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.
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 Dawnfeels 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.
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.
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.
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.
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.
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.
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!
Happy Thursday, everyone! I’m please to introduce you to J.D. Stanley. He’s an award-winning fantasy writer of novel and script as well as a Bardic Druid of the OBOD. It’s an honor to share his thoughts with you today on this, the writing life.
First, let’s talk a little about your background. I see you’ve done some work on radio and studio engineering. That’s so neat! It reminds me of Celine Kiernan, who spent years as an animator for Don Bluth before beginning her own writing career. How would you say your time with language-aloud influences your language-written?
It really was a neat experience. What a blast for a day job! Studio engineering and writing were the reasons I went into radio broadcasting in 1986. For a creative, nerdy introvert, all the behind-the-scenes stuff was super appealing. Audio engineering is a singular, unique avenue of creation – all you have are the sounds to build a world. I still love it. Without solid writing, though, no matter how good the production, it won’t sound realistic. Writing for that still makes me hyper-critical of my dialogue and narration today.
When I studied Radio in college, there was
a great deal of focus on learning to write words meant to be spoken – so
commercial copy, radio plays and show scripts. And the flip-side, how to speak
that writing, too. The point was, to craft something that didn’t sound scripted
even when it was. I was lucky enough to get picked up by a program director who
heard some of my freelance work and jobbed-out halfway through. Getting thrown into
the deep end like that really hammered it home. Knowing listeners would hear my
writing live shortly after I put the words down or a sponsor would pay more
than tens of thousands of dollars as soon as I produced or voiced a spot was…
terrifying. Nothing like having your feet to the fire to hone skills. Those lessons
will never leave me and my continued voiceover work as well as coaching written
and spoken communication keeps it fresh in my head.
I would say, all that time with language-aloud
makes me remember to read my writing outloud to check with my ears for
believability. The human ear is extremely sensitive to the naturalness of
speech, the nuance of humans speaking, and it strikes you when it’s fake. In my
opinion, it’s the best gauge a writer can use to check not only the flow, but
human believability of what’s written. I think it can help us make better
connections with our readers. If we can reach them as another human, be
accepted as a companion on a journey with them, we can connect. And when we can
connect, then what we write can mean something to them. But if we sound like
their Lit teacher? Dude, that’s just not gonna happen.
I once attempted a bit of screenplay writing some time ago, and…okay, not going to lie. I stunk at it. What challenges do you feel are unique to screenwriting as opposed to novel writing? What advantages? Do you have a preference between the two?
I really don’t have a burning desire to write screenplays daily and do prefer novel writing. I actually prefer fixing other people’s work, being a script doctor, over writing them if I’m being totally honest. I enjoy helping other people’s words work better. A script doctor gets no credit and most people don’t even know that’s a job.
There’s a specific pattern to the storytelling
in screenplays aspiring screenwriters need to learn. If you want to be a rebel
and not do it that way, that’s cool. But understand, that may be the reason
you’re not selling anything. It may be an interesting concept, for instance, so
someone takes a peak. And then they’re judged on a single page where there’s
supposed to be a predictable beat and it’s missing, so their work gets
round-filed. Or they don’t know the first thing about proper format and think
their story is so extraordinary everyone will look past that and give them gobs
of money anyway. Or they can’t write a logline to save their life, so no one ever
goes past the logline to read the script. Or they’re actually bad writers operating
under the delusion it doesn’t take good writing skills to write a screenplay.
I’d tell anyone thinking that screenwriting
is a cool career choice… First? Understand the chances of selling one are slim
to none. Once you get over that, you can move on. Practice the shit out of your
writing and, especially, educate yourself from film industry professionals. Study
books like Blake Snyder’s Save The Cat, read their blogs and absorb a
crap-tonne of successfully produced screenplays – there’s a million available
online – so you can see what it takes. And forget all those no-name Internet
screenwriting contests held by genre enthusiasts who aren’t writers and don’t
know what goes into a decent script. Sure, you’ll get something to put in your
credits. But winning a contest not hosted by industry professionals isn’t
validation of your talent as a screenwriter. If you thought it was? That’s
probably why you aren’t selling any scripts after the contest is over. Pick
contests held by actual screenwriters, directors and producers. They know what
they’re looking at. And a lot of them include feedback in reply for free even
if you don’t place. They’ll be harsh, you’ll hate everything they tell you and will
probably make you cry, BUT they’ll tell you exactly what to do to your script
to turn it into a saleable product. Use them as your university.
You’ve quite a rich variety of favorite authors shared on your website. Do you think you can pinpoint which author and story first sparked the passion for storytelling inside you, and why you think it was that story more than any other?
No, I can’t say there was any single author or story that sparked it for me. I could read and write before I started kindergarten, so was a bit ahead in that area and when I started writing my stories down consistently from when I was about nine, I hadn’t read any of those authors yet. My first love was sci-fi and that’s where I started writing, so maybe Gene Roddenberry was probably my earliest influence? I grew up on Star Trek in the ’60s, though didn’t know him as a writer at the time.
When I was about twelve, I’d read
everything I was allowed by that point and got special permission from the
local library to have an adult library card, so I could read more books. Real
books. Normally, you had to be eighteen to have one of those puppies. Then I
read everything in the adult fiction section. And all the poetry books. And
then went through all the reference books. You want to know the depths of my
nerdiness? I do, in fact, still relish the secret thrill of reading
encyclopaedias and the dictionary for fun. Not even kidding. Back then, I read
so fast, I started at one end of the adult section and used to take out thirty
books at a time. Just clear them off the shelf all in a row, any genre, any
author, and bring them home. I read one a day, sometimes two, and read every book
from one end of the library to the other. Hence the massive list of authors.
Sad as it is, I couldn’t even tell you who the rest of those fiction authors were, but I remember the stories. When I was thirteen, I read the John Jakes saga The Kent Family Chronicles and I think I can say around there was when I realised I had an affinity for historical stories. And then after ingesting more books, I fine-tuned that down to historical fantasy for what I most often prefer to write. Reading for pleasure, though? Just about every genre as long as the story is good. I wish there were more gunslinger books. What an under-represented genre.
Out of that ocean of stories, three will resonate with me until I’m dead – Robin Hood, The ThreeMusketeers and Don Quixote. And overarching all of them is The Crystal Caveby Mary Stewart and all Arthurian legend. I’m a total junky. And, of course, Lord of the Rings. Definitely a common theme. I’d like to think that says something about my character, but probably more what I would hope to aspire to and will never achieve. I think I was born in the wrong century. New things, like technology and science, fascinate the hell out of me and I continue to love sci-fi. But old things and old centuries make me feel at home.
If I understand your writing process correctly, I get the impression you’re something of a “pantser”—one who doesn’t plan out a story, but runs with the story as it comes. How on earth do you balance the madcap writing this method requires while also having kids? I got three, and there’s no way in Hades I can focus on my own story when they’re crashing Transformers and Enterprises into the land of Care-A-Lot.
Well, nowadays, my four kids aren’t little, so I’m at a different stage. Though every stage comes with its own unique challenges. I also no longer drive due to my cataract, so have built-in writing time while commuting everywhere which I use to my advantage.
The ability of life to persistently work to steal our focus never ends, though. I just got the kids all self-sufficient and almost out of the house (two down, two to go!), but now have different roadblocks. My dad has declining dementia from a brain injury sustained from a fall, so now? Two of the kids still need me for some things, and alternating between being with my dad at long term care after work until about midnight, and travelling an hour-and-a-half across the city to look after my mom and helping maintain their house. I’m basically writing long-hand wherever I can get it in and it’s weeks before I get to sit down to transcribe it. Or I’m doing everything on my phone and tablet on the go. It’s not the way I prefer to work and it’s slow, but it still lets me get it in there. Because I have to do it or my brain will explode!
