Hello hello, lovely readers & writers both! This week I’d like to introduce you to the fantastic C.L. Schneider, writer of mystery and mayhem in worlds of fire and adventure.Born in a small Kansas town on the Missouri river, she penned her first novel at age sixteen on a typewriter in her parent’s living room. She currently resides in New York’s scenic Hudson Valley with her husband and two sons.
Today on Jean Lee’s World, she’s got two thrilling series and lots of awesome input to share on writing. I also picked her brain on balancing parenthood and the author life, because I need all the help I can get!
Let’s talk first about your kickin’ Nite Fire series.You do a lovely job blending mystery and fantasy in the urban environment. What did you find to be the most challenging about blending the genres?
Actually, I didn’t think about trying to blend the two. The
mystery aspect developed organically as the characters and plot came together.
What I really found challenging was (after spending years in the world I
created for The Crown of Stones), I was suddenly working with modern, real-life
elements, locations, and situations. The series is set in a fictional city, so
I knew I had a tiny bit of leeway. But I was specifically concerned about police
procedures, as well as the forensic and arson portions of Dahlia’s
investigations. I did a fair amount of research, but I’m lucky to have someone on
my beta reading team who’s in law enforcement. He’s only a text away, and I’m
very grateful for his input.
Oh how cool! I wouldn’t mind having an herbalist in my pocket for my Fallen Princeborn series, not to mention a baker…or, well, I could try and actually bake better.
Ahem. Where was I? Oh! Dahlia Nite is quite the spitfire of a heroine (pun intended, hee hee!). I love her drive to fight and protect the weaker races like we poor humans. Now I see you write the Nite Fire books from her perspective. Can you describe the logic of your choice to write in first person for this series as opposed to third person omniscient?
I never considered writing Nite Fire in third person. While I do write in third, first person has always been my preferred way to write (and read). it’s the most natural to me. It allows me to step into my character’s mind and connect more deeply with them. My hope is that it will do the same thing for my readers, giving them a personal, intense connection to the character and the story.
I won’t ask you to share any spoilers from Smoke and Mirrors, the third volume in the Nite Fire series, but I will ask if we’re to have as much murder and mayhem as we have in the previous books!
Oh, definitely! The “murder” portion is a bit of a different
flavor this time, though. Instead of individual human victims, as in the past
two books, someone is dumping dismembered body parts around Sentinel City. To
make matters worse, most of the dissected parts aren’t human, and they’re too mismatched
to put together a complete body. As Dahlia and Creed search for the killer (and
the missing pieces), the mayhem unfolds 😊
I can’t wait for Smoke and Mirrors’ release! At least we can read Crown of Stones in the meantime. Now in THAT series, your primary character is a male. As a female writer, how did you put yourself into a male character’s mind?
It’s funny. I’ve had men ask me how (being a woman) I wrote
the character of Ian Troy so well. And I always tell them the same thing; I
have no idea! Lol. There was no prep. I
didn’t think about Troy being male (or female). The story evolved entirely from
the creation of his character, so I knew him very well before I even started
writing. That’s the key: knowing your character inside and out. It’s crucial
for writing any character, regardless of gender. I lived and breathed Ian for a
while before I even started writing the first book. It was a level of
familiarity that made it easier to put myself into his mind. I saw myself as
him, experienced the story through his eyes, words, and actions. His gender
didn’t matter to me. Just how best to tell his story.
In fact, I’d written Ian for so long, when I started Nite
Fire, I was worried about writing from a woman’s perspective. But by creating
her first (and letting the story develop from her), I had Dahlia as clear in my
head as Ian was. And the rest fell into place.
I have such trouble with working on names in fantasy: when to use a name that sounds familiar vs. creating a name vs. utilizing another culture’s names. How on earth do you choose what kinds of names to use, especially in the universe you built for Crown of Stones?
I don’t enjoy stories where every other name is impossible
to pronounce. I’ve picked up a book and put it back on the shelf simply for
that reason. If I can’t get through the blurb on the back because I can’t
pronounce the places or names, I’m not reading it. I want to enjoy my reading
experience, not stress over it! At the same time, I like unique names. So I try
to have a balance, based entirely on what
I’m naming. To me, certain characters or places scream to have a different
sound or a hard sound versus soft. Sometimes, I look at names from other
cultures. Sometimes, I take a name and mash it with another or switch up the
spelling. Mostly, though, I think about the qualities of the characters I’m
Are they vicious, kind, brave, intelligent? What traits or abilities stand out about them?
Are they a pompous king, a “what you see is what you get” type of person, a
wise woman, or a hardened warrior? Where do they come from? What are their
people like? If I’m trying to name a place, what are the conditions and terrain
like? To put it simply, I look at specific qualities and try to create a name or
a sound that best represents those qualities.
You’re an extremely active indie author who attends conventions and books signings, which can terrify the new author such as myself. What benefits do you see from attending conventions and signings? How can an author brace himself/herself for the in-person appearance?
I love in-person events! Conventions and signings are great
ways to form a connection with potential readers. You can convey so much about
your work with a casual in-person chat that goes beyond a tweet or trading
messages online. If the interaction is
memorable, hopefully it will encourage them to tell someone else about your
work. And there’s nothing better than a repeat customer seeking you out at a
convention to tell you how much they loved your book!
As far as preparing goes, the best way to is to know your
material. Since it’s your book, that’s the easy part! Be sure to have a few
short hooks to reel people in when they stop and ask what the story is about. Anticipate questions and practice ahead of
time. If you’re nervous, say so. The people coming to your table want to meet
real you. Most importantly, smile and have fun. If you’re sitting there looking
miserable, people will walk on by. Be friendly. Offer a giveaway and have a
nice, eye-catching presentation to draw them to your table.
Awesome tips, thanks! Now I gotta ask you about family stuff, because your bio mentions two sons, and *I* have two sons who pull me every which way aaaaaaaall day. How do you balance writing and parenting? I’m always looking for new strategies!
Well, it’s a little bit easier now that they’re older (16
and 12). Though they do stay up and watch TV with me now, so I’ve lost that
time at night to write. But it was definitely harder when they were little. I
had to sneak my writing in whenever I could. I brought a notebook with me to
soccer games and swim lessons. I stayed up ridiculously late or wrote when they
were napping. I used to bring the laptop
into the kitchen, so I could stir dinner, type a few minutes, then stir again. Okay,
I still do that. Lol. But I spent a lot of years “stealing” minutes at a time.
Looking back now, though it would have been much easier, I’m
glad I didn’t put my writing aside until they were older. Instead, I fought every
day to fit in a few sentences or paragraphs, or (if I was lucky) a couple of
pages. There was no prep, no process for getting in the zone. I took what time I
could get, when I could get it. It was frustrating then, but it forced me to
learn how to fall in and out of a story at a moment’s notice, which has proven
to be an invaluable tool.
Any other closing words of encouragement to help your fellow writers through the rough days?
I think a lot of new writers feel they have to write linear,
but that’s not true. If you’re having trouble visualizing a scene, don’t
stress. Leave it and move onto one that’s clear in your head. When I’m
drafting, I rarely write linear. I jump around, writing the chapters or scenes
that are most vivid in my mind. Then I go back, write what goes in between, and
“marry” them together. I can always fix any changes or inconsistencies in
In short: getting down what I’m visualizing best—emptying
my head of what’s rattling around in there—frees up my imagination to
concentrate on the scene(s) I’m less sure about. Many times, it will spark a new
subplot or characters idea that I hadn’t thought of before. Writing out of
order might not work for everyone, but it keeps me writing versus staring at
Thank you so much for your time, my friend! You truly rock the indie house.
C.L. Schneider can be found in all sorts of places!
“Why isn’t Huck Finn’s dad nice to him?” Blondie asks from behind her beloved stuffed dog Sledgehammer.
Bo closed The
Adventures of Huckleberry Finn and stared at the cover a good long moment
before answering. “Some parents are not that nice, kiddo,” he says, and goes on
to talk a bit about alcohol addiction.
I came in after her prayers as I always do to give her a hug
and kiss goodnight. “I hope Huck gets away soon,” she says.
