Perhaps it’s the video of boys that connected me so quickly and so completely to this song. I see the parents desperately saving their son at the end, and my mind races to when I came so close to losing my own, each in different ways.
I had to learn more about this creator of narrative music.
Ludovico Einaudi is Italian born and bred; like me, his love of music is rooted down and in with his love of family. A scholarship to the Tanglewood Music Festival exposed him to the blossoming movement of American minimalism (a style developed in part by another favorite of mine, Philip Glass). He’s been composing music for stage and screen since the 1980s, but has also produced solo albums, the first–le Onde—being inspired by Virginia Woolf’s short stories.
How curious to listen to a man inspired by fiction to compose music while his music inspires me to compose fiction!
Here’s a lovely example of the minimalism present in one of his more recent albums, Elements.
I’m so happy to have found a live version of this song for the visual of this minimalism. No orchestra here–just a piano, a violin, a cello, a guitar, and a percussionist. Yet with these few instruments, you feel the world about you fill with sound, trickle-slow, like water moving through a child’s crafted wall of river stones. This steady build fits beautifully with the rise of tension in a scene, or of a character’s resolve to face the darkness.
Like young Lucy opening a wardrobe door to another world, Einaudi’s “Primavera” welcomes us into another world of magic created by trills and arpeggios–fitting touches in a melody for a song entitled “Spring.” And because spring is not always a delicate season, Einaudi makes the wise choice of building the strings up at the 2:00 minute mark to send them cascading like a downpour upon us. They run up like lighting, the bass notes rumble as thunder, and we are left standing in the deluge until the harp arrives to soften the rainfall and crack the clouds.
Einaudi’s talent for building darker worlds can be found in another album, In a Time Lapse.
It is another song that builds, yes, but there’s a menace this time. The relentless snare drum forces us forward on whether we wish to or not. At roughly 2:00 a violin cries out, a plea for…for what? A plea to listen, to change, to stop. There’s tragedy in that relentless march, and if we don’t escape, we will lose our hope. The lone piano that ends the song tells me…well. What it tells me and what it tells you may be two different things.
That’s one of the great beauties of narrative music: interpretation.
Music is a life-force. It moves our hearts to beat, our souls to breathe. May Einaudi’s compositions beat in your characters’ hearts and breathe across the fantasy-scapes of your worlds with all the magic of a thunderstorm on a summer’s eve.
Stay tuned for author interviews galore! We’re going to learn more about some beautiful historical fiction set in World War II, a cracking cozy mystery, and a series of Young Adult novels set in the cut-throat world of horse-racing.
Blondie finished the school year with a straight-A report card. She was particularly proud of her last story for writing class: “The Invention that Changed the Chicken World.” It’s a suspenseful tale of action and intrigue as Zach, a lowly chicken residing on a dairy farm on the slopes of Mount St. Helens, discovers that special rocks from the volcano will help him build a jet pack. He successfully builds a model only to be discovered by a nefarious squirrel…well here, you read it:
Little did Zach know that two sinister eyes were watching from the trees. Later Zach was walking back to the coop when suddenly, a squirrel jumped in the way! He was wearing an eyepatch on his right eye! Worst of all, he was pointing a GUN AT HIM!!!
“Gimme your rocks, sonny. Then you can have anything you want,” said the squirrel calmly.
“What do you want with MY rocks? Go get your own!” shouted Zach. The squirrel leaped at him, took the rocks, adn sprinted away. Chickens, you might say, aren’t very fast. Zach, however, was just the opposite. Zach ran like a lightning bolt and caught up with the squirrel and took the rocks.
Blondie, “The Invention that Changed the Chicken World”
The tale continues, but Blondie refuses to read it out loud for me, the stinker. 🙂 Her story was such a hit with Biff and Bash that Biff even started his own story:
Blondie’s promised us all more stories about Zach the chicken this summer, and I’m excited to see Biff truly enjoy drawing and writing. Bash, meanwhile, is turning out some amazing creations with Lego; even we will set them apart so that no one else can wreck them.
But even though the kids are wrapping up their school year, my current term at the university has a ways to go. Plus, I’ve taken on a new job as substitute teaching aid at another town’s school district. It’ll help the family income, plus it gives me a chance to work with kids aged 4-18. If I want to write for these people, I should probably, you know, hang out with them’n’stuff…
(Side Question: Why the heck does anyone think four-year-olds can learn to walk on stilts? These kids can barely remember to use a kleenex, let alone tie shoes, and we trust them to walk with GIANT METAL RODS?!)
The plans had been to publish the entire series over the course of a few years, starting with Books 1 and 2 to come out pretty close to each other. We individually published six short stories over the summer and fall to help promote the first novel, and on October 31, 2018, Fallen Princeborn: Stolen hit the shelves.
Well. You might have noticed the second novel’s not out yet.
The folks at Aionios Books chose not to continue with my series.
Am I bummed? Of course I am. It feels like that moment in A Fistful of Dollars when Clint’s caught by the baddies after helping a girl escape. They beat him to a pulp, taking extra care to cripple his shooting hand. One look at him, and you’d think he’s a goner.
Only he’s not. He manages to escape despite his injuries and hides away in an old mine. Over the course of his recovery, he slowly, surely, tenaciously, teaches himself to shoot with his other hand.
Yeah, I may be down, but I’m a professional, dammit. It’s a wild world out there in indie publishing, and every fighter’s got to do what he/she can to survive. Aionios made the call they felt was best for them. So, we just need to do our own parts in helping Fallen Princeborn: Stolen stay alive while also adventuring off in our own directions.
In my case…well, first I’m learning to shoot with the other hand.
This means I’ve got to do a complete overhaul of my platform: website, social media, the whole kit’n’caboodle. Don’t be surprised if a link’s down one day and up the next–we’re talking years’ worth of posts to revise.
I intend to rework and re-release my six short stories of Tales in the River Vine.
I’m also excited to publish a new tale, a tale that hearkens to those wild days of territories stitched with railways and bounty hunters ready to kill for a few dollars more…
“Between you and me, I doubt they’ve got the know-how to outsmart Night’s Tooth.” Sheriff Jensen narrows his eyes at the poster like he could scare it. “No proper description of the man, and a modus operandi as bizarre as hell.”
“Why bizarre?” Sumac pulls the poster from its pin and stares thoughtfully at Night Tooth’s name.
Now the sheriff goes all quiet again, thinking. He’s really sizing Sumac up this time, like as not making sure Sumac’s not crazy as a loon. “Because they find bite marks in the rail cars’ walls, that’s why. This man’s got a wolf with him, somethin’ big as a bear and twice as smart.”
That’s a whap Sumac’s not expecting. No doubt his lady employer would have a good laugh over that one. “Well, as I see it, Sheriff, some creatures are born into killin’ like others are into dyin’. I reckon Night’s Tooth is of that first camp, wouldn’t you?”
The wind whistle-whines against the glass. Another train cries out from the rails beyond La Crosse’s commercial center.
