However, as book reviewer and author S.J. Higbeehas often noted, many authors and/or publishers feel compelled to stick waaaaaaaaaaaay too much information into the book blurb. (Click here for just one of MANY reviews where Sarah touches on the problem of chatty blurbs.) Where is the line between too much information and too little? We want to give readers a taste of the story inside, but we don’t want to ruin their appetites. We want to engage readers without killing all the story’s surprises or subverting all the expectations.
Which got me to thinking about M*A*S*H. Yes, the TV show.
I never watched M*A*S*H as a kid, nor did I know about the original book on which the film and television series are based. I only knew that whenever the theme song started playing on the TV, I went off and did something else.
Just listen to that mellow song played alongside these doctors and nurses treating soldiers near enemy lines. The show’s opener had the look and feel of some medical drama, the last sort of show Little Me would want to watch.
Then I learned after marrying Bo that this show was a comedy. A COMEDY?! How the heck is someone supposed to catch the comedy vibes from that opener? The melody’s a sad one; heck, the original song’s called “Suicide is Painless.” We see no happy or positive expressions on people’s faces, only the urgency of aiding the wounded. There is absolutely nothing present in this theme to tell one that they’re about to watch a comedy. Imagine if a book tried to pull this same stunt with their cover art and blurb. How do you think the ever-watchful Goodreads community would respond?
As writers, we need that blurb to give readers a genuine sense of the story-world they’re about to enter. Usually just a few elements of the genre are enough to tell readers, this is what you’re in for. If you dig X, then you’ll love this.
Since television themes are always held to a similar degree of requirement (unless it’s M*A*S*H, apparently), let’s use a few more for examples: Bonanza, Twilight Zone, and Dragnet.
Not one of these theme songs is all that long, but we get enough out of the music to know the genre of each show: the twang of the western guitar, the dissonance of an eerie suspense-filled horror, the stalwart drums of justice. With just a few seconds, these themes accurately and concisely provide the audience a sense of the stories that will accompany the themes.
Now I’m not saying that chattiness is always bad. Heavens, Rod Serling’s speech for Twilight Zone’s theme is iconic. Then you have shows like Dukes of Hazzard and A-Team, which just so happen to be Bo’s and my favorite TV shows from childhood. Both are spot-on with their carefree guitar and military snare, and both directly address the audience with the premise of the show (only the A-Team don’t need no Waylon Jennings to sing because they got Mr. T, fool!). These themes are slightly over a minute long, but they don’t overwhelm the audience with information. We only get what we need: Protagonists and Problems. It’s up to us to stay tuned for more.
So what happens when that blurb of a theme does give us more?
This is where I think we enter the “chatty” territory, the “too much” territory. Allow me to force more of my 80s upbringing on you for examples.
Okay, I’ll let the monotonous “Teenage Mutant Ninja Turtles” sung over and over in the background slide because it’s like a companion to the drums. But do we really need to hear the traits of every main character in the opening of EVERY episode? She-Ra and Masters of the Universe did that, too, always breaking down every damn character so you would know just who the good guys and bad guys are, and who knows the secret identity stuff and who doesn’t, because apparently you, you snot-faced lump of Cheetos-dusted child, are too dumb to catch on to any of this when watching the show.
And I think this is what really gets to me about those chatty blurbs on books today. It’s like the publisher/writer thinks they have to talk down to the reader to ensure they understand the story’s premise and conflict. Sure, no one wants the reader to feel confused, but the consequence of over-talking is that we make the reader feel inferior.
Yes, there are some that like having all the dots connected for them, but not this gal, not this gal’s kids, and I have a feeling that you don’t dig being babied, either. Plus, it says something about us as writers when we don’t trust our own storytelling skills to adequately show readers who’s who and what’s what inside the story itself.
There simply comes a time when all we can–all we should–give readers are duct tape, a lemon, and a broken magnifying glass. If they’re intrigued with the few pieces you leave for them to find, then you can bet your MacGyver-lovin’ boots they’re comin’ into the book for more.
Anyone else have a favorite television theme to share? I was trying to figure out how to squeeze in Hawaii Five-0, but I just couldn’t make it work, dammit.
Greetings, lovely readers! An unexpected flood of school work’s swamped my desk, and there’s a threat of storms severe enough to send animals hunting for an Ark. While I float upon the course prep and stare at our sump pump for the next 36 hours, please welcome the amazing indie author and filmmaker Mansu Edwards!
You are a creator in many forms: I love seeing how you weave in and out of genres like science fiction, young adult, and suspense. Do you feel the genre definitions in today’s market limit writers or help them?
Thank you Jean. I never focused on genre definitions. I use my instincts. I think Writers should create their own definitions. Genre definitions can limit Writers because it can prevent the Creator from producing a unique story. Readers don’t care about definitions. They care about good storytelling. Then again, not having a specific genre definition can hurt Author sales. People want to know what their reading and won’t spend money on surprises. However, there have been many instances where my story didn’t fit a specific genre or the genre didn’t reveal itself until midway in the story.
Your bio also mentions you recently created a short film, Texting in New York City. What challenges did you face as a storytelling in a visual medium? Does your experience as a filmmaker help inform your craft choices as a writer?
Texting In New York City is based on my book under the same name. The book consisted of random text conversations between New Yorkers. When creating the short film, I developed an idea and wrote a script. I understood the significance of brevity and pacing in film due to my Screenwriting background. I showed the 1st draft to an Exhibitor at a Trade Show. She explained the parts of the story that were unclear. I rewrote it and began hiring actors, actresses and a production team. The cinematographer, John Morgan pitched a couple of ideas; I watched a ton of short films and a popular webseries: Money And Violence to improve pacing and storytelling. The series made me retool the script. I eliminated and shortened certain scenes. It was a huge mental shift working on the visual version of Texting In New York City because I normally work alone when writing a book. Of course, I outsource certain parts of the process. Since, I have a Screenwriter’s mindset, I do my best to get to the point as quickly as possible. I don’t want to lose my audience.
You’ve been publishing works since 2009. With ten years of experience as an author, what would you say is the most unethical practice in the publishing industry, and how can we as the writing community overcome it?
Unscrupulous companies charging writers exorbitant fees to produce a book. I think its unnecessary and a terrible experience for novice authors. We can overcome it by offering writers a discount or providing advertisement for a reduced cost.
