“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.
Another Holy Week is almost over. Another Easter on the horizon.
Another Easter without you.
This time of year the stores are overloaded with Easter lilies, the scent of their beautiful white blooms permeating every aisle. Of all your allergies, Easter lilies were the worst, especially because the old ladies of the church flower guilds never really took it seriously.
Oh, you’d tell them, and I’m sure they nodded politely, but what did they do on Saturday? STUFF the altar with lilies for the Easter service Sunday morning.
So where are you during those two, sometimes three services Easter morning? Not in the pulpit, that’s for damn sure. Down in the pews, as far from the altar as you can get, silently praying you can at least speak your way through the service without passing out because your throat’s so constricted. Singing Easter hymns was not even an option, which sucked, because I know how much you loved them. Even if the flower guilds used a mix of fake and real lilies, it made no difference–your voice would always be so hoarse anyone would have thought you’d spent the last six hours cheering for William Shatner’s arrival at a Star Trek convention.
Honestly, that’s what initially got me writing this. Not Easter, but Star Trek.
All my listening to James Horner put Bo in a mood for Star Trek; one clip with the kids later, and Biff is hooked.
Oh, Dad. Biff’s so into Star Trek right now it’s hilarious and sad all at once. He stares at the ships, absorbing every detail. He’s transforming boxes into his own Enterprise, Excelsior, Reliant–the kid’s got the entire Starfleet parked on the end of his bed, manned by the brave comfies from Planet Teeny Ty. I can’t imagine what a conversation between you and Biff would have been like, especially when the little guy’d insist Excelsior is cooler than Enterprise.
And because I can’t imagine that conversation, I’ve been pretty damn sad.
Bash shows me the first book he made about the Wall-E and Eve robots, and I can’t help but remember when I’d show my own stories to you, how’d we spend ages going over the stories I’d type on that goliath of an IBM computer.
I hear Blondie sing in church, and can’t help but remember those toddler years when she’d run up the aisle at your own church at the end of a service. You would pause the announcements, and just stand there, grinning, until she reached out for you with her little hands. You’d hold each other all through the announcements, recessional, and greeting, so happy to be together.
Blondie turns nine next month.
How you’d laugh with these guys now, sharing goofy faces and terrible puns. How you’d run after them at the park, caught up in epic battles of dragons and space ships. How you’d throw your hands up in exasperation when facing the latest generation of family stubbornness I know I got from you and have passed on to all three of my little B’s.
How I miss the memories that never were.
But this Easter, I’m doing my damndest not to let love known in the past prevent me from seeing the hope of a happy future.
Awake, my heart, with gladness, See what today is done, Now after gloom and sadness Comes forth the glorious Sun! My Savior there was laid Where our bed must be made When to the realms of light Our spirit wings its flight.
From the lutheran hymn “awake my heart with gladness”
Despite those lilies, you loved Easter. You loved sharing its joy, its hope, its miraculous nature. If not for Easter, there would be no hope for us beyond these few years of mortal coils. Through Christ, death can only keep us apart for a little while; through Christ, we know that when our time on earth is done we will be joined together in Heaven, where we can share all the songs and smiles, stories and laughter we’ve gathered over the years.
Happy Easter, Dad. For once I can put a lily next to you and it won’t kill you, let alone keep you from singing the Easter hymns you loved so much.
The Easter hymns I still cannot sing, too choked with tears.
But no tears will ever choke my hope of seeing you again in Heaven.
Now here’s a fine fellow I’m excited to share with you. Yes, he’s written a book, which is awesome, but I’M keen to share him with you because of his creativity with music. If you’ve visited my blog before, you know how important music is to my writing, so to speak with a songwriter is a great honor, indeed!
Let’s start with an introduction first, shall we? Give us a bit about who you are and what you do.
When will all the pieces come together? And if I don’t like the picture am I stuck with it forever?
a line from a song I wrote when starting out.
The words stayed with me. Kept me honest. A mantra for the inspiration self-doubt hands out in shedloads when it feels like it.
Who am I? Since finishing uni with and against all odds,
a BA (Hons) 1st in Music Technology I’ve gone by the alter ego ‘Zoolon’ but
generally when people call me ‘George’ they get a response. I’m a
singer/songwriter and sound artist without an ego, preferring art above glory;
composition over crowds. On balance I prefer animals to humans and am wary of
men in suits. I’m colour-blind and dyslexic. I work alone, writing lyrics,
composing melody, performing and producing all my own stuff.