Sumac smiles. He knows he doesn’t have to answer.
And, God-willing, before 2019 ends I’m going to publish the next installment of the Fallen Princeborn series.
The name sucks the air clean out of Charlotte’s mouth. Her lungs shrivel, her mind bleached like bones in the desert—
Someone stands out in the middle of the Wild Grasses. Pale arms hang perfectly still against a sparkly shirt. The breeze plays with red hair too bright to mistake. It carries the scent of bus and berries to Charlotte’s nose and stings her eyes to tears. A pink bubble inflates out of the mouth. Baby blues shine like search lights.
Pop. “I’m still waiting for you, Charlie.” Pop.
The Voice rushes to the bellows within Charlotte, brings air and feeling back to her lungs. One, two, don’t let Orna get to you.
Charlotte heaves a breath as deep as she can. Her legs don’t want to move, she can’t move, but she will move. She forces one foot forward, then another, commands her back to straighten, and she screams, “I know who you really are!” She chews the unsaid words “you bitch!” like gristle, wishing desperately to spit them out at The Lady wearing her sister’s shape like some Halloween costume. But even the shape of Anna forces the hateful speech to stick between Charlotte’s teeth. “Go back to your hole!”
should have died in the Pits, Charlie. She’s got something a lot worse planned
for you now.”
“’She’?” It was just a tiny word, but its reference jabs the Voice in Charlotte’s heart good’n’hard.
Blues grin like some damn playground secret.
“Don’t fuck with me, Orna.” Charlotte’s walking before she knows it, wading into the Wild Grasses, arms swaying fists, teeth clenched, “You’re the one never leaving this land alive, I swear!”
The berry and bubble gum stink to Charlotte’s nose now, all its pungent sour sweetness driving its way up into her sinuses and stinging behind her eyes.
More and more red hair blows over the Baby Blues, more hair than Anna ever had, and it grows longer, longer. She’s engulfed in hair like some Ginger-fied Cousin It.
Charlotte’s almost close enough to grab a lock and yank it off. “Take my sister off!” She lunges forward—
But Cairine’s teeth close upon Charlotte’s shirt, her nose a sharp chill on Charlotte’s neck. Cairine pulls Charlotte back as a bubble pops under all that impossible hair. A new voice grinds under Anna’s punctuated soprano:
“Let’s not rush. I’m still owed a sweetheart.”
Red hair spins round, tightens, stretches, into a giant red bubble. It floats above the wild grasses and pops to the echoes of girlish laughter.
In the meantime, I’m excited to spend June celebrating my dear friend Anne Clare–she’s releasing her debut novel this summer!
I’ve known Anne for decades, and like me, Anne’s been balancing teaching, family, and her writing life. For years she’s been researching and crafting a story that spans countless miles and years–just like our friendship. xxxxx
I am so, so proud of you, Anne!
I’ll be interviewing Anne and the impeccable James J. Cudney, who has another cozy mystery on its way to bookshelves next month.
What else lies in store? Oh, some world-building craft, methinks, and a study of the incredible Italian composer Ludovico Einaudi. I shared one composition of his weeks ago, but it haunts me still. Let this song carry you on its magic into next week, where we sit, and listen, and imagine together.
My name is Christopher Lee and I am the author of Westward, a Channillo exclusive serial release occult fantasy that blends X-Files and the Magnificent Seven.
What made you choose publishing your work as a serial as opposed to a collection/novel?
DAN: I have collections with my publisher GenZ, Lapping Water, Humbled Wise Men Christmas Haikus, and Home other places I’ve yet to see. Channillo has been a good place for projects of mine that I view as smaller endeavors.
CHRIS: For one I love to write as if my story were being presented as a TV show, each chapter I write feels like an episode of a show to me, so it made sense to present it this way. The format of serial publication allows me to work on my story at the same time as I get feedback from readers on previous chapters, etc which in turn helps make the story better down the road.
What benefits have arisen with plot, character development, and/or voice as you write a serial?
DAN: It’s fun to write these poem-letters in “Weathergirl.” I call it soap opera poetry.
CHRIS: It takes a huge load off of the authorś shoulder to know that they don’t have to crank out a huge manuscript in order for readers to access their work. There is a flexibility that I mentioned before that allows the writer to breath, take a step back, and then return to the keyboard recharged and excited to write the next chapter of the story, not to mention it keeps the readers hungry for more.
I concur about that load being shirked off! However, I know one problem I have when posting my own Young Adult Fantasy MIDDLER’S PRIDE is publishing on time.
What challenges have you faced writing serials?
CHRIS: Honestly, I have not faced any, save that classic HIT THE DEADLINE. When I began to write Westward, I had a fully developed story arc with complete show/chapter ideas. This allows me to simply sit down and write the next installment, whereas had I not done so I might have run into an issue of keeping the story straight, so to speak. Ultimately it is all about consistency when running a serial. You need to market it consistently and produce the content on time so that your readers know they can count on you. After all, there is nothing worse than investing time as a reader in a story that dead ends.
DAN: Letters to the Weathergirl is about a man writing to a news anchor and the reader doesn’t know if he is a deranged fan, or a fan, or her actual lover and I haven’t had any problems developing that. I’m very fortunate.
Now while I myself have never published any poetry, I find it a pleasure to read! It seems to fit well with the serial form. Because I’ve written Middler with the serial publishing platform in mind, I find myself constantly looking for little arcs or episodes to write within the larger novel-arc. How do you feel your writing and/or genre’s been affected by publishing it in a serialized form?
DAN: Letters to the Weathergirl is weekly so when holidays turn up I like writing themed segments. The arrows on the clock are pointing at me was like a fun dumping ground for unpublished poems and I hope to maybe start another series like that. Venus Fly Trap kept my haiku skills sharp and Little Silver Microphone explores recordings both home and live.
CHRIS: I primarily write in the fantasy genre, which I believe is aided by the format. Fantasy in some ways suffers from the drudgery of 600+ page novels that remain inaccessible to the general public at large. Many consumers of media want smaller bites that they can digest while they ride the bus, an Uber, or just before bed, etc. Just look at Netflix and the advent of binge watching or in this case binge reading.
What do you think draws readers to read serial (non)fiction?
CHRIS: Accessibility and consistent content creation are the two major things for me. One that readers can have an a la carte or buffet experience with different genres, authors, and styles. Two is that there isn’t a huge delay between content dumps from the authors, its the exact opposite of the George R.R. Martin effect, for example waiting for years for a conclusion to the story you as the reader have invested time in.
Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments? DAN: Yes, I do. I’ve gotten great feedback that has meant a lot to me. Sometimes I post quotes about my series on the work’s homepage.
CHRIS: If I am being honest, I have not received much in the way of comments via the Channillo platform, but I have been contacted via Twitter, Facebook, and email from readers who have given me some of the most constructive feedback I have gotten to date. It is a really cool experience to have that level of connection with the reader. Usually what I do with said commentary is to implement whatever makes the most sense to the story, all while keeping the core message of the reader close to heart.
