#AprilShowers Bring #AuthorInterviews! Let’s Wrap up #IndieApril with more #inspiring thoughts on #writing #serial #fiction & #publishing #indie #SerialReads on @_Channillo

Why yes, my friends, it is Tuesday and NOT Thursday. What am I doing here on a Tuesday? I didn’t want to let the last day of #IndieApril go by without promoting more lovely indie authors. Fellow Channillo writers Daniel J. Flore III & Christopher Lee didn’t get a chance to share their serial goodness when I originally promoted Channillo’s authors back in January, so I’m rectifying that now. Enjoy!


Hi, my name is Daniel J. Flore III and my poetry titles on Channillo are the Arrows On The Clock Are Pointing At Me, Venus Fly Trap, Little Silver Microphone, and Letters to the Weathergirl.

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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.

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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.

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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.

DAN: I like to read serieses on Channillo because I find it relaxing, interesting and a cool thing to catch up with. “The Domesticated Poet” by Kerriann Curtis is one on there I enjoy for those reasons.

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 in The Washington Post back in 2015, and I’d like you to comment on it:

Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity.  –Hillary Kelly, “Bring Back the Serialized Novel”

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!

Tomorrow I’ll be compiling all the indie author interviews from this month and sharing them on my newsletter, along with a couple updates on my own writing. Be sure to subscribe so you don’t miss out!

Read on, share on, and write on, my friends!

Lessons Learned from #HollyBlack: #write a #hero with #hopesanddreams for compelling #fiction

A lot can happen in sixteen years.

A boisterous kid becomes a moody teen.

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–

Hang on.

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. 🙂

Don’t forget to pick up the March edition of my newsletter!

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 Vine are all free to download from Amazon, too.

Read on, share on, and write on, my friends!

#writerproblems: #characterdeath in #storytelling (Part 1: Noooo, Billy!)

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You know the scene.

The kind that makes you go, “NOOOOOOOOOO!” because a beloved and/or cool character is about to die.

Every time. Seriously, every time I see PredatorI say, “Nooo, Billy!” at the screen. As a member of the audience, I’m invested in seeing the characters’ survival against the Predator. I want to see the characters’ skill sets aid them in overcoming the conflicts and obstacles that await them before the journey’s end.

This can be said as a reader of any high-stakes story, really. Look at a few big SFF series for examples. We want Captain Kirk and his crew to survive. We want Harry Potter and all his friends to survive. We want the Fellowship of the Ring to survive. We want Katniss Everdeen and her loved ones to survive. We want Luke Skywalker and his friends to survive.

We know these people are fictional, but there are facets of these characters that connect within us. This makes us care about them, so of course we go “NOOOOO!” when Dumbledore is struck down by Snape, when Prim and dozens of others are bombed by a device made by the Katniss’ oldest friend, Gabe.

And then…

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…and then there are the deaths that just don’t feel necessary.

Now I just want to pause here that I’m talking about this as both a reader and a writer. I get that pain and consequence have to occur in a high-stakes story. You can’t threaten death without delivering at least a little bit of death or you risk hollowing out the stakes.

What bothers me as a reader and worries me as a writer are those unnecessary character deaths. You know you’ve encountered stories with this problem. That’s why I showed the aforementioned Predator clip of Billy. Billy, the biggest and buffest bad-ass of Dutch’s team, stops on the tree-bridge to face the Predator. Why?

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On screen, we’re not given a reason apart from MANLINESS. Just look at him, stripping down and cutting his own chest. It’s the ultimate bad-ass standoff!

Only in the story, it’s not the ultimate bad-ass standoff. That’s for Dutch (also stripped down) and the Predator.

So why did Billy have to die?

As a “reader,” I could shrug to “noble sacrifice,” except no other death has bought the survivors time or advantage. Billy would know that. I could also shrug to “acceptance,” since earlier in the film Billy says, “We’re all going to die.”

But as a writer, I think I really know why.

It’s because you can’t have an ultimate bad-ass standoff between TWO good guys and a bad guy. Plus, in terms of physique, Billy and Dutch are an equal match. Heck, I think Billy could have beaten Dutch in arm wrestling.

So Billy had to die.

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It feels like when there has to be a bit of death in the story, writers sometimes choose the character most similar to the protagonist. Take Finnick Odair from the Hunger Games trilogy: he’s strong, knowledgeable, another survivor of the Hunger Games (also: pretty). We meet him in Catching Fire, grow connected to his personality and backstory, root for him when he gets married….aaaaand watch him die on the assault on the Capital. Now it can be argued his arc’s complete, so the audience knows who he is. SOMEone’s got to die in a war; his death will have the strongest emotional impact while primary heroine Katniss can continue on.

Fine. Fair enough. At least Finnick got to die on page/screen, UNLIKE BILLY.

Notice how after all his bad-ass preparation, we never get to see Billy fight the Predator. We just hear his anguished scream, and know he’s dead.  Such off-screen deaths drive me nuts. Harry Potter and the Deathly Hallows is guilty of this, too, both in book and on film, when it comes to characters like Professor Lupin and the Auror Tonks. They die during the battle at Hogwarts while Harry’s elsewhere, so we never see their final moments. They’re just dead.

Wow, I went off longer on this than planned. Dammit, Billy, you got me all wound up!

I get that I have to accept beloved characters dying. I just want those deaths to MATTER. You bet your ass I cry when Beth dies in Little Women. I bawl when Clint Eastwood’s character Walt is shot in Gran Torino. I refused to believe Hercule Poirot was really dead in Curtain until I went online for evidence to prove otherwise…and couldn’t find it. Even Dobby, that goofy little house-elf Dobby, had me sobbing both while reading and watching Harry Potter and the Deathly Hallows. I hated that these characters had to die.

But their deaths help spur the protagonists–and the narrative–forward. Without their deaths, there is less at stake; therefore, there is less concern for the characters.

Now I have waaaaaay more to say about character death, but Bo’s up and given me the giggles by saying, “Billy will always be in the chopper of your heart.” Yes, yes he will!

So let’s pause to talk. Is there a story with a character death that really frustrates you? Should I kill more characters in my own books?

Lastly, be sure to stay tuned to my monthly newsletter. Big changes are coming, and I don’t want you to miss out!