When the kids were small, though? Honestly,
if I was a different person and they were different kids, it probably wouldn’t
have worked. I’m a super analytical control freak with troop movement-level organisation
skills, so there’s that. Okay, and a life-long insomniac, so have more awake
hours at my disposal than normal people. My most productive writing time is midnight onward, so it actually worked in my favour when
they were little. I used to go to bed at 7:30
or 8:00pm when they did and woke up at 12:30 or 1:00am to write.
I also got the laundry and cleaning done then to leave me free time to focus on
the kids in the day – every time I got up to make a coffee, I did one task. Once
a month I planned all the meals and snacks on a chart that I made shopping
lists from so I wouldn’t waste time or money. Sundays I cooked five full
dinners and parcelled them up in the fridge with labels on them to save time in
the week. I wrote a lot long-hand sitting on benches waiting for them to finish
swimming lessons or martial arts or whatever else I had them signed up for. Somewhere
in there, I cranked out five full first draft novels. I didn’t go on trips. I
didn’t go out. My entire life was kids and writing or consignment art. And I
was totally okay with that. Someone else? Maybe wouldn’t be.
I have very clear priorities. I’m also very
clear on what I’m willing to sacrifice. My mother wasn’t ever a well person, so
I learned early how to squeeze in things I really wanted to do between looking
after her, raising my two sisters and working part-time to help my dad. I
already had the experience when I found myself in the position of being the only
parent of my own four kids.
Okay, so the “pantster” thing… I can say,
with all honesty, I’ve never “pantsted” anything in my life. Being this
consistently, incredibly busy, most times? There’s no opportunity to write plans
down. But let’s be honest, a lot of the kid stuff wasn’t rocket science and it
left my brain free. So I trained myself to do it in my head. All of it. All the
figuring out, all the plotting. By the time I had a block of time to sit down
in front of a keyboard or with a pen and paper, I could just write my ass off.
All my “outlines” start the same way – with a super-descriptive hinging scene,
usually the story conflict or premise, with an important exposition of the main
character. It’s my brain shorthand for the whole story, a memory trick. Then I
start telling myself the story – the who, what, where, when, why – and it
morphs into the opening lines and I just keep going. The story is already done
in my head and I’m basically transcribing by that point. I do it that way now,
because that’s how it needed to happen then or it wasn’t getting done. And it
not getting done is unacceptable to me. Since I still don’t have a lot of time,
I’m still outlining in my head. At least when I have stolen moments, I can write
like a demon and not have to waste time plotting.
Wisconsin’s landscape has a been a HUGE source of inspiration for my fantasy fiction. Your first novel, Blood Runner, is set in Canada—just like you! Do you find yourself utilizing special places from your life for settings in your stories, or is the landscape itself a muse?
I’d say it’s more the landscape that’s the muse. There’s a few countries I have a huge affinity for, for no particular reason, though more in the historical sense – ancient Ireland, Britain, Rome, Egypt, Sumer, Japan. I’ve studied a lot about them over time, so have a lot of fodder in my head for inspiration. I can’t go to those places, because the ancient versions I want to visit no longer exist. So instead, I use them to write from. Being immersed in one of those places is like taking a visit back in time to me. It’s cool, like owning your own time machine, y’know?
In the grand scheme of things, Canada isn’t that old and doesn’t fit in with the
affinity I have for some of those other ancient places. But the forests here are
old and I do love that. The trees and rocks have been around a very long while.
There’s forest here with trees hundreds of years old and the Canadian
Shield is right underneath us and that’s been there since the last
ice age. How cool is that? I’ve spent a lot of time in the forests, so love to
write about them. Thinking about them is uplifting to me. I’m big on nature overall
and love to write longhand outdoors when that’s possible. I find that very
inspirational, sitting outside under a tree scratching words out.
What kind of research do you do, and how long do you spend researching before beginning a book?
Well, I’m a research junkie, so I’m doing research all the time, often not even toward a purpose, but because I love it. I have so much useless information in my head. So, the length of time I study is moot. With that much constant input, my subconscious has a tendency to make connections between seemingly unrelated things while I’m busy with life. When one of those connected circumstances bubbles up, that’s when I sometimes do extra research to fill in the holes. I can’t write about anything until I can speak about it with authority and I need to have it all in my head before I start. It’s what we do as writers, isn’t it? Become forty-eight hour experts on anything from rocket science to earth worms. When I know enough, then I write. To get to that point could be a few weeks, but could also be years. Since I don’t work on only one story at once, it’s always in rotation.
I do a lot of book studying, but depending
on what I need, also do practical study. Fight scenes or any hand combat, for
instance, I do, in fact, act out to make sure they’re plausible. I’m lucky, because
my eldest son does stunt work and is a multi-disciplined martial artist,
swordsman, archer and edge weapon aficionado. He helps me physically block out
my fight scenes for authenticity. I’ve done an extreme conditions survival
course where they drop you in the forest in the middle of winter and you need
to build a shelter, fire, find food and the like. I love camping and living off
the land and know how to fish and clean animals and find edible forage. I had
an organic garden when the kids were growing up, but it wasn’t only that – it
was major practical study. I read up on everything about crop rotation, pioneer
techniques for vegetable gardening, organic pest control and composting,
practiced it everyday, became a Master Composter, and tracked the results and
weather patterns complete with sketches in a large binder over all the years I
had it and still have that research data for reference. I also study, make and
use herbal remedies myself, so that’s ongoing, and have a great interest in
living off the grid, so currently practicing those behaviours as I work in that
direction. Over time, anything I needed to know about, I taught myself and
picked up that skill from jewellery-making to calligraphy to hand quilting to
home renovation to ceramics to building a hydro generator in a stream.
When the zombie apocalypse happens and it’s
end of times? You can come with. I plan on building a town. Only people I like
get to live there. 😉
I also find it interesting that you created a fresh take on vampires. How much research did you do on vampires before choosing the path you took for Blood Runner?
I’ve been a big Anne Rice fan for a long time and loved Bram Stoker’s Dracula, but actual vampire research for that story? Zero. Is that bad? I had actually been stuffing my head full of Ancient history and mythology from Egypt and Babylon for another story. And me being me, kept going backward in time, because for whatever reason, it became important I got to the root mythology and first organisation of city-states and society. That history fascinated the holy crap out of me and still does. When I studied the bits of translated mythology available at the time (there’s more now), I couldn’t stop. For whatever reason, I couldn’t leave it alone.
There’s a myth about a man who cannot eat or drink. And in their mythology, a dead body can be reanimated by the Water of Life – blood. To me, that sounded like some kind of proto-vampire. I stitched elements of a few myths together to create the premise. Gave him a nemesis, a real historical figure in the invading Akkadian king Naram-Sin who was painted in myth as pure evil and cursed by the head of the pantheon. The Great God Enlil’s disdain for humanity was so well-documented as was a whole soap opera of inter-family pantheon conflict, the story told itself. It turned into a tale of mistaken vampire identity.
I still have so much story left that never
made it into Blood Runner, a whole universe. I think once I’m done getting it
out, it’ll lose its association with vampires and people will see what it
really is. Vampires are cool and I love them, but that’s not the story focus,
so I really didn’t need the depth of research in that area I might have
otherwise. It was only a device.