What advice do you have for fellow writers who want to give serialization a go?
CHRIS: First and foremost you need to have a fully developed story before you kick the thing off. If you don’t have that, then you run the risk of hitting a dead end that could cause you massive problems. Ultimately a plan will save your booty if you get in a pinch.
DAN: Make sure you do your installments on time with interesting material to help build an audience.
I found this quote published inThe Washington Postback in 2015, and I’d like you to comment on it:
Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity. –Hillary Kelly, “Bring Back the Serialized Novel”
CHRIS: Kelly makes a great point, though the critics of serialization see it as low art or cheap in quality, I find the process to be far more rigorous. You can simply slap crap together and throw it at the wall and hope that it sticks. In fact, you have to take even more time to craft a tight narrative, then you would in the case of a novel. To run a successful serial you have to keep your readers hooked. In the traditional method, example a fully fledged novel, once they buy your book, the transaction is largely done, you have the readers money, whether or not they come back for subsequent books is altogether another animal. With a serial, you have the flexibility that you don´t have in the traditional sense, and that is the true strength of serialization.
Thanks so much for sharing your thoughts, guys, and good luck building those Channillo stories! You’re reminding me I need to update what’s going on with Meredydd…
In the meantime, check out these authors and other amazing folks at Channillo. You can scope out their amazing store of stories FREE for thirty days. Who knows? Maybe you’d like to write for them, too!
Greetings, one and all! While I run around a massive education conference for my university, please enjoy this lovely chat I had with Indie Fantasy Author Marsha A. Moore.
What was an early experience where you learned that language had power?
As a child, instead of having a bedtime story read to me, my father prompted me to create oral stories with him. Together over a few years, we conjured a series of fantasy tales called The Land of Wickee Wackee. Our characters and sub-plots interwove. Nothing was more exciting than creating new stories in that make-believe world! Bedtime was amazing!
Have you read anything that made you think differently about fiction?
Natasha Mostert’s Season of the Witch changed how I view my role as an author of fantasy fiction. In her book, magic causes mental effects for both the giver and receiver. I find the complexity of that sort of magical system riveting, something I strive for in my own work.
It’s so cool to find a story that pushes us to think beyond how we’ve previously built our worlds. That kind of care surely takes time. Unfortunately, we don’t always see this kind of care in books currently published by indie writers, do we?
have a growing dislike for the indie practice of pushing books out so fast that
quality is sacrificed. The trend worsens each year. Books are produced that
lack originality and depth, and writers burn out and then teach their
methodology for “success” only because they were unable to maintain the arduous
pace long term. Art requires reflection.
Indeed! It took me eight years of writing, revision, reflection, and more writing to make my own first novel worthy of publication. What is the most difficult part of your artistic process?
Picking up writing a particular story after I’ve left it for a while and it’s gone cold, absent from my daily thoughts. That is a beast I definitely dread tackling.
I’d love to hear more about your series, The Coon Hollow Coven Tales. What inspired you to bring witches and magic to the Midwestern setting?
My series, Coon Hollow Coven Tales, is set in my version of a real place near where I lived in southern Indiana as a child. With its rolling forested ravines and artist residences tucked away in sleepy, rustic log and limestone cabins, the place captured my imagination and never let go.
place is Nashville, Indiana, which lies south of Bloomington. In fact, all of
Brown County and its rolling hills inspires this series.
unusual tiny town in the county, Story, Indiana, is now privately owned and run
as a small bed and breakfast resort. It’s a living fairy tale! And some of the
buildings are haunted! The Blue Lady lives in the rooms above the
inn/restaurant/old general store. If you get a chance to visit, you must!
In Witch’s Mystic Woods, I adapted that little village, renamed it “Fable” and gave it to my Summer Fae King and his faeries to run. In the book, I needed a location to throw a Winter Solstice party. Who else would be better party hosts than fae? So the inn of Fable opened its doors to the witches of Coon Hollow Coven for a memorable night.
The books in my Coon Hollow Coven Tales series are rich with a warm Hoosier down-home feel as well as mysterious magic that lurks in the ravines of those deep woods.
Did Coon Hollow Coven Tales require lots of research? I can’t help but imagine so, considering the subject matter.
Writing Coon Hollow Coven Tales has given me a terrific reason to spend inordinate amounts of time researching all kinds of witchcraft, from group to solitary practices, green witchcraft, wiccan work compared to paganism, Cherokee shamanism (for Witch’s Windsong), and even necromancy (the raising of the dead, for Witch’s Cursed Cabin).
But the most interesting witchcraft I learned about was that of a Hedge Witch, an old, old practice. It relies upon communication with the world of faeries going through the “hedge” or “veil” into their realm. These Hedge Witches are the true-life, Appalachian granny witches, also knowns as “root doctors” or “wildwood mystics.” Their skills riveted me and became the background for my book Blood Ice & Oak Moon. During the past year, I’ve begun a new series, a YA alternate reality/historic fantasy. The series is set in the year 2,355 in what was once the United States, well past an apocalypse that occurred at the end of the Civil War. I’ve done considerate research about the Civil War and how different areas of the country were affected. One of my best references for small things, which books or YouTube cannot convey, has been one of my former high school students who has been an avid 18th and 19th century reenactor for decades. I treasure her advice!
As a writer, what would you choose as your spirit animal?
In preparing to write Witch’s Windsong, the most recent in my Coon Hollow Coven Tales, I studied with a local shaman. My main character, Keir, is a shaman, and I wanted to portray his work accurately. The local shaman taught me how to journey into the different realms and helped me locate and meet my spirit animal, the Coyote, who often teaches me valuable lessons.
The Coyote helps in with my general outlook, including my
writing, always poking at me to take time to “play” with my creative process.
When I listen, the process becomes hugely more rewarding, as much or more than
achieving the final outcome.
Now here’s a fine fellow I’m excited to share with you. Yes, he’s written a book, which is awesome, but I’M keen to share him with you because of his creativity with music. If you’ve visited my blog before, you know how important music is to my writing, so to speak with a songwriter is a great honor, indeed!
Let’s start with an introduction first, shall we? Give us a bit about who you are and what you do.
When will all the pieces come together? And if I don’t like the picture am I stuck with it forever?
a line from a song I wrote when starting out.
The words stayed with me. Kept me honest. A mantra for the inspiration self-doubt hands out in shedloads when it feels like it.
Who am I? Since finishing uni with and against all odds,
a BA (Hons) 1st in Music Technology I’ve gone by the alter ego ‘Zoolon’ but
generally when people call me ‘George’ they get a response. I’m a
singer/songwriter and sound artist without an ego, preferring art above glory;
composition over crowds. On balance I prefer animals to humans and am wary of
men in suits. I’m colour-blind and dyslexic. I work alone, writing lyrics,
composing melody, performing and producing all my own stuff.