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#Readers, Start the #NewYear With Amazing #Indie #Fiction #SerialReads. #Writers, Why Not Give #Serial #Writing on @_Channillo a Go?

Ah, January 2019, you give me so much hope for the coming year! We must begin with stories, for of course we must. Whether you love to read or to write, you are here to experience a story.

Have I got the stories for you!

Not just my own fiction–I’ll get to that. No, I’d like to introduce you to some wonderful indie writers who have been publishing on Channillo, a subscription-based publishing platform stocked with hundreds of stories written by talented writers from around the world. A few Channillo writers have stopped by to share their stories as well as why they feel serialized fiction is awesome for readers and writers alike.

urban in motion (2)Let’s start with some basics. Your name and title(s) on Channillo, please!

coverpic-2127 Jamie Seitz, Nick & Amy

Nick and Amy have been married for seventeen years which is a big deal because marriage is hard and messy and a fifty percent divorce rate and all.  Nick and Amy live with their three kids in the middle of the United States, in a place like Iowa or Ohio or some other smallish, flat state with too many vowels, growing corn and soybeans, making it basically indistinguishable from any of the other states around it and uninteresting to anyone that didn’t grow up there.  Nick is a procrastinator by nature which drives Amy crazy and Amy is spicy when she gets annoyed, which Nick adores.  Together they are every marriage still trying to keep it real after almost two decades together while dealing with the not-so-fun parts of everyday life.

 

Ibrahim Oga, Vista of a Sisyphean Mindcoverpic-262

Vista of a sisyphean mind series looks at the world in a unique perspective that is inspiring and motivating. The series is an exploration into the greatness of life.

 

 

 

 

coverpic-2011 Guenevere Lee, Leda and the Samurai 

Leda, a young woman who moved to Japan to escape her abusive family, is slowly adjusting to her new life. She’s learning Japanese, making friends, and enjoying the summer festivals. On the day of the famous Tanabata festival, she finds a small shrine – but when she steps out of the shrine, she steps into Edo Era Japan.

Trapped 400 years in Japan’s past, what follows is half fantasy, half historical fiction. Is her coming here an accident? Or does it have something to do with the sudden appearance of European ships off the coast? Leda must discover how she ended up in this situation, and how she can get back home – or if she even wants to go back.

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What made you choose publishing your work as a serial as opposed to a collection/novel?

Seitz: I do write novels in the traditional way, but writing Nick & Amy as a short story serial on Channillo gave me the opportunity to put something out every other week and get immediate feedback, which is not how writing a novel works.  It’s quite refreshing to show the world what I’ve been working on for a week, get a laugh or two, and then do it all over again, while working simultaneously on a novel project that no one will see for months.

Oga: I choose to publish my work as a serial because I don’t have a complete manuscript. It gives me to the opportunity to share the parts I have written and see how interested people are in the work. Also, the pressure to publish the next installment in the series is a good motivation to write. Writers love deadlines.

Lee: I wanted to write a serialization. I guess I was inspired by things like manga, which have contained stories within an overall larger arc – and can go on indefinitely. I was also romanticizing the turn of the century, where authors like Charles Dickens would publish their novels as serials, sometimes not even knowing the ending or how long it would be.

I like how flexible serialization is.

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I found this quote published in The Washington Post back in 2015, and I’d like you to comment on it:

Critics will undoubtedly moan that serialization would favor literature that’s heavy on cliffhangers and light on subtlety — and that it would corrupt more “serious” works. … Yet it requires the same characteristic any worthy novelist already seeks: momentum — a value that needn’t come at the expense of integrity.  -Hillary Kelly, “Bring Back the Serialized Novel”

Seitz: There is truth that serial literature requires a reason for the reader to keep coming back for more, and maybe it works best as a cliff hanger for many serial stories.  But at the heart of any story, a hard cover NYT Best Seller or an online serial, isn’t that exactly what every author is striving for?  Spinning a story so thrilling or hilarious or mind-blowing that their reader can’t stop turning the pages though it’s hours past their bedtime.

Lee: You can’t tell me that modern novels don’t rely on cliffhangers. Have you ever read a YA novel? Look, cliffhangers aren’t bad, tension is not bad, motivating your readers to read the next instalment by getting them emotionally invested in a character is not bad.

A novel is like a movie, it comes out all at once. A serial is like a TV shows, building anticipation for the next chapter every week.

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What benefits have arisen with plot, character development, and/or voice as you write a serial?

Seitz: I wanted to write Nick & Amy as a series of realistic fiction vignettes, every day funny stories about a regular married couple that don’t necessarily build on each other, but add another layer to the relationship with each new installment.  As a serial, it’s been a fun way to play with building strong character development little by little in Nick and Amy, exposing deeper aspects of their marriage, relationships, and personalities through whatever daily adventure I’m putting them through.

Lee: I can experiment a lot more. I can have story arcs that focus on one particular character, or do a fun story that really has nothing to do with the overall arc, but adds to the atmosphere and the tension in the story. I feel like I just have so much more liberty telling this story.

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What do you think draws readers to read serial (non)fiction?

Oga: Brevity. Our attention span is getting shorter as there are more and more things vying for it. People are drawn to serial works because the instalments are succinct. Serial successfully heighten pace and suspense. It enlightens and entertains long enough to hold the reader’s attention. It gives readers breaks between instalments to get them interested again. Each instalment starts strong, finishes strong, and creates suspense to intensify anticipation for the next.

People also like the participation in following a serial. Without the ability to read ahead, people are on the same page in terms of discussions of the work. Everyone tries to keep up with the reading in order to keep up with the conversations.

Lee: I think people like the anticipation. They like being rewarded every week with a new instalment. They like to wonder between instalments about what’s going to happen next. It’s a kind of interactive way to read a novel.

What advice do you have for fellow writers who want to give serialization a go?

As with anything artistic: just do it. If you don’t like it, or it fails, you have nothing to lose. It’s all experience that will help you with your next project.

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Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments?

Oga: Comments are important. Good or bad, they reveal how readers perceive my work. I cherish comments a lot because they help me better understand my expression of thought and plots. Comments help answer a lot of questions for me. Did my work inspired the emotions I hoped to raise? Did it enlighten the reader as I’d hoped? What is the reader expecting in the next installments? Is my work gripping enough?

I use comments to write better.