“He can’t have any adventures if he doesn’t.”
Blondie nods, then brightens. “I can’t wait until my
So it goes when talking to an almost-nine-year-old: from horrifying parents to birthday celebrations in the blink of a beautiful eye.
It struck me, then, how few stories I read during my own childhood that contained positive parent figures. There’s no parents in the Chronicles of Narnia that I recall. Ramona Quimby had a mom, I think…but she wasn’t a major character, or at the very least, memorable. Fairy tale parents are usually evil or inconsequential. Babysitter Club books are usually about girls solving their own problems without parental help (why else would a babysitter be around?). I don’t recall Nancy Drew having extensive scenes with her folks. Few of the detective novels I read had much of anything to do with family, come to think, unless you count Sherlock’s brother Mycroft. But that’s a brother, not a parent, and he only shows up twice.
Huh. No wonder Blondie’s reaction to Huck Finn sticks with me still: I didn’t have that kind of exposure to the Nasty Parent at her age. Even the evil stepmom of Cinderella doesn’t go on drunk binges and whip Cinderella with a belt. Huck Finn’s dad is nasty. Scary-nasty. The sort of nasty that’s talked about on the news or in a television series, not a kid’s book.
Now why am I going off like this? Because here in the U.S. Mother’s Day approaches, and I want to celebrate the positive parent characters in children’s literature. Seriously, they exist! Like…um…oh! Ray Bradbury created a loving relationship between father and son inSomething Wicked This Way Comes. Even Diana Wynne Jones, who had a miserable relationship with her own parents, could still create some flawed yet very loving parents in books like Archer’s Goonand The Ogre Downstairs.
Today, I’d like to look at one of the strongest moms in fantasy fiction, a widow with four young children, one of whom’s gravely ill.
I am, of course, talking about Mrs. Frisby.
Or Brisby, if you knew her by the Don Bluth film like I did.
With all due respect to Robert C. O’Brien, the book moves with a much…quieter, calmer pace, I’ll say, than the Bluth film.
And, well, let’s face it: O’Brien doesn’t have any electro-magic wielded by rats voiced by the majestic Sir Derek Jacobi, let alone a soundtrack composed by the ever-wonderful James Horner.
Bluth’s version of Mrs. Brisby is a widow just like the Mrs. Frisby of the book, and both versions do have four children and one suffering from pneumonia. But unlike Mrs. Frisby of the book, Mrs. Brisby is constantly facing certain death in order to protect her kids. From standing in the bones of other mice to speak with the Great Owl…
…to running under the farmer wife’s feet in order to sedate Dragon, the barn cat that KILLED HER HUSBAND, Mrs. Brisby puts her life on the line time and again for her family. I can still remember the terror racing through my little-kid heart when the giant rat guard tries to electrocute Mrs. Brisby at the gate into the rose bush…
…or when the Brisby home begins sinking in the mud and all the kids inside are gasping for air.
But because I felt the terror then, and saw this little mommy mouse defy her fears to run into a moving tractor to disable it while the ceiling started to cave in around her sick son, because I felt the panic in her pulling rope after rope around her sinking house to keep her children from drowning—because I felt all the fear Mrs. Brisby experienced, the courage she also displayed resonated with me very, very deeply; it resonates with me still, thirty years later. In a story of mice and electro-magic rats, I saw motherhood in its purest form:
Love, fearless and boundless, strong and eternal.
May our own hands brave the fire to protect those who matter most.
What positive parent characters appear in your favorite stories? Please share so I can give Blondie something to look forward to…
I’ll be the first to admit the moms of my own fiction are, shall we say, some nasty pieces of work. Scope out my novel and free short stories on Amazon and on this site to find out more.
My name is Christopher Lee and I am the author of Westward, a Channillo exclusive serial release occult fantasy that blends X-Files and the Magnificent Seven.
What made you choose publishing your work as a serial as opposed to a collection/novel?
DAN: I have collections with my publisher GenZ, Lapping Water, Humbled Wise Men Christmas Haikus, and Home other places I’ve yet to see. Channillo has been a good place for projects of mine that I view as smaller endeavors.
CHRIS: For one I love to write as if my story were being presented as a TV show, each chapter I write feels like an episode of a show to me, so it made sense to present it this way. The format of serial publication allows me to work on my story at the same time as I get feedback from readers on previous chapters, etc which in turn helps make the story better down the road.
What benefits have arisen with plot, character development, and/or voice as you write a serial?
DAN: It’s fun to write these poem-letters in “Weathergirl.” I call it soap opera poetry.
CHRIS: It takes a huge load off of the authorś shoulder to know that they don’t have to crank out a huge manuscript in order for readers to access their work. There is a flexibility that I mentioned before that allows the writer to breath, take a step back, and then return to the keyboard recharged and excited to write the next chapter of the story, not to mention it keeps the readers hungry for more.
I concur about that load being shirked off! However, I know one problem I have when posting my own Young Adult Fantasy MIDDLER’S PRIDE is publishing on time.
What challenges have you faced writing serials?
CHRIS: Honestly, I have not faced any, save that classic HIT THE DEADLINE. When I began to write Westward, I had a fully developed story arc with complete show/chapter ideas. This allows me to simply sit down and write the next installment, whereas had I not done so I might have run into an issue of keeping the story straight, so to speak. Ultimately it is all about consistency when running a serial. You need to market it consistently and produce the content on time so that your readers know they can count on you. After all, there is nothing worse than investing time as a reader in a story that dead ends.
DAN: Letters to the Weathergirl is about a man writing to a news anchor and the reader doesn’t know if he is a deranged fan, or a fan, or her actual lover and I haven’t had any problems developing that. I’m very fortunate.
Now while I myself have never published any poetry, I find it a pleasure to read! It seems to fit well with the serial form. Because I’ve written Middler with the serial publishing platform in mind, I find myself constantly looking for little arcs or episodes to write within the larger novel-arc. How do you feel your writing and/or genre’s been affected by publishing it in a serialized form?
DAN: Letters to the Weathergirl is weekly so when holidays turn up I like writing themed segments. The arrows on the clock are pointing at me was like a fun dumping ground for unpublished poems and I hope to maybe start another series like that. Venus Fly Trap kept my haiku skills sharp and Little Silver Microphone explores recordings both home and live.
CHRIS: I primarily write in the fantasy genre, which I believe is aided by the format. Fantasy in some ways suffers from the drudgery of 600+ page novels that remain inaccessible to the general public at large. Many consumers of media want smaller bites that they can digest while they ride the bus, an Uber, or just before bed, etc. Just look at Netflix and the advent of binge watching or in this case binge reading.
What do you think draws readers to read serial (non)fiction?
CHRIS: Accessibility and consistent content creation are the two major things for me. One that readers can have an a la carte or buffet experience with different genres, authors, and styles. Two is that there isn’t a huge delay between content dumps from the authors, its the exact opposite of the George R.R. Martin effect, for example waiting for years for a conclusion to the story you as the reader have invested time in.
Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments? DAN: Yes, I do. I’ve gotten great feedback that has meant a lot to me. Sometimes I post quotes about my series on the work’s homepage.
CHRIS: If I am being honest, I have not received much in the way of comments via the Channillo platform, but I have been contacted via Twitter, Facebook, and email from readers who have given me some of the most constructive feedback I have gotten to date. It is a really cool experience to have that level of connection with the reader. Usually what I do with said commentary is to implement whatever makes the most sense to the story, all while keeping the core message of the reader close to heart.
What advice do you have for fellow writers who want to give serialization a go?
CHRIS: First and foremost you need to have a fully developed story before you kick the thing off. If you don’t have that, then you run the risk of hitting a dead end that could cause you massive problems. Ultimately a plan will save your booty if you get in a pinch.
DAN: Make sure you do your installments on time with interesting material to help build an audience.