Your latest book, The Seer, is about a Druid named Bronan, and I see you yourself are a Bardic Druid. I would love to hear how your spiritual nature influences your writing; or, would you consider your storytelling to be its own “faith,” as it were? I can’t help but ask because I myself am a Christian, but I rarely include elements related to faith in my fiction. Severed Selves, you could say.
I don’t think I can separate those things, because it’s both – inspiration as well as the storytelling being its own brand of sacredness, since words come from the soul. I’m lucky, from the fantasy writer side of things, because Druids and magic are popular story topics with readers. I know a lot about modern Druids and history and mythology, so can speak with some authority in that space. Besides, people love that stuff. And why not? I’m just like everyone else – the ancient Druids are just as mysterious and fascinating to me, because there’s really so little known about them. And magic is, well, magical!
I write foremost to amuse myself and being
immersed in those magical worlds is escapism. Right up there with dreaming of
flying and imagining we’re superheroes when we’re kids, right? I mean, it’s a
sad fact that the more life imposes arbitrary boundaries and traps us in expectations
and responsibilities, we lose those dreams. It’s limiting. I think we need to escape
into times of unfettered brainspace to balance off all the other crap. Druidry
is the continuous responsibility to keep balance on a cosmic level and this is
exactly the same thing to me. When we can immerse ourselves in a world where
those boundaries aren’t grinding us down, even for only the length of time it
takes to finish reading a story, we can regain some inner balance and
perspective. As a reader, I love that. And as an author? I consider it a public
Words are my medium as a Bardic Druid, my
divination, and how I connect with universal consciousness. I walk the path of
knowledge, so seek out universal truths, those things that are real and true for
everyone. That’s where we all connect, so goes hand-in-hand with taking a
reader on a journey. A lot of my writing to amuse myself is speculative, where
I’m figuring these things out and pushing down my own thought barriers. As a
Druid, I embrace the responsibility to maintain balance, speak the truth and especially
to oppose injustice and be an agent of fairness for everyone around me. I’ve
been told that makes me some kind of throwback, dying on a hill of my own moral
code, and they may be right. But to me, treating people right and standing up
against wrong is simply the right thing to do and not because of a prize at the
end. I know all this stuff influences my writing and you can see it leaking out.
In the sense of all that, being a writer is more than a job to me. It’s rolled
into my spiritual path and there’s no way to tell where one ends and one
I think the biggest influence on my writing
is probably hyper-awareness about what I’m capturing in words. To me, words are
so much more than only letters arranged on a page. The writing should be real
and true, should be honest, and should allow us, as human beings, to meet there
on common ground. We can laugh together, get riled-up together, cry together, I
can lift people up and that’s all about keeping balance. Speaking about
injustice within the confines of a fictional story is giving voice to it, but
in a way less uncomfortable to explore. I can write about universal truth. Or
that, in fact, we’re all the reluctant hero, working through our own
myriad life crap and evolving as we go while learning to step up about bad
things even when we don’t want to. It’s easy to relate to, because we’re all on
that same journey. In that way, we can connect with people we’ll never know on
a very deep, emotional level. That’s so powerful, y’know?
Magic is simply intention charged with our own energy and that’s carried into writing for a writer. From our perspective, there’s an element of sacredness to it, because we do, in fact, tear those words out of our soul to get them on the page. Whether we know it consciously or not, that ability through writing is the greatest magic there is. If you want to get super existential about it… From that perspective?
Lastly, do you have any tips or encouragement for your fellow writers?
Wait, yes. If you’re not already lost down
that road, take an ice cream scoop and dig out that part of your brain telling
you it’s a good idea and go get a real job. You’ll thank me later.
Seriously, though, remember you’re playing
a long game. If you’re doing it to become rich next week and can’t understand
why you’re not famous after your first six months? Take your ball and go home.
While that would be lovely, that’s not the reality for most writers. You really
do have to do it, because you get something out of it, out of the creation. You
have to do it, because it makes you sacrifice for it and you don’t care about
that. You have to do it, because you can’t think about not doing it or
you’ll go insane or die. If that’s not where you live? Adjust your sails and
get that ship on course. And newsflash, you have to actually love writing or
you won’t stick with it through the length of time it takes. I’ve seen some
“writers” who apparently woke up one day and thought they’d become famous and
make millions of dollars at writing after having never written a day in their
life previous to that. They thought it looked like an easy gig. *Cue massive
I’ve been a working writer, writing every
day, mostly for others and getting paid for it, for over thirty-five years. Did
it make me famous? Nope. It kept the lights on and bought groceries and clothes
for the kids. And yet? It’s fantastic to me, because I made money doing the
thing I love the most. How many people can say that? With the kids now grown, recently
I shifted to focus on only my writing and that new reality takes time to build.
No matter how much previous experience I have, it doesn’t matter. I’m fully
prepared for the length of time that comes with creating a new reality. You’re
no different coming in thirty-five-odd years behind me. Creating any new
reality takes time and that’s where you have to live in your head every day. My
goal now is the same as when I started back in college – do the thing I love every
day and aspire to make that my entire supporting income. If you don’t, you’re
going to have a lot of heartache and frustration. I think that’s a solid,
realistic and attainable goal adjustment for new writers to make.
Ask yourself if you want to be famous or successful – they’re two very different things. Thinking about becoming famous is setting yourself up for disappointment. Think about becoming successful instead. Don’t waste energy on whether anyone else is getting famous or rich before you and put all your focus and energy into honing your craft. Other writers aren’t your competition, dude, they’re your compatriots. Stop worrying about their pay check and worry about your own. Good writing means you can get paid, so never think you’re a good enough writer. That self-doubt can be your continued catalyst – it makes you extra careful about what you’re putting down there on the page and prevents you wasting time churning out garbage no one’s ever going to give you money for. I live in a constant state of terror myself. LOL If you keep your head down that way, you’ll end up becoming a polished, hard-working, consistent producer which is exactly where you want to be even if that magical fame unicorn never makes a stop at your house. Plain and simple, success takes hard work and hard work produces better writing.
It does indeed, JD. Thanks so much for chatting with me!
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.
Let’s talk first about reading awesome stuff. What is your favorite childhood book? C’mon, say Voyage of the Dawn Treader, you know you want to!
Haha, is that your favorite Narnia book? If I was to go with something from C.S. Lewis I’d say Out of the Silent Planet. I’m a big fan of Roald Dahl, it’s hard to pick one, maybe James and the Giant Peach. Also, I’ve been reading Calvin & Hobbes to my kids at night, and I’m always impressed by how much insight Bill Waterson has into the fundamental nature of childhood. Do other people identify that much with Calvin or is it just me?
OH MY GOSH YES! We found all our old Calvin & Hobbes collections when the basement flooded. The kids LOVE reading them, which is awesome…until one starts using some of Calvin’s vocabulary at school and winds up seeing the principal as a result. That’s not so awesome.
Anyway, what authors did you dislike at first but grew into?
I think that The Catcher in the Rye is one of those books where there’s a small window in your life where it really hits you like a punch in the face. I think high schools do it a disservice by teaching it in Sophomore years. I think you need to approach it a bit later. Sooner or later you’ll feel what Holden was feeling, and Catcher is magical if you pick it up at that moment. However, if you’re reading it against your will it becomes absolutely miserable…which is unfortunate.