Having gone the generic teenage route of live gigging
playing lead guitar in an average band and figuring out it wasn’t for me as the
politics of people were a thing I could do without, I eventually decided to
invent a version of me that could make a music career without going through the
rituals of just performance. Hence the birth of ‘Zoolon’ a couple of years
The key stat that made me look at the music industry
differently was reading that 1% of artists draw in over 90% of the available
income. That means most musicians, however exceptionally talented they might
be, haven’t got a chance. I just knew I had to take a different path. I’m not
there yet, but two years into the ‘Zoolon’ project I’m still in business; I’m
doing OK. Just.
I like to vary the genres I work in from things as far
apart as classical music at one end of the scale to heavy metal at the other
and in between, ambient, acoustic, folk, alternative and experimental.
Growing up I’d never realized that I was dyslexic and
colour-blind until the day came when some professional bloke at great cost to
my parents confirmed it. That they were the reasons I could barely read or
write and that I only saw things as black, grey or white. It’s interesting
being told you are something you never knew you were.
My audience is anyone who’ll listen in. In terms of completion of the Zoolon project I hope that one day I’ll be writing the score for a blockbuster movie.
Now you’ve been studying music a long time. Which instrument started this quest for you, and did you begin composing on this same instrument?
I was about 8-9 years old when my parents gave me my
first guitar. They’d forgotten I was left-handed so the one I got was regular
version. I remember feeling a bit bad about telling them they’d bought the
wrong thing so I taught myself how to play right-handed. I still play
I eventually upgraded to better guitars but remember I did write my first song, ‘The Universe Has Forgotten Me’ – a stereotypical teenage angst number – but wish I could forget. I cringe every time I think about it. I still have that first guitar. It’s bad luck to get rid of the first one.
Your first album, Dream Rescuer, is actually something of a story told in music. What inspired this project within you, and can you describe your creative process to make it?
At uni I composed two concept albums, ‘Cosa Nostra’ that was a sound art composition using captured sound and electronic music, and ‘Liquid Truth’, an album themed on Plato’s Allegory of The Cave. I never released either as they were both in demo form and I’ve never got around to remaking them. As for ‘Dream Rescuer’ – Zoolon’s first album – I had to start somewhere so I put together a collection of songs that each had its own meaning. From that album there are the two songs that have had the most plays out of all my work so far. ‘Sunlight & The Dust’, a protest song regarding how much the world would suffer when farmers and thoughtless gardeners have killed off the bees, and ‘Rexie Believes in Magic’, a take on being lost and finding yourself again. There was no specific creative process. I just let the songs arrive in their own time. Luckily for me, they did just that.
Now your website Zoolon Hub often shares posts where you share poems that may or may not become a song, but I don’t recall you often having this “issue,” if you will, in reverse. Do you find that the lyrics come more readily than, say, the instrumental themes?
Because I have a short span of attention I find it
easier if I try to vary the stuff I put on the blog, throwing in some pics I’ve
taken, plus random story words and rhyming verses mainly, although sometimes
structured ones, plus pieces of music I’ve created and/or that of well-known
artists I like. Foster the People; Coldplay; The Villagers; Paul Simon; Randy
Newman; Metallica; Lola Marsh; Within Temptation; Lana; Marina; Aurora and so
You’re right though, I do put up quite a lot of simple verse type stuff on the blog from time to time, well before any melody has even been thought about. Mostly, I go for melody before words but can do it either way. Inspiration for instrumental music comes from whatever mood I’m in when I’m on a roll – especially the electronic classical numbers, like ‘The Forgotten Daughter of Zeus’ and ‘Barbed Wire’.
A good example of exactly how I work are the two numbers
I wrote for the album ‘The Pigeons Are Switzerland’ about the life and death of
Francesca Woodman a photographic artist from the States who topped herself aged
22 in 1981. They probably reveal a lot about me and the way I write my music. I
can’t claim I discovered this artist myself. I got introduced to Francesca’s
work by another blogger who writes words better than mine and most others. Dark
words and great metaphors you have to think about. Also, she certainly knows
Anyway, what I found amazing about Francesca was that
she was her own muse. She did what she did without the assistance of any
others. A massive portfolio in black and white portraying/capturing, at least
that’s how I see them, reflective statements, moods and emotions in a surreal
way. My work also is something where I don’t involve others. My end result is
often the same as hers, just that it’s spoken through a different artistic
genre. Maybe that’s why I’m hooked on her work. Some people don’t get it when I
say, ‘I hunt alone’. I can’t help it.
I wrote the blog words for the vocal track, ‘Francesca’ well before I turned it into a song. Once I had a melody in my head I used just the selected words from the original I needed for the song that might match Francesca’s mindset leading up to her death.