I found this quote published inThe Washington Postback in 2015, and I’d like you to comment on it:
Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity. –Hillary Kelly, “Bring Back the Serialized Novel”
CHRIS: Kelly makes a great point, though the critics of serialization see it as low art or cheap in quality, I find the process to be far more rigorous. You can simply slap crap together and throw it at the wall and hope that it sticks. In fact, you have to take even more time to craft a tight narrative, then you would in the case of a novel. To run a successful serial you have to keep your readers hooked. In the traditional method, example a fully fledged novel, once they buy your book, the transaction is largely done, you have the readers money, whether or not they come back for subsequent books is altogether another animal. With a serial, you have the flexibility that you don´t have in the traditional sense, and that is the true strength of serialization.
Thanks so much for sharing your thoughts, guys, and good luck building those Channillo stories! You’re reminding me I need to update what’s going on with Meredydd…
In the meantime, check out these authors and other amazing folks at Channillo. You can scope out their amazing store of stories FREE for thirty days. Who knows? Maybe you’d like to write for them, too!
Greetings, one and all! While I run around a massive education conference for my university, please enjoy this lovely chat I had with Indie Fantasy Author Marsha A. Moore.
What was an early experience where you learned that language had power?
As a child, instead of having a bedtime story read to me, my father prompted me to create oral stories with him. Together over a few years, we conjured a series of fantasy tales called The Land of Wickee Wackee. Our characters and sub-plots interwove. Nothing was more exciting than creating new stories in that make-believe world! Bedtime was amazing!
Have you read anything that made you think differently about fiction?
Natasha Mostert’s Season of the Witch changed how I view my role as an author of fantasy fiction. In her book, magic causes mental effects for both the giver and receiver. I find the complexity of that sort of magical system riveting, something I strive for in my own work.
It’s so cool to find a story that pushes us to think beyond how we’ve previously built our worlds. That kind of care surely takes time. Unfortunately, we don’t always see this kind of care in books currently published by indie writers, do we?
have a growing dislike for the indie practice of pushing books out so fast that
quality is sacrificed. The trend worsens each year. Books are produced that
lack originality and depth, and writers burn out and then teach their
methodology for “success” only because they were unable to maintain the arduous
pace long term. Art requires reflection.
Indeed! It took me eight years of writing, revision, reflection, and more writing to make my own first novel worthy of publication. What is the most difficult part of your artistic process?
Picking up writing a particular story after I’ve left it for a while and it’s gone cold, absent from my daily thoughts. That is a beast I definitely dread tackling.
I’d love to hear more about your series, The Coon Hollow Coven Tales. What inspired you to bring witches and magic to the Midwestern setting?
My series, Coon Hollow Coven Tales, is set in my version of a real place near where I lived in southern Indiana as a child. With its rolling forested ravines and artist residences tucked away in sleepy, rustic log and limestone cabins, the place captured my imagination and never let go.
place is Nashville, Indiana, which lies south of Bloomington. In fact, all of
Brown County and its rolling hills inspires this series.
unusual tiny town in the county, Story, Indiana, is now privately owned and run
as a small bed and breakfast resort. It’s a living fairy tale! And some of the
buildings are haunted! The Blue Lady lives in the rooms above the
inn/restaurant/old general store. If you get a chance to visit, you must!
In Witch’s Mystic Woods, I adapted that little village, renamed it “Fable” and gave it to my Summer Fae King and his faeries to run. In the book, I needed a location to throw a Winter Solstice party. Who else would be better party hosts than fae? So the inn of Fable opened its doors to the witches of Coon Hollow Coven for a memorable night.
The books in my Coon Hollow Coven Tales series are rich with a warm Hoosier down-home feel as well as mysterious magic that lurks in the ravines of those deep woods.
Did Coon Hollow Coven Tales require lots of research? I can’t help but imagine so, considering the subject matter.
Writing Coon Hollow Coven Tales has given me a terrific reason to spend inordinate amounts of time researching all kinds of witchcraft, from group to solitary practices, green witchcraft, wiccan work compared to paganism, Cherokee shamanism (for Witch’s Windsong), and even necromancy (the raising of the dead, for Witch’s Cursed Cabin).
But the most interesting witchcraft I learned about was that of a Hedge Witch, an old, old practice. It relies upon communication with the world of faeries going through the “hedge” or “veil” into their realm. These Hedge Witches are the true-life, Appalachian granny witches, also knowns as “root doctors” or “wildwood mystics.” Their skills riveted me and became the background for my book Blood Ice & Oak Moon. During the past year, I’ve begun a new series, a YA alternate reality/historic fantasy. The series is set in the year 2,355 in what was once the United States, well past an apocalypse that occurred at the end of the Civil War. I’ve done considerate research about the Civil War and how different areas of the country were affected. One of my best references for small things, which books or YouTube cannot convey, has been one of my former high school students who has been an avid 18th and 19th century reenactor for decades. I treasure her advice!
As a writer, what would you choose as your spirit animal?
In preparing to write Witch’s Windsong, the most recent in my Coon Hollow Coven Tales, I studied with a local shaman. My main character, Keir, is a shaman, and I wanted to portray his work accurately. The local shaman taught me how to journey into the different realms and helped me locate and meet my spirit animal, the Coyote, who often teaches me valuable lessons.
The Coyote helps in with my general outlook, including my
writing, always poking at me to take time to “play” with my creative process.
When I listen, the process becomes hugely more rewarding, as much or more than
achieving the final outcome.
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 short stories, juuuuuuust in case you haven’t checked them out yet, wink wink nudge nudge say no more. 😉
Helloooooo, my lovely folks! While I vanquish the mountain of term papers and attempt to discover new territory in Camp NaNoWriMo,I want to treat you all to a month of interviews with amazing indie authors. As April is also Poetry Month, it is only fitting to begin with the one, the only, Master Mike Steeden. x
First, Mike, why not tell us a little about yourself?
As to imparting ‘a little about myself’ it is probably for the best that such information remains left untold. Were I to continue there is a very real risk of your readers becoming consumed with the urgent desire to open a vein and end it all out of sheer tedium.All I will say is that aside from being a time-traveller…and frankly that’s not all it’s made out to be…and having shared a few beers with both Joan of Arc, a lovely gal, although lacking that certain panache on the coiffure front, and the much maligned yet a decent sort when you get to know him, Vlad the Impaler, there is little of interest to divulge.
What first inspired you to create with words?
I know many ‘words’ yet cannot spell for toffee, hence the day I discovered that Word had a ‘spellcheck’ I was inspired to have a stab at writing. To my addled mind, although irrelevant in the global plan of things, that event became my metamorphosis moment. Notwithstanding the spelling issues, possibly I should also extend my thanks to the inventers of the keyboard for I am incapable of reading my own handwriting.
You create a lush mix of poetry, prose poetry, flash fiction, and novel fiction. When does that form take shape? That is, does a story always begin a story, or does the scene you begin later transform into a poem? Your piece “The Shop that Sells Kisses” feels like it could have been a bit of flash fiction, but the rhythm of language clearly demands its rightful place among your poetry. 🙂
When fate affords me a decent ‘first line’ or a ‘title’ I’m straight on the case. Hardly ever do I know in which direction or sub-genre the words might take me. I simply leave it up to them. Some words beg to rhyme others seem to not care less what happens next. I tend to work to my disorganized version of organized and without a blind clue as to the content of what I’ve written until it feels like the finished article. Only then do I read it back. At that stage some finished pieces face the firing squad, others live to see another day. ‘Words’ are anarchistic creatures…free roaming is their way of life. Were it the case they ended up confined within the cages of Manuscript Zoo they would commit hara-kiri. In life I cannot, as the old London saying goes, ‘Organize a piss up at a brewery’ and likewise when writing I’ve never been capable of successfully structuring a coherent plan. Quite the opposite as I live in constant fear of preordained rules. Free-thinking never submits to precedent’s ineptitude.
Something I’ve always wanted to ask a poet pertains to line breaks. “The Longest Night” has both fluid lines, long and winding, as well as stark lines of extreme brevity. How do you decide where lines should be broken?