I know just what you mean. I recall being forced to readThe Count of Monte Cristoin college and absolutely loathed it, but when I tried it again a few years ago, I was completely enraptured. It’s like there needs to be a shedding of expectations, an allowance to read for reading’s sake, and allow the story to dictate the pace rather than the reader.
I remember being pretty upset at the end of The Elfstones of Shannara. I also found the first 6 minutes of Transformers: The Movie completely devastating. I know it was just a big advertisement to get us to buy toy robots…but it meant something to me dang it!
Oh yeah, I made the mistake of showing this “kid’s movie” to my sons. Watch the opening if you dare, folks. This movie opens with an entire planet of living robots BEING EATEN. Kids love death on a planetary scale!
(Gotta say, though, that the theme song is totally metal.)
Bash sobbed for ages after it was done, and I don’t blame him–you’re watching beloved Robots in Disguise MELT TO DEATH throughout this movie! Biff thought it all amusing and wanted to watch it again. (Yes, we are watching him.)
I’m sure you get a lot of authors and/or stories recommended to you that you just don’t dig—a reader’s block, as it were. Do you fight your way through to finish the story, or do you shelve the story, never to be finished?
The main reason I don’t finish a book these days is just a lack of time. Endings don’t surprise me anymore so the main craft of a book is in the beginning I believe. If an astute reader hasn’t guessed the ending of a book then there are problems with the build up. It’s pretty rare to encounter a book so terrible I have to put it down. Whether a book is published by a small press, a major publisher, or independently, there is almost always a memorable line or scene. Everybody has a worthwhile story to tell.
Excellent point. In all my years I can’t think of more than a few books that I just couldn’t bring myself to finish. Have you read anything that made you think differently about fiction?
I like the onomatopoeic words that show interjections of simultaneous action during a dialogue, and the present tense portions create a sense of urgency. Janet Morris does something similar in her Beyondseries, although she slips out of it into a more traditional narrative voice. I might try doing a short story in your style just to see how it feels.
That’d be cool! It’s important to test different styles. Yeah, they might not work, but some other excellent character or plot idea may arise in that attempt, and that makes the experiment worth it.
How did publishing your first book change your process of writing?
I think you gain more confidence in the process as you go. Usually there’s a theme or an idea that I want to work through, and I come up with a lot of stories that surround that idea. Once you have a hundred pages of stories, you start to see how they connect in a storyline. I imagine that The Hobbit came as a result of Tolkien saying, “I’d like to daydream about a place called Middle-Earth for a while.” Writing a book is very much taking a journey. You take the journey because you’re curious what the scenery looks like.
You’re currently a member of the St. Croix Writers, a writing group based in the beautiful North Woods of Wisconsin. Can you share a bit about this group and its awesomeness?
I just met those folks as a result of a concerted effort I’m making in 2019 to be more active in writing groups. I found a web page that listed all the writing groups in the state of Wisconsin and I wrote all of them a message. Thomas Wayne King sent me his phone number and encouraged me to call for a chat which I thought was very nice. I plan on attending their next meeting. I think a lot of writing groups could come into the 20th century a little more. There are a lot of ways that writers can support each other and I think that needs to be encouraged.
Yes, indeed! Especially because it’s easy to feel a bit cut off where we are, the “backwaters” that “real writers” don’t live in.
So of course I have to ask about Wisconsin, too, being a “Cheesehead” myself (yet not a Packer fan. I know, I know, I’m lucky not to be banished to Illinois for that.) Do you feel there’s something about Wisconsin’s land, people, or culture that inspires your storytelling? How so?
I think a lot of stories from rural Wisconsin are overlooked or dismissed. There’s quite a bit of arrogance in the writing community, and an impulse to disregard certain stories, which is unfortunate. Everyone has a story to tell, and all of those stories are very important and deserve attention. Actually, if you want to read more about my thoughts on this matter, check out my article “Not Worthy of Study: The Catastrophic Arrogance of the Literary Community.” Go Packers!
Ugh, don’t even TALK to me about the Packers after this lousy excuse of a season!
It can be a huge struggle balancing the writing side of life with that of family. Does your family inspire your stories, or support you in your writing endeavors? In what way(s)?
I’ll often read my stories to my girls at night before they go to sleep. If they pay attention all the way to the end, I know I have something good. If they drift off, I know I have to rewrite. They’re very honest and that’s vital.
Aw, that’s so awesome! I haven’t dared share my writing with my kids. When I see them, the fear of disappointing them digs too deep.
You regularly travel between the United States and Peru to visit family. How amazing to be immersed in such different cultures! What kinds of inspiration do you draw from the Peruvian landscape, culture, and people?
I went to Peru when I was 26 and it was super helpful to me because it was so inexpensive to live there. As a writer, you need a lot of time, not just for writing, but for reflection. Also, you can go a lot time between pay days writing, so it’s nice not to have a lot of financial pressure. Being in a foreign country is great for anyone because it shows that whole societies are built on radically different ideas. This is useful to see in person if you’re one of those people who walks around thinking, “So many things in our society seem wrong to me.” People will tell you that you’re crazy if you point out an error. “That’s the way it’s always been,” they say. It’s a massive existential boost to see that, no, it HASN’T always been that way in other parts of the world.
As much as I love my kids, they can be my writing Kryptonite: nothing zaps the creative drive like a call from the principal or a kid waking waaaay too early for his own good. What is your writing Kryptonite?
I’m the first to admit I “Google as I go” as far as researching is concerned. How long do you spend researching before beginning a book?
I think research is more important to a tech type writer, somebody like Tom Clancy where historical items are far more important to the plot. I’m a character type writer, so research doesn’t play that big a role. However, my most recent release, Paperclip, required some research. We did it on the fly, and we found exactly what we were looking for. It turns out there were some documents that were supposed to be shredded by the government but got misfiled instead—you can’t make stuff like that up!
Oh, what a lucky find!
You and I are both published via small presses, which are different than self-publishing programs or the “traditional” publishing houses, so we see things a bit differently in the publishing industry. What do you think is the most unethical practice in the publishing industry, and what can be done to change it?
There are a lot of things I’d like to change in the publishing industry. One of the things I really dislike is that people seem to be afraid to express their own opinions. A narrative gets created about a book, and people fall in step with what the narrative states. I’ve been fortunate where I’ve felt the tidal effect of a positive narrative, but it still is a disquieting feeling. I used to get in trouble in college classes a lot because I like to offer nuanced opinions, but the mass of people want to reassign you to a larger, dumbed down narrative. “Well it sounds like you’re saying this…” they say, when you aren’t saying anything of the sort.
Oh yes, I’ve noticed that, these “narratives.” There’s hype that will lump the book into a certain group, and if you disagree than you’re an awful person. There’s no nuance anymore, no “I liked Element A in the book but not B, and here’s why.” It’s all or nothing.
Mostly, I’d like to see new authors get more of a fair shake, but part of advertising is to take customers away from the competition. The thing I’m doing to change it is to read and engage with as many new authors as I can. I’ve become pretty bored with major Hollywood releases, there are some fascinating works out there in small-press and independent publishing.
Kudos to you, Sir! There’s such a wealth of amazing tales out there that the mainstream media never touches. It’s up to us to dig them up!
Lastly, what are common traps for aspiring writers, and how can they avoid them?
A lot of the general beliefs about what it means to be a writer are just flat out wrong, and there are a lot of people giving bad advice. The big thing to remember is that the money is supposed to flow TO the writer, not FROM the writer. Even if it’s not a lot of money, it needs to be going TO you. The other thing to keep in mind is that your work will often be rejected without being read. There are some agents and publishers who send out really snooty form letters, and you’ll get these even from an email query that doesn’t even include an attachment of your work. It’s pretty much a rigged game with no chance of success, but play it anyway. Maybe we should all be thankful for that because I think too much attention is just as destructive to your ability to do important work as too little. Every story is important, and every story has an audience. Thanks for having me!