I like having verses in the closet but rarely stick to them when composing. Also, my love of instrumentals meant I just had to cover her final moments in music and try to do her proud with that ‘freedom at last’ track, ‘Eastside 1981’. If you listen, at the very end you’ll hear the gentle whispering of disturbed air as she took a leap of no faith.
Like a lot of artists her work only
made the big time after her death. A shame.
That’s basically how I work.
I’ve often thought that the composer’s choosing of instruments is akin to a writer choosing the right voices to tell a story…unless, of course, the music chooses its instruments for you. I’ve had that happen, too, where the characters come to me with their stories rather than me hunting them down. What factors are in play when you select the instruments for a song?
That’s a hard question. I think I can only answer it by providing a list. My mood; gut feeling; influences of other artists (whether I’m conscious of it or not); writing with a bespoke purpose in mind; testing my limits; trying to please; and the random thoughts of the scatterbrain I am.
You’ve received some awesome top-notch ratings for your work. Can you tell us a little more about that?
Certainly and in some ways surprisingly, being featured in the February 2019 Lifoti Magazine improved my stats for a while and having a number of songs curated has helped the Zoolon brand get ‘known’ out there, although certainly not ‘well-known’ yet, plus it’s helped to get my work selected for custom-made playlists as well as things like music for mobile apps, retail outlets and stuff like that. Being UK No. 1 and in the Global top 10 for two months earlier this year on ReverbNation has helped spread the word. I’ve got some good potential irons in fires that may come to fruition soon. A year ago I had none of these things.
I imagine that the marketing strategies of an indie musician can be very similar to that of an indie writer. What do you to keep your discography visible on social media?
Not enough. I’m driven to make music, not driven to make
marketing strategy. I glaze over at the word ‘marketing’. It’s stupid but
honestly it’s the truth. It’s a musician thing I think. On social media I go
through the motions best as I can. WP is OK as it’s one to one contact most
often, but Instagram and Facebook are soulless. Twitter is what it is. It’s not
as useless as some people say. Twitter has done well for me.
Word of mouth seems more powerful to me than social media where everyone is competing for the self-same thing – selling music. I probably need a full-time manager, but they generally wear suits!
I love how your songs carry a wide variety of feeling: some have a touch of melancholy, others tension; some anger, others hope. Sooo I don’t really have a question on this, but I’d love for you to comment on the emotional drive for your music. Hmmm, I suppose you could say I’m asking this: Does the emotion come first to inspire the song, or does the song help build these emotions inside you?
I never know how a song’s emotion will evolve.
Creativity never lets on how and if she’s on my side on any given day. I just
have to live in hope she turns up in a good mood. When she turns up bored
senseless more often than not I produce work that ends up getting trashed. A
good day to me is one where I get so involved in what I’m doing that I forget
to eat and drink. I try to get out for breakfast most days just in case I’ll be
starving myself without realizing it for the rest of the day and well into the
On your site you offer to turn a writer’s poem into a song. That’s such a cool service! What inspired you to do this? Do you find it a challenge to create around someone else’s creation?
Working a project for other artists whether they are
poets who want their poems turned to song, or other musicians who want
something they can’t do themselves is great. Just knowing what the brief is
seems to take the pressure away – unlike composing my own stuff from scratch.
The poem to song thing seemed like a good idea; a
sensible thing to add to my WP website. At Zoolon’s WP special rate of just
£100 across the board I’m saving the writer of the words probably £2500+ when
compared with the alternative of hiring a whole load of others from musicians,
singers and sound engineers, plus studio time. The only reason I can do it so
cheaply is that I do everything myself. Also, the customer gets the copyright
for the finished article. I have a number of satisfied customers out there but
could do with a few more. I enjoy creating for others. It’s a warm glow
Lastly, do you want to share any updates about your current works in progress?
In January just gone I released the instrumental album
‘The Forgotten Daughter of Zeus’ and had planned a new acoustic set of songs
for later this year. The new collection was, so I thought, progressing really
well. An early release was on the cards. Then it hit me that the title track was
a bit special and overshadowed the rest. Others have also confirmed that I
might be onto something good with this one.
Because of that a later release of the whole set is now more likely as I need to rethink where I am and where I want to be with the other songs. In many ways this is a good thing. Quality means everything. I’d like to say more at this time but for now all I’ll say is that for the title track I’ve done something entirely different to anything I’ve done before. More on that on my blog in due course.
If you’re curious about my own thoughts on music, feel free to visit my collection of “Writer’s Music” posts. You can also read the results of that inspirational music in my novel and free fiction, available on this site as well as on Amazon.
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.
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.
Just as writers and readers dream of meeting the authors who inspire them, the Samuelsens dreamed of Horner composing a piece for them.