As I alluded to previously, the words make decisions for me. I have no say in the matter. It is akin to being in a maze wearing just a blindfold and socks. I’ve never claimed to be a poet. ‘Almost poetry’ is the name I coined for my genre. The words decide the line breaks amongst themselves. Rarely do they argue with one another. A democracy of syllables? Possibly. Some words are shy and want to hold hands together, others prefer the hustle and bustle of the cityscape on a summers night. Given that rules bore me rigid I am grateful to the wantonly pliable words for making life easy. In terms of ‘The Longest Night’, albeit written in what feels like a lifetime lost I do remember being sat outside a café watching the day go by when a group of now aging Gurkha ex-soldiers strolled by. For whatever reason the chalk on the blackboard inside my head came out with the obscure first line, ‘Forgotten tribes and luminaries outwear handicaps’. It hit me smack in the face Tysonesque punch style. I suspect that the pattern the words took was due to the quantum leaps of shifting back and forth across two time zones. Sorrowfully, the event I wrote of was concerning the stupidity of WW1. The word collective demanded the whole picture be seen even if the subject matter was in cameo; a convoluted fiction of respect.
What, according to you, is the hardest thing about writing?
By far and away the hardest thing is when, over an evening’s glass or two of something French and red I’ve welcomed in the multi-coloured immigrant words and ensured the poor things are safe and sound in the sanctuary of my laptop only to find come the morn they have mutated into a gang of shaven headed, tattooed archetypical plain white indigenous thugs. Sadly, I have to evict the unwanted and await for new arrivals.
Do you pen down revelations and ideas as you get them, right then and there?
Yes. Words are delicate things. Give them a home at the drop of a hat in the knowledge that should they not be cared for they will die young.
You’ve clearly tapped an endless vein of inspiration from WWII and the Cold War, as poems like the “The Sunshine Girl” and “She is the Ghost of Generations” show. What is it about these particular years that hold your imaginative curiosity above all others?
Twixt the end of one evil, namely WW1 and the commencement of
another…morally far, far worse than its predecessor…a new dawn would trade
peace’s bright sun-shiny new dawn for darkest storms clouds that would
hurriedly mature into the tempest that was the unremitting thunder and
lightning of WW2. Within the traditional
European battlefield a Lilliputian era of unrefined, unadulterated passion for
passion’s sake. A ‘passion’ initially
for simply ‘living life to the full’; a thing lost in the death and destruction
of what had gone before. Then, in passion’s adolescence; new artforms; adapted
old artforms; polar opposite political doctrines; deliciously sullied ‘encounters’
of any and every shape and form; writers taking bold risks like never before.
Nothing was taboo. At its centre was Paris, ‘The City of Love’, although Weimar
Berlin ran it a close second. How could
I not be drawn into such an array of talent revealed; sometimes wasted in this
Bohemian, Parisian wonderland? Oh, to be
a fly on the wall. I have said before,
even in the knowledge that by 1939 the world would once again be in conflict, I
would give my right arm to, as the poet Max Jacob said when taking up residence
in Montparnasse district of the city, “I have come to sin disgracefully.”
One must not overlook that during those years at various times
within this small quarter was home to Hemingway, F Scott Fitzgerald, Man Ray,
Picasso, Gertrude Stein, Dali, Henry Miller, Ezra Pound, Lee Miller and a whole
host of others from abroad. In the case of the many young, talented American’s
arriving, they came because they believed their ‘native land was a cultural
sink.’ Perhaps all ‘native’ lands had earned such a dull tag when compared to
Paris back then? Whatever, Ms Lee that is the reasoning behind my constant
My risqué ‘romance come espionage’ book, ‘Notoriously Naked Flames’ is themed around the events of that short-lived libertine era. Writing that book was pure joy. I think I fell in love with the albino Goddess who was my lead character and a diamond gal, to boot.
Another element of poetry that fascinates me is word choice. When you write poems like “The Passing of a Myth,” do you first concentrate on creating the visuals within the poem, or are you first dedicated to building the music of the line? Both are gorgeous in this poem, but I can’t fathom trying to work on both at once, so I’m assuming there’s a process. 🙂
There’s no process, I promise.
In truth I’d forgotten I ever wrote that one. Having just read it once again I recall that at the time a dark depression had consumed me. I’m particularly good at those. In their own clinging way they have a creative spark unique to their species. The addictive perk depression offers is that it spawns words of own volition. They may have come alive in my head yet I never feel ‘ownership’ of them. What and how I write is, as ever, at their discretion. If there is a benefit in chance visits from my old nemesis, Monsieur Chien Noir, then it is that, by way of compensation for outstaying his welcome, I often find he settles his account by way a currency born of milk and honey words that flow like there’s no tomorrow.
What advice would you like to pass on to young writers of today that is unconventional but true?
Well, this is my personal take on the subject. I’m sure many will justifiably
see it differently. I would firstly advise that nothing is sacred. You can get
away with murder when your only weapon is the written word. Never pull a punch.
It took me an age to realize that words beg to be out of their comfort zone. Let
them run feral. Also, never run ahead of yourself and believe you’re a poet or
a novelist. You’re not. I’m not. Most aren’t. To me only the greats who have
earned their stripes in that regard can lay claim to those tags. Mostly they
never find that out, as accolades tend to chase only the great and grateful dead.
Importantly, grab hold of self-doubt and make her your new best friend. She’ll never let you down. While a smidgen of self-believe is a harmless thing, never believe you’re capable of walking on the inky waters of Lake Egocentric for you will lose all respect from your peer group as well as potential readers.
If you’re writing about a city/country/culture you haven’t physically visited, how much research do you conduct before you start writing?
Albeit a contradiction given what I’ve said vis a vis ‘words’, yes I
do research. I find it chivvies the lazy words amongst the contingent along. In
many ways it’s the most enjoyable aspect. I learn shed loads of things I never
knew previously. Even with my ‘Jonny Catapult the Plumber the Artist’s All
Trust’ lunatic skits…as per my new book, ‘Fanny,
I Think of You Often’…I had to research pretty much all angles of
plumbing believe it or not…not that I shall actually or actively ‘plumb’ now
or at any time in the future unless there is a revolver fixed firmly at my
temple. Plainly, it is essential to share my research with the tribe curious ‘words’
thus giving them an idea as to where I live in hope they will travel.
‘Notoriously Naked Flames’ demanded a whole mass of painstaking research. I had to discover exactly how life was and how it looked during those years building up to WW2 in countries and cities across Europe, from Amsterdam, Mother Russia…including the Ukraine, Istanbul and Berlin, none of which I was that familiar with, although when it came to Paris and the coastal areas of Belgium I was very much on home territory. History, architecture, politics and the ways of life of both the good and the bad became key to creating a canvas upon which words could paint their picture.
Thank you so, so much for taking time to chat, Master Steeden! Let’s wrap-up with a rundown of your latest works available now on Amazon.
I’ve have already made mention of the new book, full title, ‘Fanny, I Think of You Often & Other Tales of Abject Lunacy’. It is the first of two books both of which are a deranged collection of skits, such as ‘Audrey Hepburn’s Bout of Gout’; ‘Marilyn Monroe’s Distressing Flatulence’; ‘The fate of the old grannie from Lowestoft who once upon a time inadvertently stepped upon Elvis’s blue suede shoes’ and much, much more. The sister to this tome, ‘The Elastic Snapped,’ is also available.
Another addition to the shelves at Amazon/Kindle is co-authored with Shirley Blamey. It’s name is ‘Whatever Happened To Eve?’ Eighteen months previous I commenced collecting ever willing words for this story. A third of the book complete, the new words arriving were a motley crew who failed abysmally to direct my tale toward a conclusion.
Then a stroke of good fortune. It was in September last year, having
suffered an irksome eye injury some months previous that had slowed my progress
when coaxing words, that Shirl and I took a short break in France and it was
there a story imagined over cold bière blonde in a clandestine darkest corner
of a once voguish bar in ‘Paris par la mer’ took on a new shape. Twixt the pair
of us, in concert we found ourselves acting and reacting to the seductive pulse
of mutual, sometimes deliciously wicked thoughts. No ‘what if’s’, ‘but’s’ or ‘maybe’s’ when a
dark fantasy drops out the night sky for it must, for rationalities’ sake, be
put to the written word before it is lost forever to the merciless ether. An
excited cluster of unshackled ‘words’ agreed. We were on a roll.