Have you read anything that made you think differently about fiction?
Yes, I read Fates and Furies by Lauren Groff. It interweaves the present and the past between two lovers. How their personal strengths and weaknesses affect their relationship. Also, the importance of making the correct decisions in life.
Let’s talk about your YA series, Emojis vs. Punctuation Marks. What a great concept of a story to share with young adult readers—especially those who forget punctuation even exists! (I teach writing, so I notice this problem. A LOT.) What first inspired you to write this series?
Thank you Jean. The Most High (God) inspired me. I’m sitting at the counter and an idea flashes in my mind. I hear the title Emojis Vs. Punctuation Marks: Battle Of The Keyboard . I’m thinking this is a cool and unusual concept. Also, I noticed the change in online communication over the years. Senders and receivers using Emoticons to express feelings and emotions. And the story sounded fun, so I knew I had to write it.
Book 2 of the series, Land of Refrigeration, expands the universe of these wee characters to include insects and produce. I would love to hear you breakdown the worldbuilding process you went through to create this new level of the EPM universe!
I had an incomplete version of Emojis Vs. Punctuation Marks: Land Of Refrigeration. I decided to have the Emojis battle the fruits and vegetables for territorial positioning while trying to find a way back to their unique world. I rewrote the story a few times. I wanted to show the survivors of Emojis Vs. Punctuation Marks: Battle Of The Keyboard attempting to adjust on Planet Earth. But, their ultimate goal is to return to their digital world. Also, I provided a backstory on the relationship between the Punctuation Marks and Danna’s father, Menelik which began during his adolescent years. Then, I began reread another story I wrote, but didn’t quite finish. It was completely different concept. The story didn’t have a title. I decided to incorporate it with the Emojis story. The tale takes place in Outer Space. So, I thought why not have the Insect, Centipede McGhee design a portal for the Emojis and Punctuation Marks to travel to a exciting, unfamiliar, digital world.
Where do you see the third entry of this series taking you—and readers? Any other projects you’d like to highlight for us?
Very good question. The third entry is a work in progress. I may change the story’s trajectory. I haven’t decided yet. Nevertheless, I have a new Ebook entitled Plush Couches. It’s about a young man who has a serious gas attack on his way to a job interview. I’m currently working on an untitled piece about a Superhero.
Lastly, please expand upon the age-old storyteller conundrum: Does writing energize or exhaust you, and why?
Writing is both energizing and exhausting. It uses mental, emotional and spiritual faculties. It’s a relationship that has its ups and downs. You never know what to expect. Sometimes your pen is sailing on calm seas and other times it’s swimming in turbulent waters. It’s a gift from God. People’s positive responses to my story energizes me. Of course, all the responses aren’t positive, but, I can’t let it demotivate me. I write the story. Finish it. Then work on the next book.
Thank you so much for your time and thoughts, Mansu! Godspeed to you on your upcoming writing adventures.
~STAY TUNED NEXT WEEK!~
Would you believe there’s an important lesson to be learned in TV theme songs? Yes, I’m serious. Then we’re going to ponder the structure of the fairy tale and how it can help add a darkly magical chapter to a story-world’s history.
Good morning, you wonderful folks, you! (Or afternoon. It’s coffee time, no matter where you are. xxxxx)
Sorry for the quick informal post, but I just got my approval for pre-order and can’t wait until next week to share it with you.
I picked the official launch day for Thursday, August 29th. We’ll still do our weird Wisconsin tour and study of Charlaine Harris’ An Easy Death, never fear. 🙂 In the meantime, please spread the word to kith and kin my latest tale’s just 99 cents and will be available in two weeks!
Oh, and before my kids’ latest skirmish over Lego spills into my work space, let me say that if you’d like to contribute some early reviews for this story, please let me know, for that would be awesome. 🙂
Happy Thursday, lovely creatives! I’m so, so excited to introduce you to Anne Clare. Not only is she one of the kindest, gentlest souls I’ve been blessed to meet, but she is a deeply supportive reader, writer, and artist. Well, I should probably let her introduce herself first. Take it, Anne!
Hi, all! I’m Anne. I live in the green, drizzly, Pacific Northwest of the U.S., but I spend a fair amount of time travelling the world via history books. I’m on the verge of celebrating the publication of my first WWII historical fiction novel. I write about writing and the real events of the tumultuous 1940s on my blog, thenaptimeauthor.wordpress.com.
I’m also a wife, mother of three, organist and choir director, part-time teacher, and coffee addict.
Like all marvelous writers, our love of storytelling is forged in the reading of our younger days. My favorite genre of choice was the cozy murder mystery: justice sought and earned while mayhem abounded in one British village after another. What kinds of stories did you enjoy during your formative years?
When I wasn’t trying to solve the mysteries of math class or painting play sets I enjoyed my fair share of Agatha Christie and other sleuth stories, too. I’ve always loved fantasy stories- Tolkein, Lewis and Terry Brooks were some of my first loves. I think it was in highschool when I first discovered Gail Carson Levine’s retold fairy tales and Harry Potter. Honestly, though, I just love a good story regardless of genre.
How true! It’s amazing how many cool stories we discover when we don’t limit ourselves to just a few authors. (Of course, it took college and those accursed required reading lists to help me learn that lesson, but I did learn it…mostly…) What’s the first book you read that sparked the fire of storytelling inside you?
Fairy tales played a big part of course- the earliest stories I “wrote” (i.e. dictated to my older cousin who knew HOW to write, and was kind enough to humor me)–
That’s the bestest kind of cousin, in my book. (ba dum CH!)
I know, right? So those stories were on thrilling topics like fairies, a city populated by talking dogs, and princesses. My first “novel,” started when I was twelve in spiral bound notebooks, was a portal fantasy with BIG nods to Lord of the Rings!
Aw, that’s just like Polly in Diana Wynne Jones’ Fire and Hemlock! I don’t recall liking Tolkien much as a kid, but I blame my sixth grade teacher’s reading of The Hobbit for that–ugh, what a horror. Are there any authors you disliked reading at first but have since grown into?