Having gone the generic teenage route of live gigging
playing lead guitar in an average band and figuring out it wasn’t for me as the
politics of people were a thing I could do without, I eventually decided to
invent a version of me that could make a music career without going through the
rituals of just performance. Hence the birth of ‘Zoolon’ a couple of years
The key stat that made me look at the music industry
differently was reading that 1% of artists draw in over 90% of the available
income. That means most musicians, however exceptionally talented they might
be, haven’t got a chance. I just knew I had to take a different path. I’m not
there yet, but two years into the ‘Zoolon’ project I’m still in business; I’m
doing OK. Just.
I like to vary the genres I work in from things as far
apart as classical music at one end of the scale to heavy metal at the other
and in between, ambient, acoustic, folk, alternative and experimental.
Growing up I’d never realized that I was dyslexic and
colour-blind until the day came when some professional bloke at great cost to
my parents confirmed it. That they were the reasons I could barely read or
write and that I only saw things as black, grey or white. It’s interesting
being told you are something you never knew you were.
My audience is anyone who’ll listen in. In terms of completion of the Zoolon project I hope that one day I’ll be writing the score for a blockbuster movie.
Now you’ve been studying music a long time. Which instrument started this quest for you, and did you begin composing on this same instrument?
I was about 8-9 years old when my parents gave me my
first guitar. They’d forgotten I was left-handed so the one I got was regular
version. I remember feeling a bit bad about telling them they’d bought the
wrong thing so I taught myself how to play right-handed. I still play
I eventually upgraded to better guitars but remember I did write my first song, ‘The Universe Has Forgotten Me’ – a stereotypical teenage angst number – but wish I could forget. I cringe every time I think about it. I still have that first guitar. It’s bad luck to get rid of the first one.
Your first album, Dream Rescuer, is actually something of a story told in music. What inspired this project within you, and can you describe your creative process to make it?
At uni I composed two concept albums, ‘Cosa Nostra’ that was a sound art composition using captured sound and electronic music, and ‘Liquid Truth’, an album themed on Plato’s Allegory of The Cave. I never released either as they were both in demo form and I’ve never got around to remaking them. As for ‘Dream Rescuer’ – Zoolon’s first album – I had to start somewhere so I put together a collection of songs that each had its own meaning. From that album there are the two songs that have had the most plays out of all my work so far. ‘Sunlight & The Dust’, a protest song regarding how much the world would suffer when farmers and thoughtless gardeners have killed off the bees, and ‘Rexie Believes in Magic’, a take on being lost and finding yourself again. There was no specific creative process. I just let the songs arrive in their own time. Luckily for me, they did just that.
Now your website Zoolon Hub often shares posts where you share poems that may or may not become a song, but I don’t recall you often having this “issue,” if you will, in reverse. Do you find that the lyrics come more readily than, say, the instrumental themes?
Because I have a short span of attention I find it
easier if I try to vary the stuff I put on the blog, throwing in some pics I’ve
taken, plus random story words and rhyming verses mainly, although sometimes
structured ones, plus pieces of music I’ve created and/or that of well-known
artists I like. Foster the People; Coldplay; The Villagers; Paul Simon; Randy
Newman; Metallica; Lola Marsh; Within Temptation; Lana; Marina; Aurora and so
You’re right though, I do put up quite a lot of simple verse type stuff on the blog from time to time, well before any melody has even been thought about. Mostly, I go for melody before words but can do it either way. Inspiration for instrumental music comes from whatever mood I’m in when I’m on a roll – especially the electronic classical numbers, like ‘The Forgotten Daughter of Zeus’ and ‘Barbed Wire’.
A good example of exactly how I work are the two numbers
I wrote for the album ‘The Pigeons Are Switzerland’ about the life and death of
Francesca Woodman a photographic artist from the States who topped herself aged
22 in 1981. They probably reveal a lot about me and the way I write my music. I
can’t claim I discovered this artist myself. I got introduced to Francesca’s
work by another blogger who writes words better than mine and most others. Dark
words and great metaphors you have to think about. Also, she certainly knows
Anyway, what I found amazing about Francesca was that
she was her own muse. She did what she did without the assistance of any
others. A massive portfolio in black and white portraying/capturing, at least
that’s how I see them, reflective statements, moods and emotions in a surreal
way. My work also is something where I don’t involve others. My end result is
often the same as hers, just that it’s spoken through a different artistic
genre. Maybe that’s why I’m hooked on her work. Some people don’t get it when I
say, ‘I hunt alone’. I can’t help it.
I wrote the blog words for the vocal track, ‘Francesca’ well before I turned it into a song. Once I had a melody in my head I used just the selected words from the original I needed for the song that might match Francesca’s mindset leading up to her death.
I like having verses in the closet but rarely stick to them when composing. Also, my love of instrumentals meant I just had to cover her final moments in music and try to do her proud with that ‘freedom at last’ track, ‘Eastside 1981’. If you listen, at the very end you’ll hear the gentle whispering of disturbed air as she took a leap of no faith.
Like a lot of artists her work only
made the big time after her death. A shame.
That’s basically how I work.
I’ve often thought that the composer’s choosing of instruments is akin to a writer choosing the right voices to tell a story…unless, of course, the music chooses its instruments for you. I’ve had that happen, too, where the characters come to me with their stories rather than me hunting them down. What factors are in play when you select the instruments for a song?
That’s a hard question. I think I can only answer it by providing a list. My mood; gut feeling; influences of other artists (whether I’m conscious of it or not); writing with a bespoke purpose in mind; testing my limits; trying to please; and the random thoughts of the scatterbrain I am.
You’ve received some awesome top-notch ratings for your work. Can you tell us a little more about that?
Certainly and in some ways surprisingly, being featured in the February 2019 Lifoti Magazine improved my stats for a while and having a number of songs curated has helped the Zoolon brand get ‘known’ out there, although certainly not ‘well-known’ yet, plus it’s helped to get my work selected for custom-made playlists as well as things like music for mobile apps, retail outlets and stuff like that. Being UK No. 1 and in the Global top 10 for two months earlier this year on ReverbNation has helped spread the word. I’ve got some good potential irons in fires that may come to fruition soon. A year ago I had none of these things.
I imagine that the marketing strategies of an indie musician can be very similar to that of an indie writer. What do you to keep your discography visible on social media?
Not enough. I’m driven to make music, not driven to make
marketing strategy. I glaze over at the word ‘marketing’. It’s stupid but
honestly it’s the truth. It’s a musician thing I think. On social media I go
through the motions best as I can. WP is OK as it’s one to one contact most
often, but Instagram and Facebook are soulless. Twitter is what it is. It’s not
as useless as some people say. Twitter has done well for me.
Word of mouth seems more powerful to me than social media where everyone is competing for the self-same thing – selling music. I probably need a full-time manager, but they generally wear suits!
I love how your songs carry a wide variety of feeling: some have a touch of melancholy, others tension; some anger, others hope. Sooo I don’t really have a question on this, but I’d love for you to comment on the emotional drive for your music. Hmmm, I suppose you could say I’m asking this: Does the emotion come first to inspire the song, or does the song help build these emotions inside you?