I have to say, come breakfast, I questioned Shirl on a number of potentially
controversial topics and storylines we had come up with that night in France.
“Can we really get away with that? Seriously?” I asked. “Molly Parkin got away
with it time and time again. Why not?,” her pokerfaced riposte. Soon after wily
‘words’ found they had two craniums to take up residence in. I tend to think
mine was just their holiday home.
130,000 or so words later we have a book we shall shortly make known
to others. Having said that…and you
are the first to know, the lovely Ms. Lee…
‘Whatever Happened To Eve?’ is, in truth, already available in both
paperback and Kindle at Amazon sites far and wide.
Lastly Ms Lee, my
thanks for the invitation, your time and patience.
Gentlemen Prefer a Pulse: Poetry with a Hint of Lunacy: Gentlemen Prefer a Pulse is Mike Steeden’s first published collection of poetry and features over a hundred poems that are sometimes humourous, serious, satirical, surreal, thought provoking and brilliant! Mike says his inspiration is drawn from his self proclaimed love of the fairer sex, his passion for ‘people watching’ (a trait born of his time as a private investigator), social justice and compassion.
Notoriously Naked Flames: Part espionage thriller, part romance, part fantasy, part adventure, ‘Notoriously Naked Flames’ is Mike Steeden’s first novel. Spanning the lead up to World War II, the war itself, and into the early 1950s, the unnamed heroine of the piece, a bewitching albino of Bohemian bent, masquerades in all manner of risqué guises dishing out her own version of clandestine justice to those evil souls spawned of conflict’s disregard for compassion, law, and order.
Fanny, I Think of You Often… Nothing is sacred. If permitted, the mind wanders free in the knowledge that anything and everything is possible. Season such a mind with a pinch of satire plus a hint of Pythonesque surrealism and the dish of ‘fusion lunacy’ is ready to be served. Within the pages of this deranged collection of skits you will discover how Audrey Hepburn dealt with a bout of gout; similarly what became of Marilyn Monroe’s false teeth; the fate of the old grannie from Lowestoft who once upon a time inadvertently stepped upon Elvis’s blue suede shoes and much, much more.
The Elastic Snapped: WARNING: This book may contain traces of nuts (not of the edible kind) and may also cause drowsiness amongst those unfamiliar with the English language. Bibliophobia sufferers may experience severe panic attacks. Additionally, it is strongly recommended that you do not drive whilst reading.INGREDIENTS: Lunacy, stupidity, silliness, idiocy, absurdity, aberration, eccentricity and fragments of appallingly bad taste.
Whatever Happened to Eve? No writer can help what he or she writes. Whether they be scandalous or sweet, dull or bright, words arrive as and when the fancy takes and evolve into whatever fable suits. With that in mind this collective of untamed words, of their own volition, chose not to be pitched at the easily offended or fainthearted, instead they opted for a captivating darkness.
A few years back, I was challenged to take on a Young Adult series featuring teenage girls endeavoring to become Shield Maidens in the fantasy land of Idana. It took about a year to complete the first installment,Middler’s Pride. Oh yeah, pride’s a big deal in that story: self-centered Meredydd has to learn stop seeing herself as a legend and work with others as a team in order to defeat a nasty dark sorcerer. (Friendship is magic, you know.) When Middler’s Pride became a serialized novel on Channillo. I began work on the next volume, Beauty’s Price.As I once blogged:
Wynne has motives wholly unlike Mer’s for joining the Shield Maidens. She is a sweet soul, a lover of nature with a desire to live life without the rules a class society dictates.
While Meredydd came from a mix of the flawed and firey heroines in Diana Wynne Jones’ fantasy novels, Wynne came from a newer love in my library: Jane Austen.
Yes, yes, I know Austen’s a classic, but I hadn’t read her until the last few years. Yes, I’m a horrible person. 🙂
The Bennets of Pride and Prejudice were a wonderful source of inspiration for Wynne’s family. They are…well. I think I’ll let Wynne describe them herself. There’s a lot to be learned of a character when one asks her to dig deep into her own home and heart. For this month’s free fiction, I’d love to share this excerpt of a long’n’lovely dialogue Narrator Me had with Wynne. She introduces us to her four sisters, the love of her life, and the rich, handsome gentleman whose arrival heralds unnerving changes to Wynne’s world.
NARRATOR ME: How would you describe yourself?
WYNNE: I would rather not, but as you are insistent, I will say I am the youngest of five sisters. My father is a merchant who deals with the caravans and artisans who live near us. My mother is also of a business, but that business is to marry my sisters and I to eligible, rich suitors.
We are all of us trained to be pleasing to the eyes and ears. Neither my mother nor my father saw need to train us in ways to be pleasing to the heart.
Your parents sound like long-term planners. Well, it can’t be easy raising five daughters, especially if they’re all like you.
Like me? My apologies, but that is a viewpoint in need of swift correction. Let us leave the kitchens and walk around the house—I avoid using the proper rooms as much as possible. Now, look over the fence as we move past the house for Traders Street. You can see my family there, in the courtyard inside the fence. My mother often instructs that it is good business to be on display, so there my sisters sit, poised for admiration. Some hours they sit so still I wonder if I live inside a tapestry woven by the gods.
Every one of them aspires to be the idyllic wife: clean, soft, and beautiful. Almedha strums a lyre. Cordelia weaves flower chains because their colors shine against her chestnut hair. Isolda prefers her needle, giving a fairy’s kiss to kerchiefs and cloaks. Morwenna strums another lyre, for she copies Almedha in all manners.
Among these four you will not find a single thought that did not first come from Mother. She dictates who sits where, for the sunlight best compliments Cordelia, while cloudy days give Isolda’s eyes a unique glow.
I must tell you, for I must tell someone lest my mouth be overwhelmed with vitriol. I find this all to be the purest of poppycock.
So, not exactly friends with your sisters.
Myself? I must say no. I am as civil as I must be, but I find the constant speak of suitors and wealth more than tiresome. What good is wealth to a man who squanders it, or even worse, hordes it from all but himself? Such men are not fit to be husbands or fathers, yet my sisters always watch the travelers for lords, chiefs, and merchants. If one has fur about his collar, he is worth a careful gaze. If one has a gold chain around his neck, he is worth a smile. If one travels with more than three servants, he is worth The Shy Drop Introduction. If one has a herald, a private cart, and a squadron of guards, he is worth The Sly Accident Introduction.
Oh, Mother has created several strategies to initiate interaction with a potential husband, and we each of us have been tested and tested late into the night to ensure their success when the time is right.
Do you have any friends around here?
Only the River Galene.
To be seen with others in town is to bring scandal and shame upon my family. I have not yet discerned how such scandal would come about, as many of the farmers and artisans have always been kind in their greetings to me in the market. They always offer compliments to my family, inquire of their health. Yet when I linger to watch the leather’s tooling, or the forge’s fire-storm, I am deeply chastised and kept in the fence for days afterward. How are such friendships scandalous? “Their hands are coarse and they live in dirt,” Mother says. “They know nothing of the finer things in life, as well they shouldn’t. But no daughter of mine’s going to know anything else, I’ll make certain of that, won’t I, Master Adwr?”
“Yes, Mistress Ffanci,” says Father, who thusly returns to his sums and calendars.
So here I must be, the fifth maiden of the set, situated upon the left with Cordelia to mirror Morwenna and Isolda, for it is Almedha’s turn in the center today. The flowers in Cordelia’s hair still sparkle with morning dew. Almedha takes lead with a new ballad filled with sweet romance. Morwenna quickly finds the harmony, but knows she is not allowed to sing louder than the eldest. Isolda hums and sews in rhythm. I hold the flute to my lips and fill it with sound, but not life. There is no life in such art.
The way you’re glaring at that fence, I’m betting you’ve found life somewhere. You did something incredible, and you found it.
What I may consider incredible could differ vastly from your consideration. You may think of heroic deeds, marches into battle and overtaking beastly fire. Sometimes the incredible comes in the little things, if you quiet yourself long enough to notice.
