of results pop up. Western films have been regularly produced for audiences since 1903. That’s over a century’s worth of western storytelling produced by the United States; the number skyrockets when you look around the globe. And just last year, the best-selling video game was, of all things, a western.

What is it about this period spanning thirty years (or sixty, depending on whom you ask) that draws us back again and again?

I can’t speak for others, but dammit, I’ll speak for me.

A Hero uncivilized and unrestrained.

A couple weeks ago I wrote about the antihero, and how this individual for good or ill lives by his own code to meet his own ends. In the western this character certainly exists, but there are plenty of heroes, too, who are out to right a wrong and carry out some justice…only, their means ain’t exactly pretty (see High Plains Drifter for the ugliest justice there is). Plus, these folks are by no means super-heroes or ramped up by crazy technology (unless, of course, you’re in Wild Wild West).

The hero–or antihero–of the western is often one of minimal means caught up in a conflict where the other side has more bullets, more men, more high ground. Jack Shaefer, a writer of westerns, elaborates on this point:

The western story, in its most usual forms, represents the American version of the ever appealing oldest of man’s legends about himself, that of the sun-god hero, the all-conquering valiant who strides through dangers undaunted, righting wrongs, defeating villains, rescuing the fair and the weak and the helpless — and the western story does this in terms of the common man, in simple symbols close to natural experience . . . depicting ordinary everyday men, not armored knights or plumed fancy-sword gentlemen, the products of aristocratic systems, but ordinary men who might be you and me or our next-door neighbors gone a-pioneering, doing with shovel or axe or gun in hand their feats of courage and hardihood. 

quoted in Jeremy Anderberg’s “21 Western Novels Every Man Should Read”

This is why I love Clint Eastwood in so many of his westerns. He’s shot, beaten, left to die in the desert, and God knows what else. We see him lose as much blood as he draws. He, John Wayne, Jimmy Stewart, Jeff Bridges, and loads others show their struggle for a better self in a world that rewards the greedy and vicious. The price to be paid when doing the right thing can be pretty damn high, and the heroes are willing to sacrifice it all, including their own goodness, to pay it.

The Magnificent Seven

Which brings me to my next point. (And to one of the happiness quotes I was challenged by the lovely Lady Shey to hunt down and share.)

“I was happy in the midst of dangers and inconveniences.”

– Daniel Boone

Action! Bang bang, punch kick kapow, boom blam CRASH!

In case you didn’t know from other posts, I’m something of an action junkie. (The fact that 1987’s Predator is another one of my all-time favorite movies should tell you a lot about me.) Westerns promise action. There may be tons of gun fights, or only a few. There may be a total blood bath such as in Django Unchained, or a drawn….out….showdown…years…in…the making….

That’s part of the western’s beauty. The climax can be a chess game of men, where pawns are removed one by one until all that remains are the kings of the board…and, perhaps, a rook. We have to watch their necks sweat, fingers twitch, eyes narrow, and wait, wait, wait for the moment where Hell will break loose–

Or, bullets fly and characters die in epic battle fashion, such as in The Magnificent Seven; we’re not sure who will survive the climactic battle, and because we know these heroes experience the broken bone and spirit of mortality, we cannot be certain any of them will make it at all.

(Unless, of course, you’re the townspeople of Blazing Saddles’ Rock Ridge, who all wind up breaking onto the set of another film and then the studio’s commissary for a huge food fight.)

Speaking of settings…

*

*

*

A landscape beautiful, terrifying, and untameable.

Western civilization may have crossed into the territories, but it is by no means in control of the land.

True Grit

Communities are rarely large, and their ties with “proper” society–towns and cities east of the Mississippi–are tenuous at best. The first transcontinental railroad wasn’t completed until 1869, the first transcontinental telegraph only a few years before that. If someone travels west, they travel a lonely road, or a railroad often unguarded. They enter territories that never belonged to them, and yet are determined to keep them.

Pale Rider

La Crosse was such a place, once upon a time.

I figured this riverside town would be the perfect place to set my western fantasy novella Night’s Tooth. Wisconsin earned its statehood in the 1840s, sure, but it’s not like all of it was paved with pristine society by the end of the Civil War, right?

Well…the first settlers established the community of La Crosse in the 1840s a few years before that statehood, so yeah, Wisconsin still had a bit of wildness to it as far as governance goes, but by the end of the Civil War the log cabins had been replaced by a full-on city with one of the country’s first swing bridges for the Southern Minnesota Railroad.

La Crosse, Wisconsin, 1867

No longer did rail cars have to be ferried across the great river to journey west. The White Man had brought his roads and buildings and built them all square and orderly to the Mississippi River Valley. Man had conquered Nature.

As far as Wisconsin was concerned, the Wild of its West was lost.

I can’t write a story where the West ISN’T Wild!!!

The idea of La Crosse being so damned orderly and efficient at growing really galled me. It galled me so much I figured my main character, a bounty hunter named Sumac, would be galled too, and call it a damn shame.

Then it hit me.

Use the city’s history in the story. Show how this final bastion of “civilization” before the territories had its own moments of dark dealings. Perhaps, if I am very careful, sew some patches of magic goings-on onto time’s quilt of history, and in their threads tell a new tale of hunters who hide among us…

Mississippi River Valley, 1870s. The white man wields rails and guns to bring law to the land. But there are more than wild animals hiding in the territories, and it will take more than guns to bring them down.

Sumac the bounty hunter needs no guns to hunt any bandit with a price on his head, even one as legendary and mysterious as Night’s Tooth. But Sumac didn’t count on other bounty hunters coming along as competition, nor did he expect hunters sharing his own magical gifts.

It’s one man against a gang and a mystery, all to protect a train that must cross the territories at all costs…

Inspired by classics like For a Few Dollars More and fantasy cult favorites like Highlander, “Night’s Tooth” is a western with a fantasy edge set in the Fallen Princeborn universe.

~*~

Intrigued? I sure hope so! 🙂 I’ll be posting an excerpt from the story in this month’s Exclusive Free Fiction from the Wilds. Once I’m done mucking through the formatting business, I’ll publish Night’s Tooth as an e-book and set its price for 99 cents. If all goes well with children and teaching, Night’s Tooth will be available near the end of this month.

In the meantime, I’d love to hear about your favorite westerns in the comments below! You may also enjoy watching Cinefix’s very interesting breakdown of favorite westerns from across the decades, including the changes of tone and theme created by different directors in countries. (If you’re wondering when Star Wars was supposed to come up again in this post, watch the video.)

~Stay Tuned Next Week~

I’m super-stoked about next week’s interview! He’s a winner of the Arthur C. Clarke Award as well as a fellow fan of Diana Wynne Jones. After that we’ll study a new and unique Wild West set in an alternate America, then take a tour through some amazing composers for westerns before finally (fingers crossed and turning thrice widdershins) launching Night’s Tooth into the publishing wild!

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