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What advice do you have for fellow writers who want to give serialization a go?

Seitz: Give it a try!  Serial fiction certainly wasn’t in my wheelhouse, but it’s helped me grow as an author, forcing me to work harder at making a story tight, concise, and well done in less time and in less words.  It’s sharpened my skills as a writer and it’s been a fun learning curve.  It certainly helps to do some planning beforehand to decide what you want the series to look like, but beyond that the freedom it gives you makes the writing rewarding.  It helps to find it a good home for your serial, like Channillo, where the diversity of material, styles and authors is celebrated and embraced.

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Many thanks to my fellow Channillo writers for their time! It’s important for us to challenge our writerly selves, just as it’s vital to expand our reading horizons. Channillo gives the opportunity for both. I do hope you’ll check them out…and perhaps my own books, too, nudge nudge. 😉

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I’ve also got the latest edition of my newsletter available for viewing! If you haven’t yet, please subscribe here.

Okay, that’s enough self-promotion. Be sure to tune in this month for another author interview, some thrilling music, and, of course, storytelling.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#Writers, what #storytelling elements go into #ChristmasStories? My #family gives a few clues. Oh, and my #fantasy #novel is #OnSaleNow.

As December days swirl by like snowflakes in winter’s wind, I like taking breaks from life for Christmas stories with my family. Be it watching A Charlie Brown Christmas or reading Santa Clauses: Short  Poems from the North Pole (a haiku collection I highly recommend), I love cozying up with my loved ones by the Christmas tree to laugh with Yukon Cornelius, whisper with Pocket the Rabbit, or sing “Away in the Manger.”

What is it about the stories we save for Christmas time? Why do we pack them up with the ornaments and stockings as another special sparkly for December? This week I talk with my family about their favorite Christmas stories to discover what makes them so special.

First, Biff.

Takeaway: Christmas stories should be fun, and elves are hilarious.

Next, Bash.

Takeaway: Christmas stories require a bit of action, even violence, in order to achieve the “happily ever after.” Also, alien robots.

Wonder what Blondie will add to the mix…

Takeaway: Learning what Christmas is all about is very important, especially when animals are involved.

Kids tucked up in bed, Bo and I pull out one of the many Christmas catalogs we’ve received lately to talk about a unique occurrence with Christmas: the Hallmark Christmas film. What has Hallmark figured out about Christmas stories that gives them the knack to make so many every year?

Takeaway: Pretty people with Christmasy names and/or places facing a little problem and/or a little death in order to achieve love…which basically means that Die Hard is the greatest Christmas movie ever. Even the 30th Anniversary trailer that just came out agrees. (For the record, Bo and I recorded our talk before seeing this trailer. Guess this makes us amazing!)

Will I ever write a Christmas story? I’m not sure. Bo and I began dating and even married around Christmas time, so I cannot deny there’s a certain magic to the season. I also know how sharp grief grows at Christmas, making its hope all the more critical to share before it’s too late.

Hmmm. Maybe Hallmark has a point about love…after Charles Dickens made it over 150 years ago:

I have always thought of Christmastime…[as] a kind, forgiving, charitable, pleasant time…the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely…

-Nephew Fred, A Christmas Carol

So yeah, Christmas stories may seem a bit too schmaltzy at times, but know what? That’s okay. This is the season when we’re all just a bit more open to love’s magic. There’s a power in these December days unknown at any other time of the year. Use that power, friends, be it in your storytelling or your life’s story, to share the magic. Use whatever you need, be it dogs, cookies, or flying reindeer.

Also, alien robots.

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Oh! Lest I forget, my novel’s on sale right now. The complete e-book and bonus content are on sale for just $2.99!

We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams. (6)

Be sure to give some indie books to your fellow readers, and reviews to your fellow writers on Amazon and Goodreads! Nothing’s as awesome as the gift of words.

A most blessed Christmas to you all. Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#Author #Interviews: #IndieAuthor @wezlo on #family, #faith, #fantasy, & #photography in the #writinglife

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Reverend Wesley Allen is a delightful friend and fellow indie writer with a new book, In the Land of the Penny Gnomes.  Today we discuss our mutual love of writing fantasy, balancing family and the writing life, and more.  

On Family

I love this line from your “about” page on your site, Painfully Hopeful: “I hope that I can be a decent pastor, geek, father, and husband. It’s just sometimes I’m painfully aware that I’m not quite all that I want to be.” Let’s address your family first. You have a wife, two teenagers, and a baby. Just…I cannot fathom having a baby at this point, let alone with  teenagers in the house. Do you manage to squeak a little writing time in every day, or just on Sunday afternoons, or when? Does your family root you on in the writing process, or do you keep your stories to yourself?

I am also unable to fathom having an infant in the house. Still, he’s pretty cool and I’ve raised kids through adolescence so poopy diapers and crying isn’t as daunting as it used to be. When Bump doesn’t want to sleep at night, though, I get a bit cranky.

I do write a bit most days, but I’ve managed to write only one short fiction piece for my blog since Bump’s been born. I need to get into a mindset to write, and it’s been hard to find the space to get there. My imagination is still going strong, though, and I’ve got stories running around in my head. I also have to write a sermon every week, so there’s that.

And Sunday afternoons are not good writing days. My introverted brain is basically a bowl of oatmeal by Sunday afternoon. It’s all I can do to scream at the Eagles when they’re playing. (1)

My family really isn’t involved in my projects. My wife isn’t a fantasy fan, my daughter likes to pretend she doesn’t care (2), and my older son just kinda grunts at me when I mention I wrote something. Bump drools on my keyboard. I’m sure if I pushed things a bit more they’d show more interest, but I don’t feel compelled to do so. When I was growing up my family referred to my daydreaming state as “Wes World.” I could dive so deep into my imagination people could be screaming at me and I would barely notice — it was my place to be one my own with my thoughts. As my writing basically emerges from that space it continues to be a solitary endeavor.

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Duke of Gloucester Street – Williamsburg

On Faith

As a child of a preacher m’self, I know how one’s life merges to be one with the church sometimes. Personally, I like when storytelling allows me to separate from that environment, but there are ways when faith weaves itself into the fantasy world-building whether intended or not. Do you consider your faith to be a major or minor influence in your writing? How so?