Consider a time many summers ago, when one is but a child, with few duties or directions. Many my age in town were considered beneath rank by my family, so I was forbidden to play with them in their fields or yards. Imagine whole days watching children immersed in adventures and warfare, and I could not take a single step among them! Such agony is what sent me north alongside the river Galene. She was my friend for many, many seasons, sharing her harmony with my songs and her whispers with those from my own heart. She encouraged me to walk beyond the town’s borders without escort or knowledge of the land, to walk northward through a dark wood where rocks the size of men peer from shadowed glens, to a new town I have never seen. I felt so very brave that day, so brave that without any word of introduction or family name, I walked up to the first child I saw and said, “What do you know about adventures?” And I did not blush despite my haggard appearance, though much of my body was dirtied with mud, petals, and sweat.
He seemed only to notice my eyes, this reed of a boy, for he never looked away when he said, “Loads.”
“Right,” I said, and I had no clue what else to say, except “Wh-what about adventures by the river Galene? Do you have them there?” My tongue loosened with the river’s name.
“Sometimes,” he said.
“Do you ever speak more than one word?” How impudent of me! Yet I found myself wanting an answer, for gods knew when my father would gallop in, hoist me up, and put me back inside the house among small chairs and stiff manners.
The boy’s smile reminded me of the Galene in winter’s thaw. “Depends.”
“Well then,” I crossed my arms as Father often did when he was declaring the finality of his offer, “let’s go.”
That may not seem very incredible to you, embarking on a game with another child. But to me, that day marked the first day I knew life instead of merely living.
Compared to sitting inside a fence on display all day, that is incredible. Would you consider this moment the turning point of your life, or is that something else?
Did I not already share this with you?
Well, I may not have shared all.
Harvest time always promises many caravans both on river and road. At this time, I was too young to be put before the eye of suitors, so my absence was never noted. I trust you to assume I took full advantage of this throughout the year, but especially every harvest.
Galene wears many crowns, if you have a care to look. In spring, she carries stars upon her head, and in summer, ribbons of light. In winter the ice thins and folds into jewelry so delicate I never dare breathe upon it.
But in fall, she moves as fire. I dipped my hands often into that crimson glow. The current felt as fingers around mine, even changing course to pull me northward.
I moved through the dark forest with people-stones. That sounds silly, I grant you, but I remember that particular day the stones looked, yes, like people: heads, necks, shoulders. Whenever sunlight cast its shadows, I felt sure I saw the markings of faces upon them.
No, I did not tarry to investigate. That was one adventure I could not bear to do alone.
No. I must not dwell on what has happened. What is done is done.
Do you wish to see the rocks? I cannot promise they will be there.
You smile at me as if I jest. No, Idana has no giants, not that I have seen. But I have never seen the ocean, either, yet I have no doubt about its presence. Nor do I doubt mountains touch the sky to the north. So it is with giants, thundering their way through lands past the river Galene. Oh, what a world there must be beyond this place! But dark and nasty things have found my country of Idana to their liking, so here they come to make tanneries filled with carcasses and animal piss, and…
You can see it, and smell it still. Look behind us now. Just past the town, to the south, there. Where Galene struggles for breath as they spill all manners of disgusting filth into her for the sake of industry.
My father is proud of that tannery. Mother, too. I am told I will grow accustomed to the smell in time. I often reply that the day I grow accustomed to the smell of piss and death is the day my soul dies.
I am told husbands aren’t looking for souls. And that is that.
Look no more to that wretched tannery. S-stay close to me, and to the river, please. Especially if we are to meet another.
Your boy, the friend? Nudge nudge?
Why do you wink at me so? Cease such actions, and pay heed to Galene, if you please.
And besides, he only comes south with his village’s weekly market cart.
You know, I get a feeling you don’t want to talk about the real turning point very much.
Oh, but I do, I do. There are simply so many turns to this point, you see. The day wound about me so tightly my soul nearly burst free of my chest, and I thought I had fallen into underworld of Hifrea.
I spoke already of the people-stones, that I did not want to look at them alone, did I not? I came to the village, and to Morthwyl–yes, the boy, the friend. My friend, my boy.
Galene had carved a small bay for herself not far from Morthwyl’s family home, where sparks shot into the air and the clangs of his father’s hammer sang while the morning clung to night’s chill. Six years, Morthwyl’s home welcomed me with this song. I grew to love the smell of woodsmoke and iron: simple industry that thrives as it both gives and takes goodness of the earth. These scents hid themselves in Morthwyl’s clothing and hair when he came down to meet me by the bay. Neither of us ever spoke in sight of the house.
In the woods along the Galene, however, Morthwyl’s lips spoke much without speaking: Never had I known someone to smile so. Some smiles promised mischief, some hope. Some a joke, with laughter eager to break through all. Some sadness. In his home, I saw no smiles, but heard many words. None ever seemed to quite translate into a pure, clear truth.
But this is not about Morthwyl’s family, not this day.
Morthwyl’s braids looked fresh, but one lock had broken free, curling round his right eye. His eyes were deep and clear, like the river.
A short walk from the shore was a patch of herbs and flowers different members of the village used. It seemed folks took turns to care for the patch as well as harvest it. Morthwyl knelt in the damp earth and cupped the bud of a tall flower. He looked up at me with such earnestness that I joined him there upon the ground. My instinct was to reach out, to hold, to care for he who had made this world sweet in spite of industry’s poison flooding the land. His cupped hands were spotted by freckles and burn marks from the forge. I studied that which he cupped in his hands. “A thistle, is it not?”
The earnestness spread to his chest, which began to flutter as though he were running. “Orpine.”
“Oh…” Mother spoke of orpines often, often promising we would plant them in our garden to divine who my sisters would marry. The three times she actually did instruct Father to purchase orpine for planting, however, one set grew straight as corn, one grew sick, and one simply died. Not one flower grew to touch another, and therefore promise marriage. Now I sat with one orpine resting upon my arm. Morthwyl released his, and it leaned forward to grace the petals’ tips in the most chaste of kisses.
Then Morthwyl’s hands blossomed with a new gift: two orpines forged of iron. They were but the length of our thumbs, woven round one another, leaves embracing, heads touching intimately.
Oh how my own heart wrapped round us in that moment! I could not breathe or speak. My soul swam through his eyes, feeling them purify me of past sorrow and bitterness. All that remained was joy so very sweet that I brought my lips to his own so that he may taste what happiness felt to me. His fingertips trembled along my cheek as his lips stayed with mine. In my heart, that moment has never ended.
But somewhere out of sight a branch snapped, pulling me away in fear. Had my father followed me at last? A horse trotted in haste, but not towards us. When a command thundered through the wood, it sounded like some lord demanding his servant. Father had no such depth or power in his commands, so I at last allowed myself to exhale and look again upon my Morthwyl.
A small smile appeared, relieved, and he placed the orpines in my hands. His own long fingers pressed a place in the stems, and I heard a small ting. The orpines came apart. One for each of us.
“Perfect,” I said. For in that moment, it was.
Oh, Wynne. No wonder it’s a turning moment.
I am not finished.
The horse whinnied such that I feared it right behind me. Morthwyl rolled into the garden and kept to his knees, hand round a weed. I uprooted the orpines and held them as children, already doomed to die in my arms. My heart cried out, but I gritted my teeth against the sorrows. No one else would know their love. Better to keep them together in their final moments than transplanted to somewhere far and alien, alone.
The horse jingled into view at full gallop. The rider pulled hard upon the belled reins, halting at garden’s edge. Beast and master shone with golden hounds embroidered upon crimson cloak and covers. Rings of red and orange gems glittered round every gloved finger. Such wealth displayed with such ease and without a single guard felt wrong, very wrong. I took one step back, eager to run, but such impudence would make me memorable, and I did not want whomever hid beneath that hood to remember me. So I curtsied, and kept my eyes to the orpines.
Morthwyl, too, bowed his head. He spoke with the quiet clarity that I knew only to come when he defended me from the insults of other lads. “My lord, the High King’s Road is far from this place. If you wish I will lead you to it.”