I never know how a song’s emotion will evolve.
Creativity never lets on how and if she’s on my side on any given day. I just
have to live in hope she turns up in a good mood. When she turns up bored
senseless more often than not I produce work that ends up getting trashed. A
good day to me is one where I get so involved in what I’m doing that I forget
to eat and drink. I try to get out for breakfast most days just in case I’ll be
starving myself without realizing it for the rest of the day and well into the
On your site you offer to turn a writer’s poem into a song. That’s such a cool service! What inspired you to do this? Do you find it a challenge to create around someone else’s creation?
Working a project for other artists whether they are
poets who want their poems turned to song, or other musicians who want
something they can’t do themselves is great. Just knowing what the brief is
seems to take the pressure away – unlike composing my own stuff from scratch.
The poem to song thing seemed like a good idea; a
sensible thing to add to my WP website. At Zoolon’s WP special rate of just
£100 across the board I’m saving the writer of the words probably £2500+ when
compared with the alternative of hiring a whole load of others from musicians,
singers and sound engineers, plus studio time. The only reason I can do it so
cheaply is that I do everything myself. Also, the customer gets the copyright
for the finished article. I have a number of satisfied customers out there but
could do with a few more. I enjoy creating for others. It’s a warm glow
Lastly, do you want to share any updates about your current works in progress?
In January just gone I released the instrumental album
‘The Forgotten Daughter of Zeus’ and had planned a new acoustic set of songs
for later this year. The new collection was, so I thought, progressing really
well. An early release was on the cards. Then it hit me that the title track was
a bit special and overshadowed the rest. Others have also confirmed that I
might be onto something good with this one.
Because of that a later release of the whole set is now more likely as I need to rethink where I am and where I want to be with the other songs. In many ways this is a good thing. Quality means everything. I’d like to say more at this time but for now all I’ll say is that for the title track I’ve done something entirely different to anything I’ve done before. More on that on my blog in due course.
If you’re curious about my own thoughts on music, feel free to visit my collection of “Writer’s Music” posts. You can also read the results of that inspirational music in my novel and free fiction, available on this site as well as on Amazon.
With the eighteen gazillion snow days my kids have had this winter, reading’s been all but impossible. Cabin fever sets in sure and fast, nerves fray–you know the drill. It’s like the fall after our basement flooded,only now we can’t even utilize the outdoors much due to the extreme cold that sweeps in, sweeps out.
Yet here I am, determined to write a “lessons learned” post SOMEhow. Look to something I read a while ago? Well I could, but that would take some research time that I don’t have because my job interview for teaching full-time’s in…90 minutes.
Don’t worry, this is NOT like the panic of yesterday. It’s just that I haven’t worked full-time since Blondie was born, making even the potential for this culture shift intimidating. As Bo says, though, it is NOT worth worrying about unless I actually get the job.
So, let’s divert from that bridge for a moment and think of warmer climes, where dew drops hug the tree leaves and a million lives scurry around us, out of sight. Every day, every hour, these lives are in life or death struggles to eat, fight, and survive. Duels over prey, wars over homeland. Nonstop action at every turn….
…until winter when everyone’s gotta hibernate.
I’m talkin’ about bugs.
Bash is our bug kid. He’ll stare at books on insects for ages. He’ll watch ladybugs and ants traverse across the sidewalk (until Biff comes over to stomp on them). The tiniest life fascinates him.
I forget how, but I stumbled upon a cancelled show still on YouTube that brought his love for bugs to his siblings. This show was a savior during the snowdaypacolypse.
I’m talkin’ about Monster Bug Wars.
Just listen to that cool movie-trailer voice they got to narrate this show.
Every episode is like this! “In this life and death struggle….For the centipede, will it be fight, or flight?…The katydid, katydidn’t.”
Okay, I made that last one up, but this narrator is full of dark and dangerous turns of phrase to make every showdown the most epic showdown of them all. You’d think you’re watching a wrestling match, or some action schlock movie (probably why I like it, then, ahem).
But more than the voice, my attention was hooked by the bugs. For instance, check out this snippet on the moss mantis.
Look at that camouflage, all the little mossy-like bits on its exoskeleton. How it sways in the breeze like any other leafy growth.
Imagine something like that the size of a dog. A bear.
Suddenly those hooked arms and mandibles are pretty damn terrifying, aren’t they?
~TWO HOURS LATER~
How in Hades did I forget about the time difference?!
Okay, the job interview is done and done. A bit of rambling, a bit of awkward Loony Tunes-style vocal staggers into the phone, but I was me, and that’s…well, dramatic, to say the least. No different than I am in the classroom.
Anyway. Back to bugs.
As a fantasy writer, the pressure’s always on to create worlds unique unto themselves. This means I–and I’m assuming other writers–feel like we have to create from scratch. Yet when I look at creatures like this mantis or spider, I can’t help but wonder: why are we starting from scratch when such amazing monsters already live among us?
No, I’m not saying you make giant bugs be the monsters of your stories. What I am saying is that these creatures are a wealth of inspiration: the way they melt into their surrounding environments. Their weapons. Their weaknesses. Their fighting styles. The way they hunt, breed, survive.
Our world overflows with creations both beautiful and terrible. In the writer’s quest to bring the unique and never-before-seen to readers, we too often forget the wealth of unknown predators that move in our oceans and forests. Utilize the mind-blowing traits of such predators, and you’ll create a monster that truly terrifies characters and readers alike.
There are other times, however, when inspiration is the last thing I get from my family.
Take this month. Writing’s been a tough racket, what with preparation for a new term, snow days, and teachers cancelling school for “professional development.” But I am a hearty Midwesterner and shall prevail! I continue working on the third Fallen Princebornnovel while prepping the first novel, Fallen Princeborn: Stolen, to go on sale for ALL OF FEBRUARY.
(Oh yeah. Watch out for that price drop. Tell your fantasy-lovin’ friends!)
I’m also brainstorming up some fresh’n’FREETales of the River Vineand a few other stories to be shared exclusively with newsletter subscribers.
So I’m developing another project, one I alluded to a while back: a fantasy adventure story featuring twins who need to learn the strengths of brotherhood. (Can’t imagine where I found the inspiration for that story…)
I had an epiphany about what to name the brothers, but realized the names would require permission from a big-time person in order to pull it off. That meant having a title and rough synopsis worked out. Typing up a wee synopsis was one thing, but the title…ugh, the title. This is a title that must reflect fantasy, adventure, and NOT romance. For once, let’s have a story where protagonists don’t find love and/or sex in the plot. The title needs to reflect that absence. Something strong…otherworldly…
I poke the back of Bo’s neck, for surely Blondie’s math homework doesn’t have to be reviewed right this minute.
Hey. You’re a guy.
I need your take on a title.
Race the Bronze Breath.
Bo’s face twists. He stifles a laugh…then gives up and lets it out. “Seriously?”