And thank you for taking the time to chat! Lord willing I can drive up to Chippewa Falls sometime for a chat. 🙂
If you’re in northern Midwest, Rhein and co-author Dan Woll are having a talk about writing and marketing thrillers.
Sure, there’s some sweet Christmas music in there (Yay, more Alan Silvestri!) but also plenty of fantasy and adventure, too. It’s the sort of gathering that makes me eager to close my invites me to hide from my kids for a few minutes with headphones, a chance to close my eyes and explore the possibilities…
…but which way do I go?
It’s a crossroads moment, to be sure. Maybe I need to be like Anastasia, and wait for a sign, like a magically house-trained dog covered in Don Bluth cuteness.
Whenever I feel tired of writing, this song makes me excited to get back into it again. There’s adventure in the mind, hidden deep in trees born of words and dreams. One just needs to take that first step in to see.
Perhaps that first step transports you into the night. Something stalks you in the dark…or perhaps you are the stalker, hunting the threat before It escapes among the Innocents.
Rain begins to fall, and you fall into line, the world unsuspecting of the mystery that runs amok in night’s grit and fervor.
Perhaps that first step transports you to impossible heights. Clouds kiss your feet.
Your comrades call to you, waiting for you to join them in the descent down, down to where adventure rides sunbeams and waterfalls, tunnels through ancient tombs of fallen kings.
Perhaps that first step transports you into the heart of The Storm. Lightning flashes, and you see the grey, grassy field you’re in goes on, and on, and on in all directions but one.
Lightning flashes, and you see you are not alone.
Lightning flashes, and you see nothing.
You hear a breathing not your own.
Lightning flashes, and–
So many stories, so little time!
But I’ll make the time. I have to, since now I’m creating new fiction to be shared with newsletter subscribers. You can see the hub for it on the home page of my website now: “Free Exclusive Fiction from the Wilds.” When you click there, you’ll see whatever the new fiction is for the month: a Fallen Princeborn story, maybe, or something for my Shield Maidens of Idana. A character dialogue, perhaps, or maybe just a standalone story I felt like writing. Every month will bring something awesome, so awesome it’s gotta be locked up with passwords, mwa ha ha ha! The newsletter will have the password to unlock the fiction.
(And now I suddenly feel like I’m in a Zeldagame, going to such’n’such place for the yadda yadda key to unlock the neato treasure. Ah well, you get me.)
In the meantime, I’m still working on the novels for my Fallen Princeborn Omnibus. Still teaching and family-ing. But Bo’s got me mixed up in a challenge that, by default, I’m going to inflict on you.
In the briefest of terms, Whole30 says eat meat and produce, nothing else: no dairy, no grains. Coffee and tea are okay so long as you’re not adding stuff to them. You do this for 30 days to “reset your gut,” as it were, training it to burn fat instead of sugar for energy.
This means I’m going to try blogging for 30 days straight.
Not, you know, extensive pontificating for 30 days. Just honest reflection on how it’s going. Maybe something cool I’ve read, or some awesome quotes to get you thinking as you write or read. Some interviews of amazing Indie writers, some more music to inspire, and hopefully a “lessons learned” post about series writing that touches on a legit gripe many readers have about storytelling today.
And since I’m try to trim m’self down with Bo, then let’s just top this off with a sale on my novel, Fallen Princeborn: Stolen.For the entire month of February, Stolen will be 99 cents.
So, bring on the February! Bring on the cold, the coffee, and the dreams of stories not yet finished, not yet begun!
Something tells me it’s going to be a crazy-beautiful adventure. 🙂
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.”
Shehanne Moore is a Scottish born author who writes gritty, witty, more risky than risqué, historical romance, set wherever takes her fancy–stories that detail the best and worst of human behaviour, as opposed to pouts and flounces. To celebrate the new release of two titles under her London Jewel Thieves series, I asked Shey to stop by and talk about how she creates such uniquely engaging characters and thrusts them into situations that promise spectacular fireworks.
Let’s first begin with what you write—smart, sexy, historical fiction. You delve into various time periods with your books, such as the 9th century in The Viking and the Courtesan and the 19th century in Splendor. What process do you go through when choosing the right century for a story’s setting? That is, if Splendor took place in another century, would it still be the Splendor we know?
Probably not. The stories are influenced by the time, the characters too, although they don’t always abide by the constraints of them. Mind you Splendor would be a shopaholic , running up debts galore in any time because some things are timeless. She’d be having to manage everything too. So I guess a bit of both would be true. I generally stick to the Georgian/Regency period—it’s a sort of genre in own right. BUT I do like to dabble and I do spend time thinking of how I will set a book physically within that period, in terms of imagery etc.. There’s also things that happen when I write.
I mean there was never meant to be a Viking in The Viking and The Courtesan. That was a straight Regency. But then halfway through chapter two, the little voice whispered, ‘You know that Viking story idea you have, the one you’ve never really got the idea for the heroine ‘s goal in? How about you just use it here?’ Much as I want to ignore that little voice, I can’t.
Such a question should mean I ask you about research, too. I know you’re very passionate about your research to keep the period lifestyle true to history. What’s your process in making the research phase as productive as possible?
You know people think I do a lot of research. I don’t . Too much can kill a story and read like a Wikipedia cut and pastes. At the end of the day I don’t want to know every detail of the time a story is set. I can read a history book for that. I want to read of the things that are universal. The things that stand the test of time. But I have always loved history, especially social history, ever since I can remember. I guess that’s what I have at my fingertips when I write. And of course, I will check a historical timeline detail where it is pertinent to a character, or setting, if I want a certain backdrop.
One thing I love about all your books is that these characters are layered with feeling. They desire, they hate, they aspire, they love, they fear. Your books are so, so much more than the “meet-cute” kinds of romances out there populated by characters with little more than a single quirk each. These characters can get downright wicked, like Devorlane Hawley in Loving Lady Lazuli. How do you bring together both light and dark natures into your characters to keep your stories compelling and un-put-downable?
Now Jean, it’s all right, I won’t set the dudes on you and the check is in the mail. You are way too kind. I just love characters. I want to write about the human condition and let’s face it sometimes it’s downright ugly. Okay, Devorlane Hawley, for example, page one, is not a man you would want to meet. He’s plainly gone to hell in a hand cart, is behaving outrageously and now he’s come into the dukedom because his older, perfect brother is dead, he’s for turfing out his sisters, his late mother’s ward, installing some floozie he’s scoured London to find and setting up a pleasure palace in the ancestral home. By page two/three he’s noticing that his home is nothing like he remembered, it’s a mess, his oldest sister is a drunk and that’s needling at what humanity he has, because it’s plain these years have been hard and the family have regrets. The fact is he’s the family black sheep, the man who made the kind of messes we can all make when we’re young. And that law-abiding, God fearing family let him go down for a crime he never committed, largely for the sake of peace. By the end of chapter one he’s spotted the woman who did commit that crime and his goal instantly changes. Now he’s becoming the architect of his own doom in many ways.