“That will not be necessary, boy.” The rubied hand pulled the hood aside, revealing a face that looked far too young for its voice. His beard was barely grown, and his hair, as golden as his hounds, remained tied back into a single short tail. “Merely exploring the extant of my land. But it appears I have trespassed upon your borders, this village of…”
“Little Innean, my lord.”
“Yes of course.” I could feel his gaze upon us, unrelenting as the sun in the heat of summer. If not for the horse’s content chewing, I would have screamed but to break the silence. “Pray forgive me, but I feel as if I should know you both.” He clicked his tongue, and the horse closed the distance between us. I could see every thread of his hounds, down to the points of their teeth. He had approached me, so there was no choice: I had to look up at his clean, polished face. “Perhaps my business has brought me to this town in the past. My memories are not always my own.” His smile revealed teeth white enough to be pearls.
No lord looked so perfect, not in body or status. He needed to get away, back to his land and away from this village, away from my Morthwyl. “Assuredly not, my lord,” I said. “This is but a small town of farmers and of no consequence to any of your stature.”
The rider smiled warmly as he took in my countenance, orpines and all. “A merchant such as myself trades with all walks, my lady. You, more than the boy, are far more familiar. I am now certain I have met you before.”
No, you are wrong! I wanted cry out, to leap into the Gasirad and beg sanctuary, but my mind, curse it, thought otherwise. “Perhaps you think of my sisters? They meet many who do business with my father, Master Adwr.” Surely he was thinking of them. Let him deal with their Sly Accidents before his horse, forcing him to carry them in all weak and wounded and be compelled to attend them. Let them coo and paw upon his chiseled jaw and ringed fingers. He can have their choice of them, for all I cared.
“Sisters?” He swallowed the word down. My own stomach burned. “How many?” The question came hard and fast. No smile, however warm and easy covered the odd strike that came with such a question.
And what was I to think in such a question? Yes, odd, but there surely could be no harm in it. “I am one of five sisters, my lord.”
Thank the gods for that “Sir.” I allowed myself to turn to the voice and see five large men, all clothed in crimson and golden hounds. Their hair was silver, and their features hard and angled round dull, red eyes. Yet in such mass and strength, their skin looked grey as corpses.
The one who spoke stepped forward and bowed at the waist. “Master, all corners of the border are now marked. Will trespassers be killed, or simply beheaded?”
The rider nodded along. “Yes, we’ll—what?” He cared not what Morthwyl’s reaction to such a question was, which I did see: as stalwart as oak. He would give these strangers nothing. It strengthened me to do the same. “Commander, such jests are wholly inappropriate among such intelligence…and beauty.” His rubied hand let go the reins, and opened its palm to me.
I wanted to cower. I wanted to run. I wanted to do anything, anything but place my hand in his.
But to not would mark me for punishment under his hands. And Morthwyl would not stand for such a thing without a fight, and then they would kill him. If they want to behead mere trespassers, what evils would they unleash for assault?
So I gave him my soiled hand, with my iron orpine hidden safely beneath the stalks of dying ones. His fingers closed fast and tight, and when the thumb stroked away a clump of dirt, I thought certain I would faint, or vomit, or by Galene, both. He brought his face close enough that I felt the chill of his breath, but he did not touch me with his lips. “A young beauty such as yours is to be cared for, my dear, not soiled by labor.” I curtsied to acknowledge, but said nothing. “I must speak to your father on it.”
Oh! “That is not necessary, my lord, it—”
“Tut tut, I insist. Now Commander, let us see if you’ve marked my lands clearly enough for the innocents.” He bowed as he drew his hood forward. “Until we meet again, my lady.” He rode past the five guards. Their eyes stared at us blankly for a moment, and then they turned to march silently into the trees.
Any thoughts, comments? Please share them with my thanks!
To celebrate March Magics–and because I’ve final projects to grade and two novels to crack down upon–I’m sharing a previously unposted essay I wrote a couple years back when I was compiling all my Diana Wynne Jones posts into the collection Lessons Learned. Enjoy!
In “The Heroic Ideal: A Personal Odyssey,”Diana Wynne Jones discusses the place of the mythic hero in contemporary story-telling, especially her own. This particular essay in Reflections on the Magic of Writing struck me on epiphanical proportions. (Yes, new word. Doesn’t the fantasy genre allow for some language leniency?) In all the writing classes I had taken over the years, no one had ever broken down the echoes and inspirations between the modern and ultra-classic like that before. Jones details connections between her work and Chaucer, Spenser, and Homer, to name a few. Sure, that may sound like she’s tooting her own horn, but I don’t think so. Fire and Hemlock, one of her most critically revered novels, is so subtle with the fantastic you can literally blink and miss it. For instance, the first chapter is all about the protagonist Polly trying to remember something. Sounds dull, doesn’t it? Yet as we go further into the story, we learn Polly is fighting through the memories be-spelled upon her by the villain. The first chapter shares Polly’s initial success in remembering the true past.
Tempting as it is to go in depth on Fire and Hemlock yet again, “The Heroic Ideal” contains Jones’ discussion of mythology’s inspiration F&H with far more depth and humor. Besides, she wrote two other novels that serve as marvelous examples. The first, Eight Days of Luke, is a touch more obvious than Fire and Hemlock if one knows a bit about Norse mythology. I’ll admit that I didn’t, at least not until the movie Thor came out and my father was as giddy as an eight-year-old. (It is a decent movie, for the record–and directed by Kenneth Branagh of all people!)
Granted, Marvel’s interpretation of Norse mythology is, um, loose, but you get some basics in there: the home of the gods, Thor and his dad being at odds, Loki the mischief maker, etc. Diana Wynne Jones has her own fun with these myths, and from her fun Eight Days of Luke is born.
David is stuck at home on school
holiday with his horrible relations. After being reminded how he’s a wretched,
ungrateful little orphan they don’t deserve to put up with, David skulks out
into the garden and starts pacing back and forth, muttering what he feels are
some really good curses—only, he doesn’t really know what he’s saying. The
garden wall cracks and out come some nasty snakes and a boy just David’s size.
His name is Luke.
By this point I’m sure you know who the title character Luke is—that’s right, Loki. David has somehow freed Luke from his prison (only Diana Wynne Jones would put a Norse god’s prison beneath a marrow garden in Ashbury) and Luke’s relations are coming down to get him: Mr. Chew (war god Tiu), the Frys (fertility gods Freyja and Freyr), and Mr. Wedding (Odin, chief of the gods). Thor comes along eventually when we learn why Luke’s in so much trouble, and what David can do to help him. (Thor’s rather the giveaway, so no fancy modern alias for him.)
One of the cool things about a quest story is that they are indeed timeless. David must outwit gods and mortals alike for the sake of his friend, just like any great hero of the distant past. Sure, folks like Perseus and Beowulf may not have had pinball or cricket, but they always had someone or something worth fighting for.
Jones’ The Game puts a girl at odds with horrible relations, too, only this novella is a bit more…hmm…nonlinear, would be the best way to say it. Hayley is sent to live with a bunch of aunts and cousins she’s never met before, and she quickly learns why her grandmother never liked them. She also learns just how much her grandfather bears on his shoulders—literally. Among many worldly matters, Haley’s grandfather takes great care of the mythosphere, a place where Hayley’s cousins secretly play The Game. Once Hayley begins playing The Game with them, reality and the mythosphere are both irrevocably changed. She discovers her grandfather’s true identity: Atlas the titan. The uncle who controls them all is none other than Jupiter. And she must…well. Needless to say, I learned some more mythology thanks to this book.
Bringing past gods into the present isn’t a unique idea; Rick Riordan’s made a mint off of his various “modern kids vs. ancient gods” series, Percy Jackson and the Olympiansbeing the first and, I believe, the most popular. (It’s the one I read, anyway.) And I give Riordan and Jones both credit for inspiring curiosity in young readers for the olden tales of heroes and gods, of the odysseys through time and beyond.
I know we all like to make that Ecclesiastic complaint that there is nothing new under the sun. Well, it’s one thing to copy, or plagiarize, but it’s another to truly reimagine. Jones proves time and again that one can look to the classics for inspiration. Even the most worn of roads will take you somewhere, if you let it.