What? It’s racing. It’s fantasy.
Bo’s still laughing. “What’s that even mean?”
I…I dunno. I just thought it sounded cool and steampunky.
“Well racing’s fine. Racing says something’s got a time limit, and it’s, you know, tense. But what’s bronze breath?”
Okay, I get it, it doesn’t work. What kind of fantasy adventure title would work for dudes?
Bo without blinking: “Not Game of Thrones.”
That is not a title.
I think about my brainstorm of race names, the current YA titles out there that are really long, a touch blunt.
How about Break the Centurion or Die Trying?
Bo throws down the pencil: “Again, what…are you trying to be Sergio Leone?”
Well then YOU think of a cool dude title.
“Racing Adventure with Marathon Quest.”
O-kay. But that doesn’t sound really dangerous.
“Super Killer Race of Deathly Death.”
“Bloody Hearts of Death Kill the Dead.”
Blondie looks up from her fraction muddle. “Bloody Heart of the Dragon’s Throne!”
Hush, that doesn’t…well, hmmm. I write it down anyway, even though I wasn’t planning on having any dragons this time round. Time for a squeeze and a kiss for my eldest.
Thanks, Kiddo. Now back to those fractions!
Bo follows me as I scribble in my notebook, all the way down the hall where I plop down on our bed. I click the pen in that fast, annoying fashion Biff adores, and say:
The problem is I do want a bit of camp to it, like Death Race 2000.Suppose I can’t call it Lethal Prix or Killer Run.
“Not if you don’t want Roger Corman to sue you…oh hey! Let’s Get Sued! Great title. And then I can get an autograph.”
Ah, January 2019, you give me so much hope for the coming year! We must begin with stories, for of course we must. Whether you love to read or to write, you are here to experience a story.
Have I got the stories for you!
Not just my own fiction–I’ll get to that. No, I’d like to introduce you to some wonderful indie writers who have been publishing on Channillo, a subscription-based publishing platform stocked with hundreds of stories written by talented writers from around the world. A few Channillo writers have stopped by to share their stories as well as why they feel serialized fiction is awesome for readers and writers alike.
Let’s start with some basics. Your name and title(s) on Channillo, please!
Nick and Amy have been married for seventeen years which is a big deal because marriage is hard and messy and a fifty percent divorce rate and all. Nick and Amy live with their three kids in the middle of the United States, in a place like Iowa or Ohio or some other smallish, flat state with too many vowels, growing corn and soybeans, making it basically indistinguishable from any of the other states around it and uninteresting to anyone that didn’t grow up there. Nick is a procrastinator by nature which drives Amy crazy and Amy is spicy when she gets annoyed, which Nick adores. Together they are every marriage still trying to keep it real after almost two decades together while dealing with the not-so-fun parts of everyday life.
Leda, a young woman who moved to Japan to escape her abusive family, is slowly adjusting to her new life. She’s learning Japanese, making friends, and enjoying the summer festivals. On the day of the famous Tanabata festival, she finds a small shrine – but when she steps out of the shrine, she steps into Edo Era Japan.
Trapped 400 years in Japan’s past, what follows is half fantasy, half historical fiction. Is her coming here an accident? Or does it have something to do with the sudden appearance of European ships off the coast? Leda must discover how she ended up in this situation, and how she can get back home – or if she even wants to go back.
What made you choose publishing your work as a serial as opposed to a collection/novel?
Seitz: I do write novels in the traditional way, but writing Nick & Amy as a short story serial on Channillo gave me the opportunity to put something out every other week and get immediate feedback, which is not how writing a novel works. It’s quite refreshing to show the world what I’ve been working on for a week, get a laugh or two, and then do it all over again, while working simultaneously on a novel project that no one will see for months.
Oga: I choose to publish my work as a serial because I don’t have a complete manuscript. It gives me to the opportunity to share the parts I have written and see how interested people are in the work. Also, the pressure to publish the next installment in the series is a good motivation to write. Writers love deadlines.
Lee: I wanted to write a serialization. I guess I was inspired by things like manga, which have contained stories within an overall larger arc – and can go on indefinitely. I was also romanticizing the turn of the century, where authors like Charles Dickens would publish their novels as serials, sometimes not even knowing the ending or how long it would be.
I like how flexible serialization is.
I found this quote published in The Washington Post back in 2015, and I’d like you to comment on it:
Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity. -Hillary Kelly, “Bring Back the Serialized Novel”
Seitz: There is truth that serial literature requires a reason for the reader to keep coming back for more, and maybe it works best as a cliff hanger for many serial stories. But at the heart of any story, a hard cover NYT Best Seller or an online serial, isn’t that exactly what every author is striving for? Spinning a story so thrilling or hilarious or mind-blowing that their reader can’t stop turning the pages though it’s hours past their bedtime.
Lee: You can’t tell me that modern novels don’t rely on cliffhangers. Have you ever read a YA novel? Look, cliffhangers aren’t bad, tension is not bad, motivating your readers to read the next instalment by getting them emotionally invested in a character is not bad.
A novel is like a movie, it comes out all at once. A serial is like a TV shows, building anticipation for the next chapter every week.
What benefits have arisen with plot, character development, and/or voice as you write a serial?
Seitz: I wanted to write Nick & Amy as a series of realistic fiction vignettes, every day funny stories about a regular married couple that don’t necessarily build on each other, but add another layer to the relationship with each new installment. As a serial, it’s been a fun way to play with building strong character development little by little in Nick and Amy, exposing deeper aspects of their marriage, relationships, and personalities through whatever daily adventure I’m putting them through.
Lee: I can experiment a lot more. I can have story arcs that focus on one particular character, or do a fun story that really has nothing to do with the overall arc, but adds to the atmosphere and the tension in the story. I feel like I just have so much more liberty telling this story.
What do you think draws readers to read serial (non)fiction?
Oga: Brevity. Our attention span is getting shorter as there are more and more things vying for it. People are drawn to serial works because the instalments are succinct. Serial successfully heighten pace and suspense. It enlightens and entertains long enough to hold the reader’s attention. It gives readers breaks between instalments to get them interested again. Each instalment starts strong, finishes strong, and creates suspense to intensify anticipation for the next.
People also like the participation in following a serial. Without the ability to read ahead, people are on the same page in terms of discussions of the work. Everyone tries to keep up with the reading in order to keep up with the conversations.
Lee: I think people like the anticipation. They like being rewarded every week with a new instalment. They like to wonder between instalments about what’s going to happen next. It’s a kind of interactive way to read a novel.
What advice do you have for fellow writers who want to give serialization a go?
As with anything artistic: just do it. If you don’t like it, or it fails, you have nothing to lose. It’s all experience that will help you with your next project.
Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments?
Oga: Comments are important. Good or bad, they reveal how readers perceive my work. I cherish comments a lot because they help me better understand my expression of thought and plots. Comments help answer a lot of questions for me. Did my work inspired the emotions I hoped to raise? Did it enlighten the reader as I’d hoped? What is the reader expecting in the next installments? Is my work gripping enough?