And, as the happiest of stories go, this dream came true.
Mutual friend and Norwegian director Harald Zwart finagled a meeting with James Horner and the Samuelsens. After performing for Horner, Mari asked if Horner would write a concerto for them.
He said yes.
I feel like I’m transported to the classical style Horner himself loved. The beginning cello solo here reminds me of the bassoon opening Stravinsky’s Rite of Spring. Then the violin enters, and I can’t help but think of Firebird Suite,also by Stravinsky. It’s no coincidence both works were adapted to accompany visual stories of creation and destruction in Disney’s Fantasia and Fantasia 2000.
And Horner himself is a storyteller, such a storyteller. The cello and violin are the characters of this story; its setting, the dawn of spring. Can’t you just feel the encroaching sunrise with the muted swell of the woodwinds? And here come the strings: warmth, growth. Green shoots struggle for freedom from thawing soil. Cello and violin walk–no, dance–through the landscape, casting out the final frost fairies to welcome spring’s sprites. The sprites run as the orchestral strings unleash them into the air.
I could go on, but I am sure your own imaginations picture this dance of change and color. It delights me to hear beloved themes from Horner’s other work woven into this tale: the strings bring forgotten magic from Something Wicked This Way Comes, a touch of kindled love from Titanic. The orchestral woodwinds remind me of the bravery buried in Wrath of Khan. Yes, I hear many loved harmonies of my childhood fantasies come and go until the final moment, when all is silent but for the violin and cello, an echo of the song’s beginning.
It helps the harmonies are played with such passionate players. I must find more of the Samuelsens’ work–their expression with bows and breaths are unlike any I’ve heard before.
If you loved Part 1, then please, listen to Part 2 andPart 3 of James Horner’s concerto. It’s such a stunning work, and one of Horner’s last; he died the year this album was released, 2015.
I am so thankful to have found Pas De Deux, and cannot wait to write more about the composer who led me to this album. But that will have to wait. Until then, let me give you a sample in the form of his contribution performed by the Samuelsens. May this song bring you dreams of Spring’s duet, its color and storms ever dancing with ribbons of sunlit magic.
But most of all, may this song fill your heart with a hope defiant of all darkness.
Looking back, I must admit I didn’t reach the summit on this Whole30 climb.
Dairy: I kept my distance! No milk, yogurt, cheese. I never once desired a shake or sundae. The only bummer came when it was time for chili and I couldn’t have sour cream. Honestly, that’s the only dairy I truly miss. Even the clarified butter’s grown on me so that I don’t miss the typical wad of butter thrown into veg or mashed potatoes.
Gluten: Another success. It helps I had started cutting down on grain intake since Christmas. Sure, I like cookies and brownies. I loooooove tasty banana or zucchini or rhubarb bread. And PIE! Ah, sweet, sweet pie.
But these aren’t “typical” grains, like bread or pasta. Those I never missed, not one day. I used to eat oatmeal in the morning, but some reheated sweet potatoes have become an excellent substitute.
Sugar: So about those pies and other sweet treats…
Yes, I’ve successfully avoided desserts. This month has shown me just how often I’d dip into those cookies, brownies and jars of oh-so-honeylicious creamy peanut butter. But my one “cheat,” my one thing I just couldn’t give up, was coffee creamer. Almond milk, coconut milk, cashew milk–the consistency messes with my brain, and the taste feels like it’s embittering the coffee more than anything.
For a guy who used to shrug at health issues with the mantra of “We’re all doomed to die anyway,” he made this amazing mental 180 and has not only stuck to the Whole30 FOR the whole 30, but he has every intention of sticking to many of its guidelines. Yeah, we’ll probably award ourselves with pizza tomorrow to celebrate his completion, but we’re talking a slice, not a whole pizza. Sure, Bo’s going to enjoy creamer in his morning commute tea, but he’s sticking with salads, protein, and fruit for work instead of returning to sandwiches. He can feel the weight loss in how he sits and moves; I know it by how little he snores. It’s a change that was hard, will continue to be hard, but he’s not giving up.
No, I didn’t complete the sheer climb up the Whole30.
But Bo did.
I am more than happy to wave to him from my own road to the summit, whistling as I go, knowing that Bo’s more than ready to encourage me every step of the way.
So, this concludes my 30-day blog-a-thon! Now I’m going to spend the next few days climbing a new mountain–a far sweeter mountain–of likes and comments from you, kind readers. To each and every one of you who has followed my Whole30 journey in words: thank you so very, very much for walking this road with me. Cheers to you, Kind and Noble Company. May the Road ahead be one of adventure, laughter, and hope.