I’m not sure I’d categorized it as “major or minor,” as that would imply faith was merely a component of who I am. Faith is the core of my being, it’s who I am.

But, because I’m quite comfortable with faith being who I am I do not set out to write “Christian stories.” In fact, using the word “Christian” as an adjective to describe a particular set of pop-culture media makes me want to throw up. I guess I’m with Tolkien — too much of what I see in “Christian” pop-culture is reduced to a blunt allegory which has deluded itself into believing it’s subtle. It’s icky.

At the same time, because faith is what I am, of course there are aspects of my faith which can’t help but be seen in my writing. But I try to evoke them as applicable expressions. The idea that good exists, that there is always a larger narrative, and that a people’s story matters all spring into my work though my faith. But I hope they resonate with any reader, and not just “religious” ones.

Having said all that, I am working on a devotional which works around short fiction pieces, but even then the pieces are there to provoke thought and not just telling people what to believe.

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Wissahickon Gorge

About the Pictures

On top of all this, you still find time to get out with your camera! Do you find the images you capture to inspire your storytelling, or do you enjoy time with your camera as a break form words?

Since I love to take Bump for walks, I’ve been able to keep up my photography hobby throughout his early months. I don’t know if photography is a break from words so much as it is permission to pay attention. I live in  my head, photography gives me a window to see the world. At the same time, I hate photographing people. I love landscape, as they don’t look at you funny.

And, yes, photography has inspired me to write. When I share photos on my blog they are accompanied by a short meditation, which helps me process what I’m seeing. And the third world I’ve created, The Kingdom of Parallel, was inspired by a photo I took at  Sunset. The story has evolved away from the inspiration that photo provided, but the world wouldn’t exist without it.

Click here for even more amazing photos!

About Techno-Joy

You’re also keen on using technological resources. I’m hoping to finally start using a program or two m’self, such as Scrivener. As a writer with multiple devices and obligations, which program do you find most useful for building and writing a fantasy world and why?

As you mentioned, Scrivener is huge. I’d be lost without that program, and version 3 on the Mac is superb. All my writing is done inside Scrivener.

For world-building Aeon Timeline is an application which helps me give context to my writing. I love visuals, and the character creation tools inside Aeon Timeline help me visualize how old the characters are at the time of the story. I have to imagine ahead of time, which takes out a lot of the guess work.

And then, interestingly enough, I love minecraft as a world builder. In fact, the first novel I completed, Welcome To The Valleys, was started because I wanted to write the story for the world I’d both explored and created. As I explored villages, terrain, and roadways I could visualize the world as a living space, which made it fun to write.

About the Book

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Now let’s talk about your book, In the Land of the Penny Gnomes. Not only do you have an omniscient narrator to tell the story, but the Narrator himself is a character that interacts with the young hero, Will. Can you explain the process that brought you to this writing choice? What have been the challenges of such a choice? The payoffs?

The Narrator is a combination of techniques both Terry Pratchett and Jasper Fforde use in their work. Pratchett is famous for his footnotes, in which the Narrator issues an aside to the audience. So my use of footnotes is an homage to him. At the same time, Jasper Fforde uses footnotes so characters can communicate with one another (3). These two techniques became the genesis of the Narrator, a literal bridge between the reader and the characters in the story.

The main challenge was to not have the Narrator appear to fix everything on every other page. I’m not sure he’s Omniscient in the usual sense, because he’s on the journey with Will. He knows things, but there’s still things for him to discover, which is unusual for the Narrator. The biggest payoff is what Pratchett discovered, breaking the fourth wall to have the Narrator speak with the reader is a great way to add some weight to the connection.

One of my favorite elements in your book are the unique traits that go into the characters, like Professor Nobody, the gnome fixed upon the creation of the perfect snack chip. What on earth (or elsewhere, of course) did you find the inspiration to gather up such traits, let alone names?

Professor Nobody was named because I loved the gag his name creates. The Narrator can say things like “Nobody smiled,” and every time he did it would make me laugh. Nobody is my favorite character to write, there’s a lot of depth in that mad scientist.

Bug was named just because I wanted a name to match his personality. His last name is really bad Koine Greek, and means, “Not of me.” So Bug’s name, though Bug is actually a  nickname, basically means, “Don’t bother me.” He’s unhelpful, grumpy, and points out the foibles of his own people group — which is something we are not supposed to do. Bug’s my hero.

Other names just… came to be. Though Grimby’s name is easy to confuse with “grimey,” which I enjoy.

The snack chip thing. I have no idea. I think Nobody pointed it out to me, if I’m honest, because it makes zero sense. I remember I liked the slogan “Snack Like Nobody’s Business,” which is a great pun on a number of levels, and ran with it.

While I have no idea how I came up with the whole snack chip think, their presence became a sign that he wasn’t giving up on The Realm. Nobody needed something to work toward, and what more ecould a deranged professor of Applied Imagination want than great snack chips?

Now I know you’ve got big plans for Realmian, what with saving imagination–and snack chip creation, and coffee, and Will–from pesky camouflaged lawyers in The Realm. Is there a sequel in the works with Bug, Professor Nobody, and the rest of the Penny Gnomes?

Yes, and I have you to thank for it, as you were the one who told me to keep exploring this world. In the second book the story will center around two the supporting characters I really enjoyed from the first book. It’ll follow Grimby the Dwarf and Fineflen the Darned Elf as they investigate a conspiracy to corrupt the Penny supply. The other characters will shift to supporting roles, with the exception of Sills.

Right now I’m mapping out the story in Aeon Timeline ahead of time, which will allow me to keep two separate story arcs in sync. This is fun, because it’ll be the first time I’ve tried to do this!

This is going to take a while. In the last six months I’ve managed to map out exactly two chapters!

If anyone wants to follow updates on The Realmian Adventures I encourage folks to follow @PennyGnomes on twitter. This is where I’ll be sharing updates, and where the characters sometimes decide they want to hijack the feed to add their own commentary.

1. And that’s if they’re winning. If they’re losing I get downright grumpy.
2. Which she sometimes forgets. She once told me she thinks Penny Gnomes should be a movie, but then remembered herself and shrugged with feigned nonchalance.
3. It’s complicated.