I use comments to write better.
What advice do you have for fellow writers who want to give serialization a go?
Seitz: Give it a try! Serial fiction certainly wasn’t in my wheelhouse, but it’s helped me grow as an author, forcing me to work harder at making a story tight, concise, and well done in less time and in less words. It’s sharpened my skills as a writer and it’s been a fun learning curve. It certainly helps to do some planning beforehand to decide what you want the series to look like, but beyond that the freedom it gives you makes the writing rewarding. It helps to find it a good home for your serial, like Channillo, where the diversity of material, styles and authors is celebrated and embraced.
Many thanks to my fellow Channillo writers for their time! It’s important for us to challenge our writerly selves, just as it’s vital to expand our reading horizons. Channillo gives the opportunity for both. I do hope you’ll check them out…and perhaps my own book, too, nudge nudge. 😉
Celine Kiernan’s critically acclaimed work combines fantasy elements with the exploration of political, humanitarian and philosophical themes. She is best known for The Moorehawke Trilogy, a dark, complex trilogy of fantasy YA books set in an alternative renaissance Europe. In this second part of our interview, I ask Kiernan about writing characters and storytelling for a Middle Grade audience in her latest book, Begone the Raggedy Witches.
You created some amazing characters when you wrote The Moorehawke Trilogy. The trio of friends in the first book, The Poison Throne, are delightfully unique, genuine, and engaging. So much can happen in five years, especially when one changes from a child to a teen. What do you feel was the most challenging aspect of writing teenaged characters for The Poison Throne as opposed to writing them younger, or as fully-grown adults?
I didn’t find it a challenge. To be honest, I just write my characters as they are in my head. I make no conscious decisions re market or target audiences or anything. A book occurs to me and I write that book.
I think young characters can be tempting to write about, because it’s a time of life when you’re not too much tied down to the minutia of daily life (paying bills, feeding babies, getting to work on time) and so your mind can be better focused on big issues – and freer to physically engage with changing injustices. Everything is so new too – first love, first sex, first meaningful encounters with death, injustice, triumph, philosophy etc. In Resonance, however, the young characters are very much the working poor and so their minds are on how to get and keep work, how to pay the bills, how to survive in an unsympathetic society, while also battling the uncaring supernatural forces which want to use them up and discard them. In Moorehawke and also in Begone the Raggedy Witches, there are many older and middle-aged side characters which bring balance to the younger, innocent and more idealistic main characters.
Now the heroes of Into the Greycaught my attention for a different reason. Here, the protagonists are twin brothers. Being a mother of twin boys m’self, I find this particular bond both fascinating and exasperating. As a writer, what led you to select this specific kind of protagonist duo to head the story as opposed to, say, twin sisters?
Funnily enough there are a lot of twins in my books. Ashkr and Embla, the twin brother and sister, in Moorehawke; Dom and Pat, the twins in Into the Grey. Though it’s never made much of in the book I also always think of Aunty and the Queen in Begone the Raggedy Witches as being twins. I also have twins in two of my unpublished novels (brothers in one, sisters in the other) It had never occurred to me before to explore why, but I do think it’s probably because of my fascination with the different paths people take in life. What could be more interesting than two identical people, starting from an identical base-line, growing into individuals?
The twins in Into the Grey had to be boys as it was specifically a boy’s experience of war which I needed to explore in that narrative.
Now this year you published Begone the Raggedy Witches, the first book of a new trilogy. Unlike your previous works, this trilogy is geared for Middle-Grade readers. What are the benefits—and challenges—of writing this story for a slightly younger audience?
None really, to be honest. I just approached it as I always do. There was no historical research to these books, though, I guess that’s one difference. I was writing purely to explore personal and sociological themes within a pure fantasy set up. But the books didn’t feel easier to write than the more historically based ones. In fact, they’ve taken me longer than most of my other books to complete. (Mind you, this is happening more and more – I think it’s because I’m better aware of the craft now. My first draft takes longer to produce, but nowadays they’re more complete and better polished than previously.)
Okay, I just have to end on the first line of Begone the Raggedy Witches, because it is KILLER:
“The moon was strange the night the witches came and Aunty died.”
Ye gods, we’ve got time, intrigue, magic, and doom all packed into one sentence! How on earth did you create this first sentence, and do you have any tips for other writers in creating that killer hook of an opening line?
The first chapter is nearly always the last thing I write. That’s not to say I have written a first chapter ( I write liner narrative, so I work from the start to the finish of every book) It’s just to say that I always go back to the first chapter and refocus it so that it better leads into the narrative. By the time you get to the end of your novel you’re always so much better tuned in to what the themes are, what the characters’ motivations and personalities are etc. etc., the first chapter should evoke or foreshadow these things, I think. Make a promise to the reader as to what journey this novel will bring them on. Often you can’t do that properly until you’ve taken the journey yourself. Funnily enough though, the first lines of most of my books have stayed the same through all the drafts. I can’t explain why. I think it might be because they’ve always been the point from which I enthusiastically dived into the process of starting a new novel. That excitement and enthusiasm doesn’t always last for the whole long, siege-like process, but its almost always there for the first line.
“The moon was strange the night the witches came and Aunty died.”
“We were watching telly, the night Nana burnt the house down.’
‘The sentry would not let them pass.’
‘For a moment, the Angel looked directly at him, and Cornelius’s heart leapt with joy and dread.’
All these lines were bringing me somewhere. All of them were promising me something – I had no choice but to follow them onwards.
My deepest thanks to Celine Kiernan for sharing her stories and experience in the writing craft. It’s an honor to speak with one whose creativity has influenced my own imagination for decades. Please check out her books & her site at https://celinekiernan.wordpress.com/. Be sure to share a review when you read her, too!
It’s still hard to believe my debut novel is out in the world. This story was born the same year as my daughter. Like Blondie, Stolen has gone through many growing pains before setting out to forge its way through the world (or elementary school–that’s epic enough for Blondie). Every time I see a purchase or read a review, my soul goes runnin’ through the clouds. If you haven’t yet, please share your thoughts with me on Amazon or Goodreads. Your reflections mean all the world to new writers like me!
Shouting for Shout-Outs Again!
Now that we’re halfway through November, I’d like to start gathering up kudos and plugs from fellow creators to share on my newsletteron the 1st of the month. If you’ve a book, an album, a site, or all of the above you’d like to share with new readers, please email meand I’ll hook you up. 😉
Born in Dublin, Ireland, 1967, Celine has spent the majority of her working life in the film business, and her career as a classical feature character animator spanned over seventeen years, before she became a full-time writer. I am honored to spend this week and next sharing her thoughts on world-building, research, character, audience, and hooks.
First, let’s talk about the imagination behind the worlds. I see on your biography you spent years in film and animation. What drew you to visual storytelling as a profession before written storytelling? How does your work as an animator influence the way you write today?