No-one’s all bad—I think it’s important to remember that when you write. But we are all flawed in some way, a bundle of contradictions, the sum and substance of our life experiences. That’s what I’m trying to blend. Ultimately underneath everything Devorlane Hawley isn’t a bad man. In some ways he’s man interrupted by his earlier experiences– and what has shaped his life since has been hardship and brutality. So the race is on then to see if he can become the man he could be, or are the flaws going to get in the way. I spend a lot of time peering through my fingers going… I wouldn’t have done that, to my characters when I write. AND I let them drive everything. I seriously never have any idea where a story is going next.
Yet another thing I dig (someday I’ll learn to write questions better), particularly where the London Jewel Thieves are concerned, is that the series doesn’t just revolve around one heroine; rather, each book focuses on a different character of a group. I love how these different perspectives give us a richer look into their world, as well as fresh looks at characters we’ve met in the other books. Which heroine came to you first? Did she bring all the other thieves with her, or did they start telling you their own stories later on?
Good question. Actually the heroine of a short story I have yet to turn into a full length, came first. The idea was there of the jewel thief gang and being forced into stealing because for one reason or another they’ve fallen into the clutches of the man who runs this gang. BUT Cassidy Armstrong aka Sapphire from Loving Lady Lazuli came first in terms of the writing. Originally it was a standalone but as I wrote it, and I was working the background, I thought of that short story and the whole thing just fell into place. The idea of giving the women the name of a jewel, of the Starkadder Sisterhood, and of setting the books after the gang has broken up. So it’s about them having to find their feet by whatever means and keeping one step ahead when there’s prices on their heads.
Lastly, congratulations on beginning your own small press! I’m so excited to see what Black Wolf Books will bring to readers—your own books, and the books of other authors. You’ve been writing for publishers for a number of years, but now you are both publisher and writer. How would you say your earlier experience prepared you for this change? What’s been the biggest “culture shock,” as it were, with donning the publisher robe?
Thank you so much Jean and ALSO for having me here today AND congrats on your own forthcoming release. Sure to be a rip along read. I have wanted to set up Black Wolf Books for about four years now but life got in the way. But I’m there now. I think the writing industry is in a constant state of flux. When I first subbed back in 2012, you still went the traddy route. Yes there were self published books but not so many, nor the same amount of tools to do it. I mean Amazon makes it so damned easy actually now. I have a lot of experience in the writing business that goes way back before 2012 and I’ve been able to use most of it now.
I think the biggest shock…well learning curve was formatting for ebooks and for paperback. Amazon does make it easy I just got in a flap till I mastered it. I initially paid a formatter for the print version for Splendor. I was too scared to do it, in case I messed it up. But when it came back like a dog’s dinner, I stood at the foot of the mountain and told myself to get up there. That it wasn’t anything like the time I took over the editing and design of a magazine and didn’t know how to draw a text box…
Are you looking for submissions right now? If so, what kind and do you have any guidelines to share?
Well we are not officially open in that I didn’t want swamped. I wanted to feel my way, get out my books, and the Mr’s book, before dealing with what could be an avalanche. And often I think publishers can take on way too many authors without concentrating on the ones they have. But we already have a signing of a YA author who has a trilogy. So I say to folks, contact me through my blog contact right now. And really so long as it’s good, I’m not laying down all kinds of conditions.
One of the reasons I wanted to do this is that I’ve seen a lot of authors get raw deals, not been able to get a book out cos it’s not fitting the mould, despite having books out. My aim in setting up BWB is to help authors. Believe me, I know how brutal this biz can be.
Lastly lastly I’m hoping you’ll allow the little Hamstah Dudes, that precocious batch of knowledgeable cuties who share amazing author interviews & writing advice on your site, to come on over for a moment and have the last word, as they’ve been very good and patient all through our chat.
Many thanks to Shey for sharing her experience and stories with us! And don’t worry, Hamstah Dudes–Blondie’s working on a Halloween picture just for you. Hopefully I can stop by Shey’s site to share it! 🙂
Shehanne still lives in Scotland with her husband Mr Shey. She has two daughters. When not writing intriguing, and of course, sizzling, historical romance, where goals and desires of sassy, unconventional heroines and ruthless men, mean worlds do collide, she fantasizes about cleaning the house, plays the odd musical instrument and loves what in any other country, would not be defined, as hill-walking.
Composer Ennio Morricone–how to describe Il Maestro? He is an institution, an inspiration. He gave us THE showdown music, music so powerful the Sergio Leone would construct his films movie around Morricone’s music. You don’t edit Morricone. You follow Morricone. That’s how we have some of the most iconic moments in cinematic history, such as the climax from The Good, the Bad, and the Ugly:
Aren’t you just on the edge of your seats as the trumpets and drums build and build and build, the close-ups quickening and quickening until you can’t stand it anymore and SOMEONE HAS TO SHOOT and bam bam bam–just like that. Your heart remembers how to work, and you realize you’d stopped breathing for the last several seconds.
That’s the power of Il Maestro.
I use Morricone often for writing my Fallen Princeborn Omnibus, both the short stories and the novels. No, not the western soundtracks–powerful as they are, one cannot think of anything but Clint Eastwood staring down the likes of Eli Wallach and Lee Van Cleef. When the narrative turns down the dark road and finds itself stranded in menace–that is when I turn up The Thing.
The score composed for John Carpenter’s The Thing is not what I would call complex, and that’s fine. An orchestra would feel strange for a Carpenter film, and Morricone knows how to draw out unsettling harmonies for maximum effect. Just listen to this theme (roughly the first four and a half minutes of the track). It’s so simple. So, so bloody simple. The synth rhythm, steady as a comatose heartbeat. The synth chords moving in their own quiet pattern in sync with the heartbeat. Nothing loud. Nothing heroic. Just this slow, slow add to the harmony: more synth around the 2:00 mark, and more around the 3:00 mark, this time off-rhythm, just slightly. Just…not quite right, just like The Thing that hides so damn perfectly at the Arctic research base. Morricone’s rhythms of sounds, of notes-not-quite-notes: he takes the synth and forms them into a bleak landscape. We see nothing with this music. We hope for nothing. We escape nothing.
Now let’s see how such a dire emptiness feels with an orchestra in Quentin Tarantino’s brilliant western The Hateful Eight.
Strictly strings at first. The endless bass with a steady rhythm of violins: The Thing‘s influence, perfect for this moment of travelers approaching a lonely outpost on a mountain with a blizzard at their heels. Around 0:50 the xylophone begins a simple harmony, its repetition reminiscent of the chime of Lee Van Cleef’s watch in For a Few Dollars More. The minor key of the string’s harmonies further presses the boreboding into our psyche. We can’t not think something bad is going to happen.
This has to be my favorite track from Hateful Eight. The drums a bit faster here compared to The Thing, which gives us the feel of impending…something. Something, we don’t know what, is coming. We also get the feel of characters not sitting around, waiting for that Something to come. They’re hunting Something as much as Something is creeping up on them. There’s a multi-layered mystery here of who’s hunting who, who is who, and the treachery you know lies in every heart of the Eight just bleeds through the music onto the story.
Now for the record, I should note that Morricone considers this composition to be a bit lighter compared to some of his other work. As Michael Ordoña of the LA Times quotes Morricone:
“What I wanted to do with the two bassoons at first — and later there is a tuba and later on the contrabassoon and then the trumpet, and in the end, the male voices — I wanted to de-traumatize the dramatic content of the music,” says Morricone. “To add something lighter, more curious, more interesting. The contents of the theme remain tragic and dramatic, but the way these instruments are played, to the extreme ranges of their timbre, makes them quite lighter and ironic.”