Aw, I was helpful! Well I can’t wait to see where you go next in The Realm, Wes. I think the cast change-up is perfect–just like Diana Wynne Jones in the Howl Trilogy. 🙂

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THIS HOLIDAY SEASON, GIVE THE GIFT OF WORDS

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Photo by NastyaSensei Sens on Pexels.com

I love giving books for Christmas: they engage and inspire over and over again. My kids are getting books, my husband’s getting books–words for everyone!

Feel free to give my book to people, too, nudge nudge. 😉

We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams. (3)

Know what? Authors would love to receive YOUR words for Christmas, too. Book reviews help writers reach new readers on Amazon and Goodreads. So spread some cheer this season by sharing your love  of your favorite stories online. We authors will love every word you say!

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

#writing #music: Alan Silvestri II… Silvestri Harder.

As 2018’s National Novel Writing Month draws to a close, I thought I’d offer a little music to help those entangled in face-offs and final battles. We all could use a little muscle to pull us out and onward.

What better muscles can I give you than these?

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Alan Silvestri’s music defined adventure during my childhood: Back to the Future, Flight of the Navigator, and Who Framed Roger Rabbit come to mind. This powerhouse of a composer knows how to carry audiences off into the air with heroic brass and whimsical strings.

I know: you’re not here to start an adventure. You’re here because it’s time for you–and the characters of your story–to kick some villainous butt.

So let’s join up with the best of the best, the men of muscle who fly across the border and walk into a guerrilla nest without flinching. Men who chew cigars, sweat through camo paint, and say lines like “I ain’t got time to bleed” and sound tooootally bad-ass.

Predator isn’t a scifi-action classic purely because of Arnold Schwarzenegger’s performance, or only because of Stan Winston’s monster creation. Silvestri’s score plays a HUGE role in this story’s atmosphere, too.

Arnie’s military group is sent on what they think is a rescue mission deep in central America–until they find men of a previous “rescue mission” skinned and hanging from a tree. We see no evil, but we see its horror. Silvestri gives only a single, drum-like percussion, far off. An alien’s heartbeat, an echo of another nature. It’s never completely gone; rather, it hides in the rest of the orchestra’s bursts of harmony in the brass, strings, and percussion. The music sweeps up, sweeps down, all stealth and caution….until the two minute mark. The low brass of epiphany emphasizes the characters’ realization the situation is not what they presupposed.

Silvestri nails suspense with a moment when Arnold’s crew sets a trap for whatever’s killing them. The strings remain high, tight. No aggression in these first few moments, only fear–though no one wants to admit it. The combination of high strings and oppressive jungle makes characters and audience alike ready to snap under the pressure to wait. This moment often helps me add extra setting details to make the characters look hard for the villain as they wait for  the trap to be sprung. And you’ll know when the villain comes, all brass and drums.

Silvestri and violins, man…he just knows how to set them running up and down in arpeggios to quicken the heartbeat. With opening in a dissonance, we put our survival instincts into a panic. We run with the strings, and the moment they stop we skid to a halt. The brass and piano takes up the chase, hunting us, hunting the characters, both.

And climax? Ye GODS, Silvestri knows his pacing. The first minute is almost sweetly mysterious with the strings as we think we’ve won against the fantastic thing, this hunter. We can stand over it victorious as its strange insides are exposed to us…until the brass and piano begin. They begin a steady build, add the percussion, build. Then the strings start to run and you know you’ve got to get the hell out of there before evil steals your victory in death.

We all want our heroes to win the day, but we don’t want it to be easy for them–there’s no story without conflict. We gotta make our heroes scared. It takes some serious fear to make the final victory all the sweeter for characters and readers alike.

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Last-minute call for shout-outs to go in my newsletter! I’d love to  share what you’re up to with my readers. Click here to subscribe my newsletter, too!

 

 

 

Your input could also be a huge help for my next batch of Tales of the River Vine. I can’t decide who to write about next! Do you have a favorite character from Tales or Fallen Princeborn: Stolen that you feel needs some extra page time? Please let me know in the comments below.

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

 

An #Author #Interview with @Celine_Kiernan, Part 2: #writing #characters to hook #readers of any age

199_Celine_webCeline Kiernan’s critically acclaimed work combines fantasy elements with the exploration of political, humanitarian and philosophical themes. She is best known for The Moorehawke Trilogy, a dark, complex trilogy of fantasy YA books set in an alternative renaissance Europe. In this second part of our interview, I ask Kiernan about writing characters and storytelling for a Middle Grade audience in her latest book, Begone the Raggedy Witches.

You created some amazing characters when you wrote The Moorehawke Trilogy. The trio of friends in the first book, The Poison Throne, are delightfully unique, genuine, and engaging. So much can happen in five years, especially when one changes from a child to a teen. What do you feel was the most challenging aspect of writing teenaged characters for The Poison Throne as opposed to writing them younger, or as fully-grown adults?

I didn’t find it a challenge. To be honest, I just write my characters as they are in my head. I make no conscious decisions re market or target audiences or anything. A book occurs to me and I write that book.

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Razi, Christopher, and Wynter of The Poison Throne

I think young characters can be tempting to write about, because it’s a time of life when you’re not too much tied down to the minutia of daily life (paying bills, feeding babies, getting to work on time) and so your mind can be better focused on big issues – and freer to physically engage with changing injustices. Everything is so new too – first love, first sex, first meaningful encounters with death, injustice, triumph, philosophy etc. In Resonance, however, the young characters are very much the working poor and so their minds are on how to get and keep work, how to pay the bills, how to survive in an unsympathetic society, while also battling the uncaring supernatural forces which want to use them up and discard them. In Moorehawke and also in Begone the Raggedy Witches, there are many older and middle-aged side characters which bring balance to the younger, innocent and more idealistic main characters.

Now the heroes of Into the Grey caught my attention for a different reason. Here, the protagonists are twin brothers. Being a mother of twin boys m’self, I find this particular bond both fascinating and exasperating. As a writer, what led you to select this specific kind of protagonist duo to head the story as opposed to, say, twin sisters?

41qspFfxpCL._SY346_Funnily enough there are a lot of twins in my books. Ashkr and Embla, the twin brother and sister, in Moorehawke; Dom and Pat, the twins in Into the Grey. Though it’s never made much of in the book I also always think of Aunty and the Queen in Begone the Raggedy Witches as being twins. I also have twins in two of my unpublished novels (brothers in one, sisters in the other) It had never occurred to me before to explore why, but I do think it’s probably because of my fascination with the different paths people take in life. What could be more interesting than two identical people, starting from an identical base-line, growing into individuals?