We read My Antonia in eighth grade- I didn’t like it at all. It was tedious and (spoiler!) the boy didn’t even get the girl in the end! Rereading it as an adult, I love it, in an emotionally teary sort of way. (Since having kids I’m such a sap…😊)
Ha! Heavens, don’t I know it. I bawled reading the end of DWJ’s Dogsbody. Any time something precious is lost, I’m in tears. Music has that power over my emotions too, when the mood is right. Plus, music can be a wonderful guide in the storytelling process. Do you have any favorite artists/composers you’d like to recommend? How do these folks inspire your writing?
I didn’t realize how heavily I depended on music for writing until our kitten, Mr. Meowgi, ate my headphones. I always have something playing in the background as I write.
As I write in the 1940s, I would have thought period music would be my go-to. While I enjoy Glenn Miller and others from the era, while writing I gravitate more toward modern music that fits my mood. The first novel required songs like Lana Del Rey’s Born to Die and the Decemberists “Crane Wife” album- I don’t know why, they just worked! For some reason, the second book seems to go better with Brandie Carlisle and Johnny Cash.
SECOND NOVEL?! Wooooah woah, slow down, Me. Anne’s here to talk about her FIRST novel. One book at a time, right?
Eeeeee, I’m so excited!
Whom Shall I Fear? is set in World War II on two fronts: the battlefront as well as the home front. What first inspired you to create characters in this time?
I’ve always been fascinated by history, but hadn’t pursued much study of it- between teaching and momming, I was just too busy! Then, I had a dream set during World War II, which became the climax of my novel. I blame the fact that I was reading a lot of Agatha Christie, while reading The Lion, The Witch and the Wardrobe to my kids, and watching James Bond with my husband. All three had some WWII references which must have leaked into my subconscious.
So, lots of World War II floating in your subconscious while you’re also reading and storing info in your consciousness. Oh, research…. I’m very much a “Google as I go” kind of gal, but you’ve been researching this period for quite some time. Can you share your process for researching as well as how you selected what information should be incorporated into the story and what information should stay on the notecards?
When I began this project, I was naiive enough to think that “Google as I go” would be all I needed. After all, I’d studied WWII, I knew the main events!
It didn’t take long to realize I knew nothing- or at least nothing close to the detail I’d need to do to pull off a convincing story.
I started by searching my library. One of the first books that popped up was Winston Churchill’s Memoirs of the Second World War. I snagged it, figuring that he ought to know what he was talking about. It was the abridged version, so only 1700 pages and change. I hadn’t read a serious history book since college, and it was an undertaking, but I’ll say this for Mr. Churchill- his grand, sweeping style of prose made the history very readable.
Of course, the challenge with researching history is that there’s always a filter between you and the events. The individual perspective of the recorder, no matter how unbiased they try to be, is going to effect their narrative. Reading Churchill’s book first gave me a great start, because I had an outline of the major events, how and when they happened, and one perspective on them.
From there, I looked for as many sources from the era as I could. The BBC website has this wonderful archive called “The People’s War” where they invited people to send in their recollections of their life during the war.
Reading first-hand accounts was fascinating, and helpful in shaping my setting. As one of my main characters was in the British infantry, I found books by infantrymen. When I needed broader books for troop movements so that my fellas got where they were supposed to when they were supposed to, I sought books that used original sources like divisional histories etc, and tried to compare more than one source.
Culling information- well, that was another challenge. It was hard to know where to cut, but sometimes it was unavoidable. For instance, I initially wanted to send my infantryman, James, to North Africa. It sounded like a fascinating place to include- the struggles over Tobruk, fighting against Rommel’s tanks, the battle of El Alamein… I researched military groups in the area and decided he could be part of the 8th Army, and then after Africa I could send him to Sicily and Italy and learn about even more unfamiliar places!
I kept on reading and discovered that none of this would fit with the rest of the timeline for the story. Also, the 8th Army that fought across North Africa was almost completely different from the 8th Army that went to Italy. Sigh.
It was hard to eliminate fascinating pieces of history, but in the end, the research had to serve the story. If the history doesn’t forward the characters or plot, it isn’t going to do what good historical fiction should- make history come alive to the reader.
Now writing inside a well-known–hang on. By your very account here, there is still so much we never get a chance to learn about World War II, so I shouldn’t be calling it a “well-known period.” Let me back-track a wee bit and approach my question this way: in fantasy writing, storytellers create characters as well as the worlds they live in. In historical fiction, you’re creating characters that may or may not live alongside people who actually lived in your chosen period. What would you consider to be the ethics of writing about historical figures?
Ah, that’s tricky! I tried to avoid the issue as much as I could, particularly if the reflection on the historical person’s character might be…uncomplimentary. After all, it hardly seems fair to take a dig at someone who isn’t around to defend themselves, and, as I said before, there’s always the bias present of the person who’s recording their history.
For the few historical figures who did make it into the final novel, I tried to deal with them as my characters would have in real life.
The only real person who makes it “onstage” is Lord Woolton, for a brief cameo, since one of my characters works for the Ministry of Food (responsible for rationing etc) of which Lord Woolton was the Minister until sometime in 1943. The history books described his oversized suit and his friendly voice over the wireless- these made it into the book. Otherwise I tried to keep him neutral- he was just present to help reveal something about one of MY characters.
On the negative end, I did feel the need to mention Lady Astor. The first female MP, she gained notoriety with the troops in Italy by calling them the “D-Day Dodgers.” (i.e. they were somehow shirking by fighting in Italy, rather than in France.) Naturally, the men were furious, and composed a catchy and uncomplimentary song about the incident. In the years since, there’s been some question of whether she acutally made the comment or whether it was a misunderstanding, but my protagonist in Italy wouldn’t have known that, so he reacts accordingly.
I also hesitated to mention larger groups specifically. For instance, I mentioned the whole confusion over the make up of the 8th army above. To make sure that my group of infantrymen I follow in the story COULD have ended up where I sent them, I had to find a smaller group to “shadow” through the histories. I decided on the 2nd Battalion, Lancashire Fusiliers- they were at the battle of Monte Cassino, and other notable places. However, I don’t specifically mention them in the book- it felt presumptuous to tack my fictional men onto a group that really served in such dangerous places.
In the end, one of my major goals in writing about this era is in homage to those who sacrificed and served. Anything that would detract from that or turn into me editorializing on a time I didn’t live through, I took out.
An excellent plan to go by, I think.
Now, you used three different points of view to tell your story: your two protagonists as well as your antagonist. What were some challenges from writing with the villain and heroes’ points of view? What were some benefits?