-Article: Ennio Morricone says a hands-off Quentin Tarantino let his ‘Hateful Eight’ music flow
When I first saw this quote, I couldn’t believe it. Lighter? Ironic?! What in the brewin’ blazes is he on about?
But then I realized that whenever I write with this track, I am writing a scene with my villains from my heroine’s perspective. We are sizing up the villains through her wise-ass frame of mind, so in a way, Morricone’s music fits even better than I expected. He creates the unbeatable menace, yet also defies it with a glint in the eyes and a smirk on the lips.
Il Maestro gives writers the music of dire emptiness, where a setting must not only be seen, butfelt. Heard.
I have always believed that for the hero to be successful, the villain has to be their equal.
Nothing wrecks a good story like a lame villain.
Be it Mustache Twirlers, Righteous Avengers, or World Conquerors, such villains have nothing to them apart from their evilness. And no matter how grandiose that evilness is, evil without any depth is boring.
A villain’s got to have more than just evil intent to be worthy of page space. A villain needs interests, feelings, and hopes all their own.
I always try to write the villains as the heroes of their own stories.
He was a small, rather dapper-looking man, dressed in a neat charcoal-gray three-piece suit that looked vaguely old-fashioned but that she could tell had been tailor-made for him. His iron gray hair was pulled back from an angular face into a tight pontytail, while a neat triangular bear, mostly black but flecked with gray, concealed his mouth and chin. (5)
Right here, in our first sight of Dr. John Dee, we get a sense of Dee’s style. He’s one for theatrical elegance, right down to the very scent of his aura when ignited:
Dee closed his eyes and breathed deeply. “I rather like the smell of brimstone. It is so…” He paused. “So dramatic.” (20)
Chapter 6 builds on this physical image of Dee, with limousines, leather coats, and the latest technology. The man’s even got a favorite ringtone: the theme from The X-Files (which, oddly enough, was MY favorite show back in the day. *Gasp* a sign of my inner villainy!). While a little detail like a favorite ringtone may not sound worth writing, such a little detail gives us a sense of a man amused by what humanity considers paranormal, one who might watch such a show just to see what humans get right. Heck, maybe Dee has a crush on Gillian Anderson.
My point is, a villain sharing his personal tastes in some fashion, any fashion, helps readers see a complete person on the page.
We also see that Dee’s not so disconnected from the world as to think he can do what he wants without affecting the environment. For example, when his undead army fails to capture Flamel and Co. but succeeds to destroy a chunk of a town, there’s a newspaper account of him holding his movie company accountable for the damage and promising to make reparations. Dee’s physical wealth gives him the ability to cover up his magical actions, including the kidnapping of Nicholas’ wife Perenelle. He’s bought Alcatraz as a prison for her…with a sphinx for a guard. Where else could one hide a sphinx near San Francisco?
An icy shiver ran down Perenelle’s spine as she realized just how clever Dee was. She was a defenseless and powerless prisoner on Alcatraz, and she knew that no one had ever escaped The Rock alive. (315)
Dee is, indeed, a wickedly clever individual. He understands alchemy, necromancy, sorcery, and more. He can call up the consciousness of a dead member of the Elder Race, one of the most powerful beings on the planet Earth, and command it to speak truth.
Even though he has not been able to study the powerful book known as the Codex because Flamel guards it, he remembers several elements of its contents, including a prophecy involving twins heralding a powerful change for all races, magical and non-magical, that walk the earth.
So when twins Sophie and Josh are separated in Chapter 37, Dee uses his wit to corner Josh’s fragile mental state. He knows just the lines to say to make Josh feel like Dee is full of truth, and Flamel is the proper liar. Lines like:
“Are you a victim too?”
“It seems we are all victims of Nicholas Flamel.”
“Do you know how long I’ve been chasing Nicholas Flamel, or Nick Fleming, or any of the hundreds of other aliases he’s used?…Flamel never tells anyone everything,” he said. “I used to say that half of everything he said was a lie, and the other half wasn’t entirely truthful, either.” (338-40)
Terms like “victim” and “lie” are just enough to keep Josh second-guessing if Dee is being truly helpful or truly villanous. This buys Dee enough time to cast a spell on Josh to numb his senses so he can go hunting for the others.
But no scene quite shows the inner motivations of Dee like the end of Chapter 32, after the Dark Elders leave Dee to chase Flamel and Co. southward.
Dee shoved his hands in the pockets of his ruined leather coat and set off down the narrow path. He hated it when they did that, dismissed him as if he were nothing more than a child.
But things would change.
The Elders like to think that Dee was their puppet, their tool. He had seen how Bastet had abandoned Senuhet, who had been with her for at least a century, without a second glance. He knew they would do exactly the same to him, given the chance.
But Dr. John Dee had plans to ensure that they never got that chance. (298)
Dee has been granted immortality by the Dark Elders in return for his service. He’s led their armies, he’s spent years wandering Otherworlds and Shadowrealms, he’s fought monsters that would frighten the blackest of natures. If you had ten years to wander around in an Otherworld of ice, that’d leave you time to think.
Dee absolutely believes he is doing the right thing; he has to believe that Flamel and Perenelle are in the wrong. –Michael Scott
Michael Scott takes care to give us consistent glimpses into Dee’s feelings via changes in point of view. Not only do we see the progress of the story from Flamel’s narrow escapes and feats of magic, but we also see the story from Dee’s prepared traps, skillful attacks, angry defeats.
By focusing solely on the twins’ POV, we would only get a tiny glimpse of what was happening. Similarly, with Flamel, we get just another tiny slice. By giving us Dee, and the other POV and perspectives, we get a bigger, broader and wider story. Also, it teases the reader slightly (and this is something which is explored in more detail as the series progressed): are the Flamels being honest? We, the reader, know they are lying to the twins, so suddenly, everything we know about them is thrown into doubt. Maybe, just maybe Dee is telling the truth. –Michael Scott
Dee is just as passionate about achieving his plan as he is cunning in his means to fulfill it. This man even carries one of the greatest swords of humanity’s heroes: Excalibur.
Dr. John Dee lifted the short-bladed sword in his hand. Dirty blue light coiled down its length, and for an instant the ancient stone blade hummed as an invisible breeze moved across the edge. The twisting snakes carved into its hilt came to twisting, hissing life. (267)
Surely a hero wields a heroic sword, doesn’t he? Yet Dee uses it to kill an Elder and destroy an entire Shadowrealm. That doesn’t sound heroic.
But we readers started this series with Flamel. We’ve connected the term “hero” to Flamel, not to Dee–which is ironic, considering the author Scott’s own words:
…for the longest time, [Dee] WAS the hero of the series. It was called the Secrets of Doctor Dee, with Machiavelli, who appears in book two, as the villain of the piece. However, Dee never felt “right” for the role. Because my rule for the series was that every character had to come from history and every creature from myth, I wanted to stick as closely to the “real” Dee as possible. And while the real Dee was many things, he was not a hero. –Michael Scott
Like the “common” villain, Dee has his moments of confidence, and rightfully earned, too: when he first takes the Codex, when he kidnaps Perenelle, when he kills an Elder. His skills and knowledge shine in these moments.
But unlike the “common” villain, Dee does not assume his plans are fool-proof. He often has to create new attacks on the fly. He’s often afraid to deal with the Dark Elders, but he has no choice and seeks their aid.