The twins in Into the Grey had to be boys as it was specifically a boy’s experience of war which I needed to explore in that narrative.

Now this year you published Begone the Raggedy Witches, the first book of a new trilogy. Unlike your previous works, this trilogy is geared for Middle-Grade readers. What are the benefits—and challenges—of writing this story for a slightly younger audience?

None really, to be honest. I just approached it as I always do. There was no historical research to these books, though, I guess that’s one difference. I was writing purely to explore personal and sociological themes within a pure fantasy set up. But the books didn’t feel easier to write than the more historically based ones. In fact, they’ve taken me longer than most of my other books to complete. (Mind you, this is happening more and more – I think it’s because I’m better aware of the craft now. My first draft takes longer to produce, but nowadays they’re more complete and better polished than previously.)

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Okay, I just have to end on the first line of Begone the Raggedy Witches, because it is KILLER:

“The moon was strange the night the witches came and Aunty died.”

Ye gods, we’ve got time, intrigue, magic, and doom all packed into one sentence! How on earth did you create this first sentence, and do you have any tips for other writers in creating that killer hook of an opening line?

The first chapter is nearly always the last thing I write. That’s not to say I have written a first chapter ( I write liner narrative, so I work from the start to the finish of every book) It’s just to say that I always go back to the first chapter and refocus it so that it better leads into the narrative. By the time you get to the end of your novel you’re always so much better tuned in to what the themes are, what the characters’ motivations and personalities are etc. etc., the first chapter should evoke or foreshadow these things, I think. Make a promise to the reader as to what journey this novel will bring them on. Often you can’t do that properly until you’ve taken the journey yourself. Funnily enough though, the first lines of most of my books have stayed the same through all the drafts. I can’t explain why. I think it might be because they’ve always been the point from which I enthusiastically dived into the process of starting a new novel. That excitement and enthusiasm doesn’t always last for the whole long, siege-like process, but its almost always there for the first line.

“The moon was strange the night the witches came and Aunty died.”

“We were watching telly, the night Nana burnt the house down.’

‘The sentry would not let them pass.’

‘For a moment, the Angel looked directly at him, and Cornelius’s heart leapt with joy and dread.’

All these lines were bringing me somewhere. All of them were promising me something – I had no choice but to follow them onwards.

My deepest thanks to Celine Kiernan for sharing her stories and experience in the writing craft. It’s an honor to speak with one whose creativity has influenced my own imagination for decades. Please check out her books & her site at https://celinekiernan.wordpress.com/.  Be sure to share a review when you read her, too!

Every Reader Matters!Thank you, dear readers, for buying Fallen Princeborn: Stolen! 

We have all of us had our bloody days, Charlotte. For many it is easier to remain in them than to change. To change requires to face a past stained by screams.It’s still hard to believe my debut novel is out in the world. This story was born the same year as my daughter. Like Blondie, Stolen has gone through many growing pains before setting out to forge its way through the world (or elementary school–that’s epic enough for Blondie). Every time I see a purchase or read a review, my soul goes runnin’ through the clouds. To those who’ve read Tales of the River Vine or Stolenplease share your thoughts with me on Amazon or GoodreadsYour reflections mean all the world to new writers like me!

Shouting for Shout-Outs Again!

Now that we’re halfway through November, I’d like to start gathering up kudos and plugs from fellow creators to share on my newsletter on the 1st of the month. If you’ve a book, an album, a site, or all of the above you’d like to share with new readers, please email me and I’ll hook you up. 😉

Read on, share on, and write on, my friends!JeanLee-nameLogoBoxed

 

 

 

 

An #Author #Interview with @Celine_Kiernan, Part 1: #writing & #worldbuilding in #fantasy #fiction with a little help from #history

199_Celine_webBorn in Dublin, Ireland, 1967, Celine has spent the majority of her working life in the film business, and her career as a classical feature character animator spanned over seventeen years, before she became a full-time writer. I am honored to spend this week and next sharing her thoughts on world-building, research, character, audience, and hooks.

First, let’s talk about the imagination behind the worlds. I see on your biography you spent years in film and animation. What drew you to visual storytelling as a profession before written storytelling? How does your work as an animator influence the way you write today?

 

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Illustration of Chris and Wynter from Poison Throne

From the moment I could hold a pencil I was always either drawing or writing. In terms of satisfaction, I don’t think there’s a dividing line between the two disciplines for me. But at different stages in my life one has dominated the other by the simple fact of making me a living. At the age of nineteen I left college for an apprenticeship with the brilliant Sullivan Bluth Studios, and as a consequence of that went on to a 25 year career as a classical character animator (Land Before Time, All Dogs Go to Heaven, Anastasia, etc.). Animation is a great love of mine ( I animated the book trailer for Raggedy Witches and it was tremendous fun)–

 

 

–but it’s not really ‘story telling’ for me. It’s more akin to acting or dancing, where you’re using your skill to enhance or express someone else’s story. To me writing is my true story-telling outlet. You’re god of your own universe in writing. You get to explore the themes you want to explore, with the characters you most want to be with, in a world entirely of your own invention. Its purity has no equal. (I am a compete sucker for graphic novels, though. The combination of pure story telling and visual representation there is intoxicating. One day someone will offer to pay me to sit down and draw up one of my own scripts, at which stage I may just implode with happiness. Until then I get great joy in drawing bookplates and small illustrations for readers who contact me about my stories.)

I love utilizing the world around me as a foundation for world-building, which means Wisconsin’s landscape is a heavy influence in my work. Into the Grey and Resonance are both set in different historical periods of Ireland: the former in the 1970s, and the latter in the 1890s. What logic led you to choose these particular periods for these stories? Are there any pieces of the Ireland around you that helped inspire the settings? 