As I mentioned, I was reading a lot of Agatha Christie when I started this book. She uses multiple points of view in her mysteries- sometimes to reveal, sometimes to misdirect. While my novel isn’t really a mystery, there are some of the same elements- mysterious strangers, tangled motivations, crimes of the past. I liked the flavor of the multiple points of view- how I could reveal clues to the questions from different perspectives and how I could have one character reveal information to the reader while keeping other characters in the dark.
The challenge is to create enough distinction between the perspectives so that the reader can “feel” the difference when they’re in a different character’s head. Also, I found myself tempted to head hop- to reveal information that the POV I was writing from couldn’t have known. I had to resist the temptation, and place my “reveals” carefully.
A temptation that we all struggle with!
You and I both have kids who haven’t taken our sanity from us (yet). You know how I’m always on the look-out for tips on finding some sense of balance between writing and parenting. Care to share your advice?
I discovered that I can’t hold myself to someone else’s expectations for the amount of time or words I write. Every day is a new day- some will be productive author days. Others will be “clean up kid vomit and read stories to them” days. There’s no guilt in either one!
And one final question…
Many thanks to you, Anne, and congratulations once more! Whom Shall I Fear will be available June 28th on Amazon.
All that Sergeant James Milburn wants is to heal. Sent to finish his convalescence in a lonely village in the north of England, the friends he’s lost haunt his dreams. If he can only be declared fit for active service again, perhaps he can rejoin his surviving mates in the fight across Sicily and either protect them or die alongside them.
All that Evie Worther wants is purpose. War has reduced her family to an elderly matriarch and Charles, her controlling cousin, both determined to keep her safely tucked away in their family home. If she can somehow balance her sense of obligation to family with her desperate need to be of use, perhaps she can discover how she fits into her tumultuous world.
All that Charles Heatherington wants is his due. Since his brother’s death, he is positioned to be the family’s heir with only one step left to make his future secure. If only he can keep the family matriarch happy, he can finally start living the easy life he is certain he deserves.
However, when James’s, Evie’s and Charles’s paths collide, a dark secret of the past is forced into the light, and everything that they have hoped and striven for is thrown into doubt.
Weaving in historical detail from World War II in Britain, Italy and Egypt, Whom Shall I Fear? follows their individual struggles with guilt and faith, love and family, and forces them to ask if the greatest threat they face is really from the enemy abroad.
Blondie finished the school year with a straight-A report card. She was particularly proud of her last story for writing class: “The Invention that Changed the Chicken World.” It’s a suspenseful tale of action and intrigue as Zach, a lowly chicken residing on a dairy farm on the slopes of Mount St. Helens, discovers that special rocks from the volcano will help him build a jet pack. He successfully builds a model only to be discovered by a nefarious squirrel…well here, you read it:
Little did Zach know that two sinister eyes were watching from the trees. Later Zach was walking back to the coop when suddenly, a squirrel jumped in the way! He was wearing an eyepatch on his right eye! Worst of all, he was pointing a GUN AT HIM!!!
“Gimme your rocks, sonny. Then you can have anything you want,” said the squirrel calmly.
“What do you want with MY rocks? Go get your own!” shouted Zach. The squirrel leaped at him, took the rocks, adn sprinted away. Chickens, you might say, aren’t very fast. Zach, however, was just the opposite. Zach ran like a lightning bolt and caught up with the squirrel and took the rocks.
Blondie, “The Invention that Changed the Chicken World”
The tale continues, but Blondie refuses to read it out loud for me, the stinker. 🙂 Her story was such a hit with Biff and Bash that Biff even started his own story:
Blondie’s promised us all more stories about Zach the chicken this summer, and I’m excited to see Biff truly enjoy drawing and writing. Bash, meanwhile, is turning out some amazing creations with Lego; even we will set them apart so that no one else can wreck them.
But even though the kids are wrapping up their school year, my current term at the university has a ways to go. Plus, I’ve taken on a new job as substitute teaching aid at another town’s school district. It’ll help the family income, plus it gives me a chance to work with kids aged 4-18. If I want to write for these people, I should probably, you know, hang out with them’n’stuff…
(Side Question: Why the heck does anyone think four-year-olds can learn to walk on stilts? These kids can barely remember to use a kleenex, let alone tie shoes, and we trust them to walk with GIANT METAL RODS?!)
The plans had been to publish the entire series over the course of a few years, starting with Books 1 and 2 to come out pretty close to each other. We individually published six short stories over the summer and fall to help promote the first novel, and on October 31, 2018, Fallen Princeborn: Stolen hit the shelves.
Well. You might have noticed the second novel’s not out yet.
The folks at Aionios Books chose not to continue with my series.
Am I bummed? Of course I am. It feels like that moment in A Fistful of Dollars when Clint’s caught by the baddies after helping a girl escape. They beat him to a pulp, taking extra care to cripple his shooting hand. One look at him, and you’d think he’s a goner.
Only he’s not. He manages to escape despite his injuries and hides away in an old mine. Over the course of his recovery, he slowly, surely, tenaciously, teaches himself to shoot with his other hand.
Yeah, I may be down, but I’m a professional, dammit. It’s a wild world out there in indie publishing, and every fighter’s got to do what he/she can to survive. Aionios made the call they felt was best for them. So, we just need to do our own parts in helping Fallen Princeborn: Stolen stay alive while also adventuring off in our own directions.
In my case…well, first I’m learning to shoot with the other hand.
This means I’ve got to do a complete overhaul of my platform: website, social media, the whole kit’n’caboodle. Don’t be surprised if a link’s down one day and up the next–we’re talking years’ worth of posts to revise.
I intend to rework and re-release my six short stories of Tales in the River Vine.
I’m also excited to publish a new tale, a tale that hearkens to those wild days of territories stitched with railways and bounty hunters ready to kill for a few dollars more…
“Between you and me, I doubt they’ve got the know-how to outsmart Night’s Tooth.” Sheriff Jensen narrows his eyes at the poster like he could scare it. “No proper description of the man, and a modus operandi as bizarre as hell.”
“Why bizarre?” Sumac pulls the poster from its pin and stares thoughtfully at Night Tooth’s name.