From the moment I could hold a pencil I was always either drawing or writing. In terms of satisfaction, I don’t think there’s a dividing line between the two disciplines for me. But at different stages in my life one has dominated the other by the simple fact of making me a living. At the age of nineteen I left college for an apprenticeship with the brilliant Sullivan Bluth Studios, and as a consequence of that went on to a 25 year career as a classical character animator (Land Before Time, All Dogs Go to Heaven,Anastasia, etc.). Animation is a great love of mine ( I animated the book trailer for Raggedy Witches and it was tremendous fun)–
–but it’s not really ‘story telling’ for me. It’s more akin to acting or dancing, where you’re using your skill to enhance or express someone else’s story. To me writing is my true story-telling outlet. You’re god of your own universe in writing. You get to explore the themes you want to explore, with the characters you most want to be with, in a world entirely of your own invention. Its purity has no equal. (I am a compete sucker for graphic novels, though. The combination of pure story telling and visual representation there is intoxicating. One day someone will offer to pay me to sit down and draw up one of my own scripts, at which stage I may just implode with happiness. Until then I get great joy in drawing bookplates and small illustrations for readers who contact me about my stories.)
I love utilizing the world around me as a foundation for world-building, which means Wisconsin’s landscape is a heavy influence in my work. Into the Greyand Resonanceare both set in different historical periods of Ireland: the former in the 1970s, and the latter in the 1890s. What logic led you to choose these particular periods for these stories? Are there any pieces of the Ireland around you that helped inspire the settings?
Both Into the Grey and Resonance are set in very specific time periods due to the long and involved back stories which feed into the protagonists’ experiences. Although they are both readable simply as supernatural adventures (Into the Grey is a haunted house tale of ghostly possession; Resonance a story of inter-dimensional aliens and ‘vampiric’ immortal humans) there are deep historical roots to both that not only feed the story, but also the themes that I was exploring as a writer. For instance, Into the Grey explores the divided nature of Ireland’s history and the way our view of our selves and our lives is warped by the stories history tells about us. Resonance explores the value human beings place on themselves and on others, what does it mean to be alive, to be ‘worthy’ in other peoples eyes, etc. These underlying themes are the reason I write in the first place – I write in order to explore the world around me. But I love the stories to be readable as adventures too, to be scary and fun and exciting (in as far as you can ever anticipate what others will find scary and fun and exciting. I’ve found it’s best to just please myself in that respect and hope at least some others will enjoy them too.).
The mansion in Resonance was deeply influenced by the exterior of Belvedere House in Co Meath and the fabulous interior of Bantry House in Cork, in which my son shot the linked video. (Bantry House is not at all spooky, but this video was shot as a specific tribute to Italian horror movies, so it gives the place the exact frantic, off kilter vibe that the I wanted for the later scenes of the book. It even has a dollhouse – though, admittedly, this one lacking a blood soaked four-poster bed!)
Question about your Moorehawke Trilogy: research. Clearly you did your share of research on medieval life to transport readers into the castle’s kitchens and secret passages. Ugh, that research! I know some writers love the research—friend and author Shehanne Moore does a ton of research for her historical romances, whereas I only research when I have absolutely no other choice. Now granted, that’s partly because I just want to write and work out the nitpicky things later, but the other part is that I get so overwhelmed in the data I can’t decide what details are necessary for the narrative’s clarity and what’s minutiae. Can you share some tips on how to research productively and selecting the best details to ground your readers in the setting?
I usually have a book in my head for a long time before I start writing it. For example, when my first agent took me on I was just finishing up writing The Poison Throne, the first of the Moorehawke trilogy. I still had to clean up draft one of Crowded Shadowsand still had to write all of Rebel Prince. There was years of work ahead of me on Moorehawke (taking into account editing etc.) but I arrived at the agent’s with a biography of Harry Houdini in my hand, my reading material at the time. I’d already consumed many books on the history of the American slave trade and was nibbling away at websites and articles about the history of Jewish persecution in Europe. I knew that all of these things would feed into the characters and setting of Resonance, which was the book I planned to write after Moorehawke.
If memory serves me, it would be at least two years before I started draft one of Resonance, but at that stage I would have had over three years of historical research floating around in my head. I do this with all my books, this years of reading before writing. It means that when I start to write, my story and characters are already pretty firmly grounded in a time, place and setting. They live for me already. So, in a way, it feels like I’m writing about contemporaries. I’m used to the world they live in, and the relevant details settle naturally into the narrative. As I write then, it will be small things that need clarifying – was that type of knife available then? Did they eat that kind of bread? Would they have had access to carriages, to time pieces etc. etc. – and those things only crop up in the narrative if they’re important to the scene. You can quickly check them and move on with the story.
I do the same with all my novels (at the moment – while writing the Wild Magic trilogy – I’m consuming biographies from the 1700s, trying to understand the lifestyle and mindset of the people I hope to populate a future novel with.).
Don’t forget too that editing is a writer’s best friend. You should feel free to put as much useless trash into the first draft as possible. If it makes you happy or interests you, put it onto the page. You can always cut it later (as I’ve got more experience, I’ve learned to cut more and more. I’m far more spare a writer now than I was at the beginning.)
Another element in The Moorehawke Trilogy I LOVE is your world-building. You base the world in an alternative medieval Europe, where cats can talk to people and ghosts are common to see, but religions such as Christianity and Islam have a strong presence. You also explained much of the inner workings of castle life without making readers feel like they had wallowed into info dumps. Exposition can be such a dangerous line to walk in epic fantasy—how on earth did you craft those paragraphs to help readers learn your world without slowing down the narrative?
Thank you, that’s so nice of you to say. I do feel that one person’s excruciatingly slow narrative is another person’s meaty delight, so I think the best approach is to write as you like to read and try and be honest to that. However, it’s a good idea to ask yourself in edits whether the information is truly important to the story itself – whether it furthers the readers understanding of the characters, or the plot; or whether it nudges them deeper into the mood or atmosphere of the scene. If it does any of those things, then it’s working for you and you might consider keeping it. Get honest beta readers too – people who will tell you where and when the story has begun to slow or drag for them. Try and get a few of them. If they all tell you that a specific portion of the narrative is a slog for them, then you need to consider cutting a little deeper or refocusing. Make sure the narrative is telling the reader something new or important, and that they feel rewarded by the read.
Stay tuned next week for more from Celine Kiernan! Now pardon me while I, an 80s child raised on Bluth films, fan-girl squeal for the next several hours. To meet a storyteller of powerful fiction who also helped create the visual stories from my own childhood is soooooo awesome! EEEEEEEEEEEEEEEEEE!
+ Writer and fellow Wisconsinite Jon also wrote both an interviewand book review, and on top of shepherding a church, too! You’re too kind.
These are talented writers with stories of their own to tell, so I hope you check them out. Please be sure to share your own thoughts on Stolen or my FREE collection Tales of the River Vineon Goodreads or Amazon–I’d love to hear what you think. 🙂