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Book plate for Into the Grey

Both Into the Grey and Resonance are set in very specific time periods due to the long and involved back stories which feed into the protagonists’ experiences. Although they are both readable simply as supernatural adventures (Into the Grey is a haunted house tale of ghostly possession; Resonance a story of inter-dimensional aliens and ‘vampiric’ immortal humans) there are deep historical roots to both that not only feed the story, but also the themes that I was exploring as a writer. For instance, Into the Grey explores the divided nature of Ireland’s history and the way our view of our selves and our lives is warped by the stories history tells about us. Resonance explores the value human beings place on themselves and on others, what does it mean to be alive, to be ‘worthy’ in other peoples eyes, etc. These underlying themes are the reason I write in the first place – I write in order to explore the world around me. But I love the stories to be readable as adventures too, to be scary and fun and exciting (in as far as you can ever anticipate what others will find scary and fun and exciting. I’ve found it’s best to just please myself in that respect and hope at least some others will enjoy them too.).

OLYMPUS DIGITAL CAMERAThe mansion in Resonance was deeply influenced by the exterior of Belvedere House in Co Meath and the fabulous interior of Bantry House in Cork, in which my son shot the linked video. (Bantry House is not at all spooky, but this video was shot as a specific tribute to Italian horror movies, so it gives the place the exact frantic, off kilter vibe that the I wanted for the later scenes of the book. It even has a dollhouse – though, admittedly, this one lacking a blood soaked four-poster bed!)

Question about your Moorehawke Trilogy: research. Clearly you did your share of research on medieval life to transport readers into the castle’s kitchens and secret passages. Ugh, that research! I know some writers love the research—friend and author Shehanne Moore does a ton of research for her historical romances, whereas I only research when I have absolutely no other choice. Now granted, that’s partly because I just want to write and work out the nitpicky things later, but the other part is that I get so overwhelmed in the data I can’t decide what details are necessary for the narrative’s clarity and what’s minutiae. Can you share some tips on how to research productively and selecting the best details to ground your readers in the setting?

I usually have a book in my head for a long time before I start writing it. For example, when my first agent took me on I was just finishing up writing The Poison Throne, the first of the Moorehawke trilogy. I still had to clean up draft one of Crowded Shadows and still had to write all of Rebel Prince. There was years of work ahead of me on Moorehawke (taking into account editing etc.) but I arrived at the agent’s with a biography of Harry Houdini in my hand, my reading material at the time. I’d already consumed many books on the history of the American slave trade and was nibbling away at websites and articles about the history of Jewish persecution in Europe. I knew that all of these things would feed into the characters and setting of Resonance, which was the book I planned to write after Moorehawke.

download (2)If memory serves me, it would be at least two years before I started draft one of Resonance, but at that stage I would have had over three years of historical research floating around in my head. I do this with all my books, this years of reading before writing. It means that when I start to write, my story and characters are already pretty firmly grounded in a time, place and setting. They live for me already. So, in a way, it feels like I’m writing about contemporaries. I’m used to the world they live in, and the relevant details settle naturally into the narrative. As I write then, it will be small things that need clarifying – was that type of knife available then? Did they eat that kind of bread? Would they have had access to carriages, to time pieces etc. etc. – and those things only crop up in the narrative if they’re important to the scene. You can quickly check them and move on with the story.

I do the same with all my novels (at the moment – while writing the Wild Magic trilogy – I’m consuming biographies from the 1700s, trying to understand the lifestyle and mindset of the people I hope to populate a future novel with.).

Don’t forget too that editing is a writer’s best friend. You should feel free to put as much useless trash into the first draft as possible. If it makes you happy or interests you, put it onto the page. You can always cut it later (as I’ve got more experience, I’ve learned to cut more and more. I’m far more spare a writer now than I was at the beginning.)

Another element in The Moorehawke Trilogy I LOVE is your world-building. You base the world in an alternative medieval Europe, where cats can talk to people and ghosts are common to see, but religions such as Christianity and Islam have a strong presence. You also explained much of the inner workings of castle life without making readers feel like they had wallowed into info dumps. Exposition can be such a dangerous line to walk in epic fantasy—how on earth did you craft those paragraphs to help readers learn your world without slowing down the narrative?

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Tattoo design for a Moorehawke reader

 Thank you, that’s so nice of  you to say. I do feel that one person’s excruciatingly slow narrative is another person’s meaty delight, so I think the best approach is to write as you like to read and try and be honest to that. However, it’s a good idea to ask yourself in edits whether the information is truly important to the story itself – whether it furthers the readers understanding of the characters, or the plot; or whether it nudges them deeper into the mood or atmosphere of the scene. If it does any of those things, then it’s working for you and you might consider keeping it. Get honest beta readers too – people who will tell you where and when the story has begun to slow or drag for them. Try and get a few of them. If they all tell you that a specific portion of the narrative is a slog for them, then you need to consider cutting a little deeper or refocusing. Make sure the narrative is telling the reader something new or important, and that they feel rewarded by the read.

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Stay tuned next week for more from Celine Kiernan! Now pardon me while I, an 80s child raised on Bluth films, fan-girl squeal for the next several hours. To meet a storyteller of powerful fiction who also helped create the visual stories from my own childhood is soooooo awesome! EEEEEEEEEEEEEEEEEE!

Ahem.

Time to be professional.

Stolen-KindleCvr-MARKETINGI’ve more thanks to share with wonderful indie writers who took time to talk to me about my novel, Fallen Princeborn: Stolen. 

+ Writer and Environmental Lawyer Pam Lazos shared such a lovely interview–I blushed when she called me “a writer’s writer!” Thanks, Friend!

+ Young-Adult Sci-Fi Author S.J. Higbee wrote both an interview and book reviewThank you SO much!

+ Writer and fellow Wisconsinite Jon also wrote both an interview and book review, and on top of shepherding a church, too! You’re too kind.

These are talented writers with stories of their own to tell, so I hope you check them out. Please be sure to share your own thoughts on Stolen or my FREE collection Tales of the River Vine on Goodreads or Amazon–I’d love to hear what you think. 🙂

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed

 

#writing #music: #TheWho

A rare gift comes to the writer when the story and its mixed tape of music ka-chunk and transform. No longer is the music merely the writer’s atmosphere, her source of ambience while storytelling. Oh no. The music is the heroine. The music is the villain. The music is the tension. The music is the scene.