Now the sheriff goes all quiet again, thinking. He’s really sizing Sumac up this time, like as not making sure Sumac’s not crazy as a loon. “Because they find bite marks in the rail cars’ walls, that’s why. This man’s got a wolf with him, somethin’ big as a bear and twice as smart.”
That’s a whap Sumac’s not expecting. No doubt his lady employer would have a good laugh over that one. “Well, as I see it, Sheriff, some creatures are born into killin’ like others are into dyin’. I reckon Night’s Tooth is of that first camp, wouldn’t you?”
The wind whistle-whines against the glass. Another train cries out from the rails beyond La Crosse’s commercial center.
Sumac smiles. He knows he doesn’t have to answer.
And, God-willing, before 2019 ends I’m going to publish the next installment of the Fallen Princeborn series.
The name sucks the air clean out of Charlotte’s mouth. Her lungs shrivel, her mind bleached like bones in the desert—
Someone stands out in the middle of the Wild Grasses. Pale arms hang perfectly still against a sparkly shirt. The breeze plays with red hair too bright to mistake. It carries the scent of bus and berries to Charlotte’s nose and stings her eyes to tears. A pink bubble inflates out of the mouth. Baby blues shine like search lights.
Pop. “I’m still waiting for you, Charlie.” Pop.
The Voice rushes to the bellows within Charlotte, brings air and feeling back to her lungs. One, two, don’t let Orna get to you.
Charlotte heaves a breath as deep as she can. Her legs don’t want to move, she can’t move, but she will move. She forces one foot forward, then another, commands her back to straighten, and she screams, “I know who you really are!” She chews the unsaid words “you bitch!” like gristle, wishing desperately to spit them out at The Lady wearing her sister’s shape like some Halloween costume. But even the shape of Anna forces the hateful speech to stick between Charlotte’s teeth. “Go back to your hole!”
should have died in the Pits, Charlie. She’s got something a lot worse planned
for you now.”
“’She’?” It was just a tiny word, but its reference jabs the Voice in Charlotte’s heart good’n’hard.
Blues grin like some damn playground secret.
“Don’t fuck with me, Orna.” Charlotte’s walking before she knows it, wading into the Wild Grasses, arms swaying fists, teeth clenched, “You’re the one never leaving this land alive, I swear!”
The berry and bubble gum stink to Charlotte’s nose now, all its pungent sour sweetness driving its way up into her sinuses and stinging behind her eyes.
More and more red hair blows over the Baby Blues, more hair than Anna ever had, and it grows longer, longer. She’s engulfed in hair like some Ginger-fied Cousin It.
Charlotte’s almost close enough to grab a lock and yank it off. “Take my sister off!” She lunges forward—
But Cairine’s teeth close upon Charlotte’s shirt, her nose a sharp chill on Charlotte’s neck. Cairine pulls Charlotte back as a bubble pops under all that impossible hair. A new voice grinds under Anna’s punctuated soprano:
“Let’s not rush. I’m still owed a sweetheart.”
Red hair spins round, tightens, stretches, into a giant red bubble. It floats above the wild grasses and pops to the echoes of girlish laughter.
In the meantime, I’m excited to spend June celebrating my dear friend Anne Clare–she’s releasing her debut novel this summer!
I’ve known Anne for decades, and like me, Anne’s been balancing teaching, family, and her writing life. For years she’s been researching and crafting a story that spans countless miles and years–just like our friendship. xxxxx
I am so, so proud of you, Anne!
I’ll be interviewing Anne and the impeccable James J. Cudney, who has another cozy mystery on its way to bookshelves next month.
What else lies in store? Oh, some world-building craft, methinks, and a study of the incredible Italian composer Ludovico Einaudi. I shared one composition of his weeks ago, but it haunts me still. Let this song carry you on its magic into next week, where we sit, and listen, and imagine together.
My name is Christopher Lee and I am the author of Westward, a Channillo exclusive serial release occult fantasy that blends X-Files and the Magnificent Seven.
What made you choose publishing your work as a serial as opposed to a collection/novel?
DAN: I have collections with my publisher GenZ, Lapping Water, Humbled Wise Men Christmas Haikus, and Home other places I’ve yet to see. Channillo has been a good place for projects of mine that I view as smaller endeavors.
CHRIS: For one I love to write as if my story were being presented as a TV show, each chapter I write feels like an episode of a show to me, so it made sense to present it this way. The format of serial publication allows me to work on my story at the same time as I get feedback from readers on previous chapters, etc which in turn helps make the story better down the road.
What benefits have arisen with plot, character development, and/or voice as you write a serial?
DAN: It’s fun to write these poem-letters in “Weathergirl.” I call it soap opera poetry.
CHRIS: It takes a huge load off of the authorś shoulder to know that they don’t have to crank out a huge manuscript in order for readers to access their work. There is a flexibility that I mentioned before that allows the writer to breath, take a step back, and then return to the keyboard recharged and excited to write the next chapter of the story, not to mention it keeps the readers hungry for more.
I concur about that load being shirked off! However, I know one problem I have when posting my own Young Adult Fantasy MIDDLER’S PRIDE is publishing on time.
What challenges have you faced writing serials?
CHRIS: Honestly, I have not faced any, save that classic HIT THE DEADLINE. When I began to write Westward, I had a fully developed story arc with complete show/chapter ideas. This allows me to simply sit down and write the next installment, whereas had I not done so I might have run into an issue of keeping the story straight, so to speak. Ultimately it is all about consistency when running a serial. You need to market it consistently and produce the content on time so that your readers know they can count on you. After all, there is nothing worse than investing time as a reader in a story that dead ends.
DAN: Letters to the Weathergirl is about a man writing to a news anchor and the reader doesn’t know if he is a deranged fan, or a fan, or her actual lover and I haven’t had any problems developing that. I’m very fortunate.
Now while I myself have never published any poetry, I find it a pleasure to read! It seems to fit well with the serial form. Because I’ve written Middler with the serial publishing platform in mind, I find myself constantly looking for little arcs or episodes to write within the larger novel-arc. How do you feel your writing and/or genre’s been affected by publishing it in a serialized form?
DAN: Letters to the Weathergirl is weekly so when holidays turn up I like writing themed segments. The arrows on the clock are pointing at me was like a fun dumping ground for unpublished poems and I hope to maybe start another series like that. Venus Fly Trap kept my haiku skills sharp and Little Silver Microphone explores recordings both home and live.