Thanks so much for reading! If you have other grand (or not-so-grand) examples of reimaginings you’d like to discuss, please share them in the comments below.
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, grab a copy of my freeshort stories, or check out my first novel. Thanks for coming by!
A free-spirited college student becomes a career-obsessed adult.
A writer becomes a…writer? Yes, still a writer. But a stronger writer.
I’m looking at you, Holly Black.
This woman’s got phenomenal talent. Black’s written books that lure you to dive head-first into her world. She’s got a strong following of readers, and one look at books like The Cruel Prince and The Wicked King show why. The relationships are complex, the conflicts compelling. We want to see what these characters do next, especially Jude, the teen protagonist.
Now I’ve talked a bit about Jude before, both in my post on tragic backstories as well as dissecting one of the briefest chapters ever written. Today I want to return to Jude because of another Holly Black title, the first Holly Black title:Tithe.
Sixteen-year-old Kaye is a modern nomad. Fierce and independent, she travels from city to city with her mother’s rock band until an ominous attack forces Kaye back to her childhood home. There, amid the industrial, blue-collar New Jersey backdrop, Kaye soon finds herself an unwilling pawn in an ancient power struggle between two rival faerie kingdoms – a struggle that could very well mean her death.
So over the course of sixteen years, Black wrote two different series about two teen heroines dealing with faeries. Fairies. Fae. However you spell it.
I–and many other readers, I imagine–connected with Jude because of her hopes and dreams. Jude is a girl struggling for identity inside her mostly Fae family as well as the Fae society. She witnessed her human parents’ murder by a Fae general, was then ripped away from the human realm along with her twin sister and half-Fae sister to be raised by that same general, and now attends school with other Fae gentry. She is living, breathing evidence of her mother’s desertion, yet this general fathers Jude like one of his own. In turn, Jude yearns to train and serve the Fae royalty as a knight despite being mortal. She loves her little brother, the Fae “son” of the general and his new wife. This is a girl fighting to make a place for herself in a world not created for her. She’s so desperate to make her mark in the Fae courts that she’s willing to kill in order to achieve her dream.
And then, there’s Kaye from Tithe.
Lots of people like this book, so I assume they must like Kaye as well.
But for me…look, this isn’t a roast of of Tithe. There’s plenty of strong elements here, and when one considers this is Black’s debut novel, those elements should be all the more commended. She blends Faerie and human realms seamlessly. The Fae are quite unique between Seelie and Unseelie. The black knight Roiben provides a wealth of inner conflict: magic compels him to do despicable things under the command of the Unseelie Queen, including killing a friend of Kaye’s. When we read from his point of view, we learn just how much he hates himself because he so often he has no control over his actions. A reader’s sympathy for him grows with every chapter.
And then, there’s Kaye.
Kaye took another drag on her cigarette and dropped it into her mother’s beer bottle. She figured that would be a good test for how drunk Ellen was–see if she would swallow a butt whole.
This is the first paragraph of the Prologue. This is our first impression of Kaye.
Already I’m wincing, but maybe that’s my prudish Midwestern nature. Plenty of kids have shitty parents, drinking parents. Plenty of teenagers pick up smoking. Turns out Kaye’s mother sings in a lousy club band and is dating one of its members, the “asshole Lloyd.” During the wrap up after a gig, Lloyd for no understandable reason tries to stab Kaye’s mom but Kaye stops him. (It is later learned he’d been entranced, for the record.)
We’re only a couple pages in, and Kaye’s witnessed an attempted murder. Normally this sort of thing, especially when family’s involved, would leave some sort of mark on a person, be it physically, emotionally, mentally, or all three. This is something that spawns nightmares, phobias, fixations on danger and/or thrills.
Yet Kaye and her mother Ellen only talk about moving in with Grandma. No confusion or anger over what Lloyd did. No fear over how they’re going to live next. No anxiety over whether or not Grandma will accept them after a six-year absence. Just…
“Honey,” Ellen said finally, “we’re going to have to go to Grandma’s.”
“Did you call her?” Kaye asked. …
“It’ll be a little while. You can visit that friend of yours.”
“Janet,” Kaye said. She hoped that was who Ellen meant. She hoped her mother wasn’t teasing her about that faerie bullshit again. If she had to hear another story about Kaye and her cute imaginary friends…
As you may have surmised, this is when Kaye started to lose me.
Yet I kept reading. Openings are tough. Kaye’s got to get back to her childhood home somehow, soooo okay, this works. Now Kaye’s on the New Jersey shore, walking and talking with her friend Janet on their way to hanging out with boys.
“Kaye, when we get there, you have to be cool. Don’t seem so weird. Guys don’t like weird….don’t you want a boyfriend?”
I had to stop there.
What did Kaye want?
From my impression of Kaye’s memories of her mother falling asleep in toilets and attaching herself to loser after loser, Kaye clearly doesn’t dig the life of a traveling musician. Yet her grandmother’s demands that she attend school are met with the same lack of enthusiasm.
In fact, Kaye doesn’t talk about anything with enthusiasm except Roiben, a lone faerie she helps on the roadside.
“Look, I’m only going to be in town for a couple of months, at most. The only thing that matters is that he is cross-my-heart-and-hope-to-die beautiful.” Kaye waggled her eyebrows suggestively.
Perhaps Kaye is a girl who’s never allowed herself to dream. We can be like that too, I suppose–too fearful of failure, too weary of life’s obstacles to dare hope for anything beyond what’s in front of us.
So when Kaye is told she herself is a faerie who’s been glamoured to look human since birth, she…well, what do you think?
She was shaking her head, but even as she did it, she knew it was true. It felt true, unbalancing and rebalancing her world so neatly that she wondered how she didn’t think of it before now. After all, why would only she be visited by faeries? Why would only she have magic she couldn’t control?
Such a revelation alters everything: her human family’s not really hers. She’s not human at all. Any hope, any dream she had for her future must now be sacrificed–
She didn’t have any aspirations. This revelation, this life-altering revelation….just what exactly does it change inside Kaye?
I’m going to stop dissecting Tithe here. I’ll still recommend it for the world and for the conflicted Fae knight Roiben, but I cannot recommend Tithe for its heroine. For all her dislike against her grandmother’s “normal” lifestyle and her mother’s alcohol addled life on the road, has she honestly not once hidden a special passion for something to keep herself sane? One would think it’d be her “cute imaginary friends,” but Kaye’s first reference to her Fae visitors from childhood was “faerie bullshit.” So as of the beginning of this novel, faeries were no longer special. She keeps no journal, no art, no collection of little things she’d never dare show her mom. Even Janet, the one friend she’s been emailing from libraries, is completely blown off once Roiben comes onto the scene.
Readers care about characters who care. The character may be a jerk in many ways, but even jerks can have a soft spot. Jude committed murder in The Cruel Prince, yet I still found myself rooting for her. Why? Because she was fighting for her kid brother’s safety. Because she wanted the enemies of the old Faerie king to pay for their treachery. She gets her heart broken by one Fae boy while finding her fate entwined with another. Jude IS passion–hardly the “he’s so dreamy” passion, but the “I want my family to survive a coup” passion. The “I want to LIVE” passion.
That’s passion any reader can feel beating in his/her own heart.
Kaye never seems to feel that. She simply floats along whether she’s human or faerie, accepting whatever situation she’s placed in, fearful only of losing Roiben.
How often are we telling our teenagers not to wrap their entire lives around one other human being? To have their own hopes and dreams, because someone who truly loves them will love those dreams and help find a way to achieve them?
Love can be a powerful force in a fantasy, to be sure.
But so is hope.
So are dreams.
Which fictional hero or heroine inspires you to dream? Let me know in the comments below!
Thanks, too, for your encouragement during my saga over the full-time slot at the university. I didn’t get it, but I’m hopeful for the next time. 🙂
And if you’re a fan of dreamers (and stories of dreams gone fantastically awry) I hope you’ll check out my novel, Fallen Princeborn: Stolen. It’s free on Kindle Unlimited, and my short story collection Tales of the River Vineare all free to download from Amazon, too.