“Fixing a smile on his lips, he rose stiffly to his feet and turned to face one of the few of the Dark Elders who genuinely terrified him.” (92)
Now normally I’d say fear makes a villain whiny, or at the very least obnoxious. But with Dee, this simply shows he’s capable of more than confident arrogance. Just as a hero fears failure, so does this villain. Both hero and villain are desperate to succeed, but unsure they can. This dual uncertainty, emphasized with the multiple points of view, drives readers to turn one page after another, eager to see who gets the power tipped into his favor in the next chapter, and the next chapter, and the next.
He was a real man, extraordinary in so many ways, but incredibly flawed.
May your own villain be as Dr. John Dee:
A devil in need of sympathy.
Many thanks to Michael Scott for taking the time to talk to me! Over the past few decades he’s written one hundred novels in a variety of genres, including Fantasy and Science Fiction. He also writes for both adults and young adults. A student of story himself, Scott’s studied Celtic Folklore so deeply he’s become a renowned authority on the subject. Learn more about him and his work at http://www.dillonscott.com/.
Readers expect a world created from our words, a place of wonder and depth. If they get bored–and as a reader, I know I’ve gotten bored–they will tune the story out. They will shelve it among the “did not finish” works in Goodreads, and they will bid our titles adieu. There are, after all, a gazillion other writers out there.
So how do we keep readers in the story? How do we get them to whisper, “just one more page” for the seventeenth time?
After reading Michael Scott’s The Alchemyst, I can safely point out two elements that kept me reading: the cliffhangers between each chapter, and the book’s antagonist. In this post, we’ll focus on the first.
Let’s consider Chapter 1. We’ll have to start with the first line in order to fully appreciate the chapter’s end. (I’ve already covered story starts in other posts about Holly Blackand Diana Wynne Jones, if you care to look.)
“Ok–answer me this: why would anyone want to wear an overcoat in San Francisco in the middle of summer?”
Nothing outrageous. Just a little oddity that might call attention to a casual passer-by, as it calls the attention of teen Sophie. She sees a few coated individuals and “small, rather dapper-looking man” enter the bookstore across the street where her twin brother Josh works. They’re kind of weird, but that should be it, right?
Scott then takes us to Josh’s perspective. When foul odors suddenly permeate the bookstore’s basement, he decides to go up for some air.
He popped his head out of the cellar door and looked around.
And in that instant, Josh Newman realized that the world would never be the same again.
End of chapter.
In the first couple pages, Scott establishes something is off in the Normal Life of our protagonists, but we don’t know how off. At chapter’s end Scott makes it clear that it isn’t the teens’ summer that changes, or even their Normal Life. It’s the world.
And, it’s only page 8.
We need to read how this simple meeting, this little one-off from Normal, could mean something cataclysmic.
Over the next few chapters, the teens are on the run with Alchemyst Nicholas Flamel, keeper of an ancient book called the Codex. The Codex holds the secret to immortality as well as the forgotten histories and magics of Earth itself. The Dark Elders, once gods but now forgotten, want that book more than anything, and they’ve sent Dr. John Dee, an old apprentice of Flamel’s, to retrieve it. Immortal through his service to the Dark Elders, Dee will spill any blood and unleash any power necessary–and we see in The Alchemyst that Dee has a massive magical arsenal at his disposal.
Come Chapter 6, we are following Dr. John Dee’s point of view. Dee has stolen most of the Codex and abducted Nicholas’ wife Perenelle, but Josh managed to rip the last few pages back before Nicholas helps the twins escape. Furious, Dee contacts his masters for a little help.
Then he snapped the phone shut and looked over at Perenelle Flamel. “It would have been so much easier if they had just given me the Codex. Now the Morrigan is coming. And you know what that means.”
End of chapter.
Perenelle Flamel may know what “that means,” but we have to study the context a little to catch on. “The Morrigan”–a definite article means this not just a beast or creature, but a specific being, an individual entity unique and separate from others met so far. “So much easier if they had given me”–if surrendering to a killer is the “easier” option, then we know whatever’s coming is more violent and nasty than Dee’s been. Dee feels confident in telling Nicholas Flamel’s wife about “the Morrigan” because he expects this Morrigan to get results. Since we’ve seen some of Flamel’s magic, this must mean the Morrigan is a very powerful individual capable of killing Flamel.
Well. We’ve got to see that.
Closing the chapter on a sinister, ominous image can also hook readers for the next chapter. Chapter 8 has Flamel and the twins trapped in ally Scatty’s residence. We end as Dee begins his assault with creatures under his control.
Below them, three huge Golems, trailing flaking dried mud, were pushing their way through the wide-open alley door. And behind them, in a long sinuous line, came the rats.
End of chapter.
I LOVE the use of the word “sinuous.” Read out loud it sounds like a snake’s slithered into the room. Visually, readers picture rats doing something they know to be unnatural. Since when do rats move in a single-filed line? Plus there is a common loathing of rats: bringer of disease and destruction, full of little pointy teeth and hands. When you see one, you know there’s a few dozen more not far behind. Maybe some people think of Ratatouille, but being an 80s child, I think of Indiana Jones and the Last Crusade.
Scott also has some fun playing with the reader’s expectations. Chapter 10’s climax is a lovely example of this.
Sophie pulled her cell out of her pocket and flipped it open. “Aren’t you going to work some magic?” she asked hopefully.
“No, I’m going to make a call. Let’s hope we don’t get an answering service.”
End of chapter.
By this point, the twins are accustomed to seeing Dee utilize his powers to combat the villain. The fact he uses a phone for such a mundane action makes Reader Me want to know: Who on earth could this guy be calling to combat a monstrous cloud of crows bent on tearing them apart? The only way I can learn the answer is by reading on.
Being a pushy, curious sort, I asked Michael Scott how he worked out building strong chapter endings with multiple points of view. His answer reflects an important writing strategy: planning.
I started with a single sheet of paper and wrote out my idea for the entire series. I could see that there were six very neat breaks in the narrative.
I then wrote out the idea for each book on six sheets of paper. Then I went in and plotted them sometimes in fairly fine detail. That allowed me to pace out the chapters.
I always tried to end a chapter with a hook which would leave you dangling so that you had to read the next chapter (which was often not a continuation of the story), to get back to the main story. So your plotting is chapters 1,3,5 are all one story, and 2,4,6 are a separate, but linked story.
I love my narratives to adventure into the unexpected, but even I like to keep a map on hand in case I get lost. Readers will only appreciate tension and high stakes if the story stays focused on those things. If writers dish out too much tension at once, any slowing of the plot jars the pacing beyond repair. Like the 90s blockbuster Speed, you have to keep the story moving fast, or risk blowing up your reader’s engagement. If you attempt a slow burn and fail (and I just read a novel guilty of this, so stay tuned in August), you’ve lost readers before you could even get to the story’s objective.
So you need action, but not too much at once. You need climaxes in that action, but not so much to make later climaxes feel, well, anti-climactic. No wonder, then, that Scott not only took time to outline The Alchemyst, but the ENTIRE six-book series of The Secrets of the Immortal Nicholas Flamel. How else can he tell the story from both the heroes and villains’ perspectives without missing a beat?
And I’m not going to lie–Dr. John Dee is my favorite part of this book. Next week, we’ll explore with Michael Scott what makes this villain–and therefore the well-written villains–worth reading.
Many thanks to Michael Scott for taking the time to talk to me! Over the past few decades he’s written one hundred novels in a variety of genres, including Fantasy and Science Fiction. He also writes for both adults and young adults. A student of story himself, Scott’s studied Celtic Folklore so deeply he’s become a renowned authority on the subject. Learn more about him and his work at http://www.dillonscott.com/.