CHRIS: I primarily write in the fantasy genre, which I believe is aided by the format. Fantasy in some ways suffers from the drudgery of 600+ page novels that remain inaccessible to the general public at large. Many consumers of media want smaller bites that they can digest while they ride the bus, an Uber, or just before bed, etc. Just look at Netflix and the advent of binge watching or in this case binge reading.
What do you think draws readers to read serial (non)fiction?
CHRIS: Accessibility and consistent content creation are the two major things for me. One that readers can have an a la carte or buffet experience with different genres, authors, and styles. Two is that there isn’t a huge delay between content dumps from the authors, its the exact opposite of the George R.R. Martin effect, for example waiting for years for a conclusion to the story you as the reader have invested time in.
Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments? DAN: Yes, I do. I’ve gotten great feedback that has meant a lot to me. Sometimes I post quotes about my series on the work’s homepage.
CHRIS: If I am being honest, I have not received much in the way of comments via the Channillo platform, but I have been contacted via Twitter, Facebook, and email from readers who have given me some of the most constructive feedback I have gotten to date. It is a really cool experience to have that level of connection with the reader. Usually what I do with said commentary is to implement whatever makes the most sense to the story, all while keeping the core message of the reader close to heart.
What advice do you have for fellow writers who want to give serialization a go?
CHRIS: First and foremost you need to have a fully developed story before you kick the thing off. If you don’t have that, then you run the risk of hitting a dead end that could cause you massive problems. Ultimately a plan will save your booty if you get in a pinch.
DAN: Make sure you do your installments on time with interesting material to help build an audience.
I found this quote published inThe Washington Postback in 2015, and I’d like you to comment on it:
Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity. –Hillary Kelly, “Bring Back the Serialized Novel”
CHRIS: Kelly makes a great point, though the critics of serialization see it as low art or cheap in quality, I find the process to be far more rigorous. You can simply slap crap together and throw it at the wall and hope that it sticks. In fact, you have to take even more time to craft a tight narrative, then you would in the case of a novel. To run a successful serial you have to keep your readers hooked. In the traditional method, example a fully fledged novel, once they buy your book, the transaction is largely done, you have the readers money, whether or not they come back for subsequent books is altogether another animal. With a serial, you have the flexibility that you don´t have in the traditional sense, and that is the true strength of serialization.
Thanks so much for sharing your thoughts, guys, and good luck building those Channillo stories! You’re reminding me I need to update what’s going on with Meredydd…
In the meantime, check out these authors and other amazing folks at Channillo. You can scope out their amazing store of stories FREE for thirty days. Who knows? Maybe you’d like to write for them, too!
Thank heaven for this month of fantastic interviews! I’m still trudging my way through grading finals, pricing all the little Bs’ toddler clothing to sell, preparing for two rounds of family visits for Easter…oh and maybe writing in there somewhere. Whew!
So let’s continue on with our amazing Indie April and chat with sci-fi wonder, J.I. Rogers.
First, let’s get the niceties…well not out of the way, as it were, but if you’d like to introduce yourself—who you are and what you write, etc etc etc.
Hi. I’m J. I. Rogers, and I write a fusion of dystopian science fiction and space opera. My bio aptly states that when I’m not acting as a conduit for the voices in my head, I’m a poster child for Gen X and the Queen of most boondoggles that lead to eye-strain and tinnitus. Simply put, I’m a green-eyed, ginger-haired, caffeine addict who currently spends most days (and nights) creating bits to go into ‘The Korpes File Series,’ art, or convincing to my family and friends that I’m not dead.
What would you say was the first book (or author) you read that inspired you to become a writer?
The graphic novel series “Love & Rockets” by Los Bros Hernandez is what truly set me on this path. I’ve been an artist for far longer than I’ve been an author, and Jaime’s work, in particular, sparked the Muse to create my own world. It’s taken close to thirty years to get the ball rolling. In the meantime I’d have to say that every book I’ve ever read has pushed me toward committing text to screen; even the ones I didn’t like. Authors such as Jules Verne, H. G. Wells, Barbara Hambly, George Orwell, R. A. MacAvoy, Anne McCaffery, G. R. R. Martin, J. R. R. Tolkien, Terry Pratchett have also added their influence. I wrote a few short, fantasy stories based in Mercedes Lackey’s world in the 90s, but my APA, “Northwest Passages,” was sidelined by other projects.
Now according to your “About” page on your site https://jirogers-author.com/, you started working on the sci-fi series The Korpes File back in 2012. This series is set on a different planet, Tamyrh. I’ve never imagined creating an entire PLANET, let alone its various histories and cultures! Can you describe your world-building process for us?
I have a bit of experience in building worlds stemming from my time playing fantasy and sci-fi based role-playing games… Yes, I was one of those dice-rolling, graph-paper toting geeks that played in and ran campaigns through the 80s and 90s. My process could be best described as ‘organized chaos.’
Character Development: Usually, I’ll start with the character, loosely identify their physical and personality characteristics, and then I’ll interview them to learn more. After a couple of paragraphs, I have more of an idea of who they are and how they fit in the world. I’ve found that the characters themselves reveal a fragment of ‘foundation’ information or a core element fairly early on. Things like ‘bullied,’ ‘has integrity,’ and ‘chronic tease’ are just a few of the things that have emerged. From there, I let them flesh themselves out as I write. I’m still learning things about Nash and the other inhabitants of my world. I have found a few photographs that are close to how I visualize the different racial groups of Tamyrh, but none that define the characters. I’m planning to release a sketchbook in 2020 with my vision of what everyone looks like.
World Development: I’m continually finding visual inspirations in our world that I can shape to place in mine, as my Pinterest account can attest. Other aspects, the alien ones, have lurked in my subconscious for decades.
The protagonist in The Korpes File, Nash Korpes, sounds like a fascinating character, burdened with history he didn’t ask for and facing an entire society down in his own “private war,” as you put it. Would you say Nash first appeared to you as a complete person or did you piece his character together over time?
Nash’s ‘Sarcastic voice’ revealed itself first, the rest followed. To be completely honest I’m still learning things about him, and I’m almost done the draft of book three.
You have a little disclaimer on your Korpes series’ web page that the stories contain some serious themes, such as genocide and racism. Were these themes you felt compelled to address via your story, or did your characters seem to guide you into these topics and address them their own way?