Quadrophenia_(album)This happened to me during 2010’s National Novel Writing Month when I first began drafting Fallen Princeborn: Stolen. At the time I was only using instrumental music for storytelling, while  music like The Who’s Quadrophenia helped me survive the piles of grading in my dropbox. The month had barely started, so I was early in the story of Charlotte and her sister leaving their abusive family in the Dakotas for Wisconsin. Their coach bus breaks down in the middle of nowhere. Another peculiar bus appears with far-too-friendly good Samaritans, and despite Charlotte’s suspicions, she gets on, too.

And….now what?

I tried magical feathers. I tried mysterious goo in the axles. How could I get Charlotte and her sister to the Wall if I can’t make this frickin’ Samaritan trap–I mean, bus–have a plausible reason (for humans, anyway) to break down near the farmland by the Wall? I shoved the story aside and opened up a batch of essays. In the midst of telling the umpteenth student to please remember her thesis statement in the introduction, The Who’s “The Real Me” came on…

…and I saw it.

I saw the scene. I saw it all, frame by frame like a movie trailer. I knew what had to happen:  utilize the shapeshifters’ gifts,  the song to feel Charlotte’s fear race like a heartbeat.

For this song, I realized, embodies Charlotte.

The percussion, guitar, and style of singing are defiant to the point of raging. The song demands anyone, everyone, to look past the surface and see the pain, confusion, and ambition to be.  

In this snippet of the story, though, it is Charlotte who does the seeing. Only she sees the bus driver’s inhumane ability, and realizes they’re all trapped. I could feel all this when I first drafted the scene with the song on repeat in 2010.

Eight years later, little’s changed.

~*~ From Fallen Princeborn: Stolen ~*~

Stolen-KindleCvr-MARKETINGCharlotte bites back the snark and hides in her headphones again. She starts “The Real
Me,” thinking, The bus SMELLS old and gross, but nothing FEELS old and gross. Give me two seconds and I’d be out cold, it’s so damn comfortable.…

At least food has settled Anna down. Now she’s content to walk that quarter from Uncle Mattie up and down the fingers of her right hand. Then flips to her left. The quarter continues its deliberate tumble from pinky to ring to middle to forefinger to thumb and back again. Up and down. Then down and up.
Like practicing scales on a piano, observes Charlotte.
“Nice moves.” Studchin’s face betrays a lack of skills with a napkin.
“Thanks. My uncle taught me.”
Charlotte does a quick passenger check: Potential Homicidal Maniac sits as far from Anna as possible. Twitchy is de-threading his own coat. Mumbles starts singing “Lizzy likes locked things.” The Sweenils argue over who won that Waters Meet Bingo tournament. Mr. Smith sings too softly for her to hear.

Black feathers fly across their window. Violet flashes, a cackle rumbles.
Charlotte spins ’round and stares at the back of the bus.
Jamie is gone.
“Where is he?”
Anna bats those damn glitter-lashes at Studchin one more time before asking, “Who?” Slurp.
“The crazy acne boy with the bags. Where is he?”
Anna opens another cake. “Probably bathroom. Why, wanna ask for his number?”
“What’s this about numbers?” Studchin’s breath reeks of mouse turds and sugar. “Cuz I’ve got one, if you want it.” |Charlotte’s chest burns beneath the pendant. It’s burning like hell, she’s going to pass out— “Can you see the real me, can ya? Can ya?”
What the—? Who the—? Who has the audacity to sing a Who song OVER The Who? Charlotte swivels around in her seat, trying to locate the source. Not Studchin, he wouldn’t know good music if a chorus of show girls sang it from a Jacuzzi of custard. Not his bandmates and, thank god, not Mumbles. Potential Homicidal Maniac? Nope. Dead silent, head still.
It’s Mr. Smith, singing right along with Roger. But how can he hear what she’s listening to on her headphones, from that far up front? Charlotte shakes her head and stares at the back of Burly Man’s head. He stares right back at her from the rearview mirror. Not even the Sweenils notice him singing. No one but Charlotte, always Charlotte.
“Charlie?” Slu-urp. “What’s going on?”
“Shut it.”
“Char—”
“Can you see, can you see the real me?”
“SHUT IT.” To Anna or to Mr. Smith—Charlotte doesn’t care. Get away from my music, my head, my sister. Get away.
Ash-wind pulls on Charlotte’s nose. Black, green, black, green, black: the raven’s circling again. Get AWAY!
“Can you see the real me, Preacher?”
“I mean it, where is that Jamie guy?”
“I don’t know, Charlie. Why do you care?”
“Dude, what is up with your sister?” Studchin to Anna.
“Can you see the real me, Doctor?”
Ash chokes, feathers fly, song deafens, eyes glitter— “Can you see the
real me, Mother?”
Charlotte sees Mr. Smith’s fingers drum along in perfect sync with the song.
And he stares right back. His teeth are painted, ablaze in his smile.
“Can you see the real me me me me me me?”
The raven strikes.

~*~*~*~

Of course, using a song in a story is one thing. Getting permission to use that song is another matter entirely, as I explain in “Days of Walkmans Past.” 

I hope you take deeper look at Fallen Princeborn: Stolen on Amazon, and perhaps grab a copy to keep! Click here for paperback, Part 1 of the e-book, Part 2 of the e-book, or the complete e-book with bonus material. Please don’t forget to leave a review on Goodreads or Amazon, too!

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Blondie the Skeleton helps me say thank you!

My deepest thanks to all fellow writers and readers who have been sharing my stories and thoughts on craft. No matter how much I beat myself up for not writing enough, reading enough, living enough, you step up and share my words and make every struggle matter. Folks, these are writers well worth sharing, reading, and befriending, I promise you.

Historical Smexy Romance Writer Shehanne Moore

Family Drama & Mystery Writer James Cudney

Short Fiction Writer Cath Humphris

Short Fiction Writer Sally Cronin

Young Adult Fantasy Writer Laurel Wanrow

Poet & Photographer Sue Vincent

Fantasy Writer Michael Dellert

nanoIn the meantime, I’ve signed up for NaNoWriMo for the first time in years. It’s time to rewrite the third novel of the Fallen Princeborn Omnibus. I promise you even more mystery and mayhem, perhaps even a murder or two in the dank Pits dark and deep…

Are you joining thirty days and nights of literary abandon? Let me know so we can be writing buddies!

 

Read on, share on, and write on, my friends!

JeanLee-nameLogoBoxed