All the themes addressed were things that happened organically. There are six distinct humanoid groups on Tamyrh, and one uniquely alien. I had a vague idea of the physical and racial characteristics involved, and as I created the environments (cities, countries, and cultures), they suggested other, human-relatable traits and issues. An excellent example of this subconscious creation would be I knew the Korlo were xenophobes. It wasn’t until I discovered they had never fought a major war on their own soil, they had a small population, and their culture was highly class oriented that I understood why they responded negatively to the Diasporan (refugee) influx. Another example: I didn’t know one of the main characters was gay until he started hitting on another character in a bar scene. Some of the storyline has been on the loom for over thirty years, and the Muse is good at picking up stray threads.
As a fellow series writer, I have to admit that fatigue does occasionally set in—my brain keeps thinking on other projects, and if I don’t let my fingers at least get a few things down my creativity goes haywire. The timeline for your series looks pretty extensive, so I can’t help but ask how you stay dedicated to a single series for so long without going nuts.
HA! I am nuts, just ask anyone who knows me. It helps that as I’m writing, I’ll write scenes or chapters in the future or past (other books). I have at least four or five projects going at once, so if I tire of one, I can keep momentum and interest going by working on another… or stepping out of the office and down to the studio and doing some art. There are also movie nights. When my hubby and I merged households, our book and movie collections threatened to form a singularity. To appease the various gods of chaos, we watch a movie every couple of days.
On the flip side of building an entire world, you also do the “Six-Word Story Challenge,” telling scenes not only with six words but with a unique image in the background. Now I know you’ve been doing this for at least a year, even creating these six-word stories with alphabetized theme words. I believe you’ve had an exhibit for these pieces of storytelling art, correct? How on Tamyrh did you get into this unique vein, and how would you say it powers your creativity?
“Six-Word Story Challenges” are great little warm-up exercises. Sometimes they’ll lead to a much longer scene, and other times, they’re the perfect summation (I’ve even hidden a few in the books). The art exhibition was more of a happy coincidence. A friend and I were going to do a joint exhibit and then she had to withdraw due to poor health. The show was scaled back (I had to omit pieces that were designed for a larger space) and come up with something that could fill the void. I opted to have my show become interactive by encouraging people to look at the art (paintings, sculpture, and prints), then write a six-word story about their experience. I had about forty responses, half of which were genuine attempts. The other half were by someone who liked noodles.
I think it’s safe to say all writers have their own writing Kryptonite. Mine’s that dreaded phone call from the school principal—kills my creativity in a heartbeat. What’s your writing Kryptonite?
I lived in East Africa when
I was growing up. A Cheetah has to eat its kill soon after it’s brought down;
they don’t eat carrion unless the situation is dire. In the past, tour buses would
come in close so the tourii could get better shots, the noise would scare the
kitty off, and the poor thing would have to go and find another gazelle to run
down. This was a problem because of the enormous amount of energy they expend
in the chase. After being run off a third time, some were too weak to make
another try and actually died.
Laws were passed to prevent the tour companies from harassing the wildlife.
When my hubby closes the door to his office, he’s busy. When I close the door
to my office, it means I’m writing. If I’m pulled out of my groove to do
something that didn’t really need me to do it I’ll get peevish and make snarly
noises. If it happens three times in a row, I’ll try to eat the tourist.
You are an AMAZING supporter of fellow indie authors in the blogging community as well as on social media. What advice would you give newbie writers as they work on building their own author platforms?
Why thank you! 😀 My advice is to share posts, create engaging content, leave reviews, be positive without looking for immediate evidence of karmic return. In other words, treat people the way you’d like to be treated. Ultimately, it might even lead to Jean Lee inviting you to appear as an interviewee on her awesome blog.
Aaaaw, shucks. 🙂
What would you say are common traps for aspiring writers, and how would you suggest avoiding them?
1. Don’t edit as you write, only edit after you have the first draft done. 2. Schedule your time on social media like it’s a job. Have a reason to be there and a time when you log off. 3. Take breaks, stretch, and remember to go outside and play with your friends. 4. Drink more water. 5. Remember to sleep.
Do I do all of these things? No, but I’m aspiring.
What would you consider to be the most problematic practice in the publishing industry, and how would you try to change it?
I’ve never been a fan of politics, and it seems to be a constant in any field, creative or not. I would love to win something like a Hugo or a Nebula Award at some point before I die, but the former has become highly political from all accounts, and I’m not traditionally published in the case of the latter. I’m not holding out much hope. How would I change that? It’s out of my power. However, if you can’t bring about big changes, change something in your own neighborhood, right? There are a lot of indie publishers who embody positive energy and support their fellow authors; actions like theirs make everyone stronger. Model the behavior you wish to see, be the person you want to encounter and boost the worthy folks you meet. Pay it forward.
Oh! Tell us about your current project(s), please!
I’m currently working on books three through six of “The Korpes File Series,” painting the cowling on my Vino scooter before I put it back on the road, finishing up some WAY overdue art commissions, and creating a character sketchbook for my patrons (that’s due out in 2020).
Stay tuned for yet another lovely indie author interview next week–in fact, I’ve actually gotten requested by more authors to interview them, soooooo this interview-a-thon may very well spill into May. We shall see!
In the meantime, here are links to my novel and FREE fiction, juuuuuuust in case you haven’t checked them out yet, wink wink nudge nudge say no more. 😉
Purity tests are the tools of fanatics, and the quest for purity ultimately becomes indistinguishable from the quest for power.
Jennifer Senior, “Teen Fiction and the Perils of Cancel Culture”
There is a darkness creeping along the edges of Twitter. Like the Nothing from Neverending Story, it haunts authors with hushed whispers until it moves in swiftly with a power unmatched by any other.
It is the Cancel Culture.
I had not heard of cancel culture until last month, when debut YA author Kosoko Jackson pulled his book from publication because he was accused of being insensitive to the Muslim community. You can read the account here. Like article writer Jennifer Senior says, there’s a strong sense of irony that this YA author pulls his book after he and others demanded YA author Amélie Wen Zhao pull her book due to evoking “an offensive analogy to American slavery.” Click here for that article. (Oh, and here’s another article I found while editing this post that mentions yet another YA book mobbed by cancel culture.) This issue’s grown to such a point that PENAmerica recently held a panel featuring a diverse array of writers and critics to discuss the matter–click here for that, as it’s a thought-provoking read.
Whether you wade through all the articles or not, I really want you to see the quote from Jackson that speaks to this stormy state of YA Literature:
What Jackson’s case really demonstrates is just how narrow and untenable the rules for writing Y.A. literature are. In a tweet last May, Jackson himself more or less articulated them: “Stories about the civil rights movement should be written by black people. Stories of suffrage should be written by women. Ergo, stories about boys during life-changing times, like the AIDS epidemic, should be written by gay men. Why is this so hard to get?”
On the one hand, I LOVE the idea of bringing all the voices from all the walks of life onto the page. No one’s voice is worth less than another.
But while the cancel culture and purists may say they are fighting for diversity, their words come off more as calls for segregation.
Case in point: American Heart by Laura Moriarity. Initially her book was awarded a starred review from Kirkus…until cancel culture called for otherwise. Not only did Kirkus pull its star, it completely altered the review.Click here for a comparison of the two reviews.The New Yorker even did an editorial on “problematic” book reviews, (click here for that) and I think writer Ian Nolan’s conclusion on criticism is worth noting here:
…criticism exists in different flavors, but its defining feature is an individualism of response. That response can be wise or unwise, popular or unpopular. A reviewer can squander authority by seeming too often at odds with good judgment. But, without critical autonomy, the enterprise falls apart. The only reason to hire a critic, instead of giving a megaphone to the crowd, is that creative work—books most of all—isn’t processed as a collective. People make sense of art as individuals, and their experiences of the work differ individually, too. A reviewer speaks for somebody, even if he or she doesn’t speak for you.
Ian Nolan, “Kirkus Reviews and the Plight of the “Problematic” Book Review
I am a white woman born of two white parents in the Midwest. My parents both worked for protestant churches, and together barely made enough to make ends meet. Frugality was the name of the game no matter where we lived, be it a small farming town up north, or deep in Milwaukee’s North Side.
My father was born and raised in Milwaukee in a tumultuous time. White flight, housing discrimination, police brutality, and the Civil Rights movement all boiled over to overwhelm the inner city and scald it with the Milwaukee Riots. I can’t imagine how this affected my dad, seeing the death, the pain, the hundreds upon hundreds arrested in a war for equality. Maybe taking that Call to serve his childhood church in Milwaukee is answer enough.
I think Dad saw this and remembered the prejudice and anger that had poisoned his town so deeply in the 1960s. It would explain what he did next.
Juneteenth Day comes every 19th of June to celebrate the emancipation of slaves in 1865 in the last “holdout” state (Texas) after the Civil War. Dad reorganized the church’s annual outdoor picnic to be held in June as close to the 19th as he could get. He invited a gospel choir directed by a friend of his in a church from Milwaukee’s East Side, another struggling area. Then he reached out to the congregation’s few young members to form groups for canvassing the neighborhood, leaving flyers of invitation to the church’s outdoor service. With a mixture of words from the Bible and Civil Rights activists, Dad preached a message of Love, Equality, Justice, and Hope.
If I am to take this cancel culture to heart, then my father should not have worked to heal the old neighborhood. He was a middle-aged white man; therefore, he cannot possibly connect with those of a different color. He should have kept with his own kind. We should all only keep to our own kinds.
Have we forgotten what it means to look beyond ourselves?
Have we forgotten what it means to have empathy?
em·pa·thy [ˈempəTHē] NOUN the ability to understand and share the feelings of another.
Why must my body define my voice?
Stories have a power completely, utterly unique: they can take a person born in one body, and transplant them into another. That body could be living three hundred years ago on the other side of the world, or three hundred years into the future buried deep beneath the earth, or even three thousand universes away. When we take the age-old writing lesson of “write what you know” and give it the Orwellian twist of “write only what you know,” we limit that power severely, dangerously.
When we limit that power, we limit our ability to empathize with one another. We lose our ability to connect with those beyond ourselves. We begin to turn away from the wealth of a diverse world, and huddle with our own kind.
Do not let others take your power away. There are countless worlds inside of you, filled with people of all cultures and creeds. You have every right to bring those people to the page.
No voice should be fettered by the body it’s born in.
I’m still pretty wound up about this, so if you feel like talking, add your comments below! If you’re new to my site, welcome! You are welcome to sign up for my newsletter, check out my freeshort stories, or pick up my first novel, which is free on Kindle Unlimited. Thanks for coming by!
For me, at least yesterday, it came as a question.
“Where do you see yourself in five years?”
Innocent enough question, right? Routine interview question from the panel, right?
Yet there I sat before the faculty, tears welling in my eyes.
I apologize for my reaction. I understand the question. It just calls me back to…well, I should be honest. It calls me back to when my children were infants and I suffered postpartum depression.
Very, very bad postpartum depression.
I would tell myself over and over that all would be better in five years.
In five years, when the kids were out of colic and not fighting so fiercely, all would be better.
And here I am these days, telling myself that in five years, when my sons are older, things will be better…
In regards to the University, I like it here. I want to continue teaching here, whether it’s full time or part time.
I want to help our students succeed because I know how hard it is for them because I’ve lived that insane balance of raising a family, caring for loved ones, and maintaining a job.
I want to make our curriculum meet our students’ needs because so many just don’t see how important writing is to their success.
I want to help them learn that, see that, for the next five years and farther.
So that should sum up how the interview went this week. I didn’t have many professional, verbose, academic answers for them.
Just a lot of heart.
Maybe that’s enough. Maybe not. No matter what, I’ve done my best and will continue to do my best. With the love of my family and dear friends like you, I won’t stop running with the wind, leaping as a wild child, never quite grown up, never quite done learning. And always ready to share that magic with others.
In the meantime, Bo’s ready to pour a glass of wine for me tonight because dammit, it’s been a long week, and I’ve already cheated the Whole30 code anyway.
Thank you for sticking it out with me, my friends. x
Oh! I finally got my newsletter out this afternoon, including a sneak peek at Fallen Princeborn: Chosen.Check it out!
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.
I Lang hae thought, my youthfu' friend, A something to have sent you, Tho' it should serve nae ither end Than just a kind memento: But how the subject-theme may gang, Let time and chance determine; Perhaps it may turn out a sang: Perhaps turn out a sermon. - Robert Burns