#AuthorInterview: #indie #fantasy #writer @miladyronel discusses #writing #upsanddowns, #redflags in #publishing, and other journeys spurred by #books.

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Put that Wisconsin snow globe down already!

Hello hello, fellow creatives! I hope you are well and safe where you are. As a friend of mine said on Facebook, Wisconsin seems to be stuck in a snow globe that some cosmic child keeps shaking.

Winter may be magical, but I think we’re all up for a different kind of magic, wouldn’t you say? Let’s add some fantastic wonder to our writing and reading lives with the help of the ever-magical dark fantasy author Ronel Janse van Vuuren.

Thank you for taking time to share your thoughts, Ronel, as well as your stories. I see you’ve got a stunning free ebook available for those who sign up for your newsletter. You describe Unseen as a trio of stories that dive into folklore about the mistress of the veil. I love how deep you dig into folklore and mythology to craft unique stories for modern readers. What kinds of research do you do, and how long do you spend researching before beginning a book?

Thank you. I get an idea for a story. Then I flip through one of my folklore books (whichever one catches my eye that day) and I’ll read through the entries until something clicks. Then I’ll go and research whatever I found on sacredtexts.com where all the books about folklore and mythology that have lapsed copyright live online. To keep everything organised and backed up, I’ll create a blog post about it (even if it’s something that has to be scheduled for two years from now) and look at how the thing was used recently in books, movies or games. It takes about two days to do all the research for a blog post and to write it. So, for example, for “Once and Future Queen” there’s the background of the Rift, Faerie, Seelie and Unseelie Courts, Solitary Fae and magic (all which already have their place in previous books and are all fully researched with blog posts written). But the Season Courts and the Elementals were only vague ideas when I planned this book. So four days for the folklore.

But I also used acid attacks, pottery, police procedure, and gardening in the book. I didn’t have to do much research on gardening – only the meaning of flowers – or any research on police procedure (know enough from personal experience). Which left acid attacks and pottery. Both subjects can pull you down the Pinterest rabbit hole. For the acid attacks, though, I just stick to following @stopacidattacks on Instagram because there are so many resources – and heart-breaking photos.

So for “Once and Future Queen”, I took a week to research everything I needed to know before writing. Plotting is a whole other beast!

Noooo kidding. I was just working on a synopsis for a new trilogy, and worldbuilding the hazy bits is EXHAUSTING. Do you consider plotting to be the toughest part of your artistic process, or would it be something else?

To stop dreaming and to start doing. I create all these stories in my head, talking to characters for hours – and then I remember that I can’t plug a USB cable into my head and download the story to my computer, I actually have to type it. And my head works a lot faster than my fingers (despite typing at a crazy speed that means replacing my keyboard three times a year).

Heavens, that’s a lot of keyboards! I wish I could type that fast, but I get distracted by kids learning from home…or a phone call from the principal when they’re at school. (Sigh) That just does my creativity in. What is your writing Kryptonite?

Shiny new ideas. And stationary! Weird, but these can keep me distracted from what I’m actually working on. I shouldn’t be left alone anywhere that notebooks, pens or anything else deemed “stationary” can be found. I even have a Pinterest board about stationary… https://za.pinterest.com/miladyronel/got-to-love-stationary/

Ha! This is why I can’t hang out in used bookstores or at library sales. I’m always distracted by the possibilities! You mention another big struggle with focus, though, regarding your ADHD, especially after you published your first book. How did publication change your process of writing?

Yes! First, I had to rein in my ADHD. It meant that I had to change the set-up of my writing cave (desk faced away from windows, drapes drawn during the day, internet access hidden until nightfall, phone set to aeroplane mode, etc.) to optimise focus. Then I had to work out an editorial and a writing calendar. It took some time, but I finally have one that is flexible enough to be changed if I have sick days (I hate getting flu because someone two streets away sneezed) or if I get the chance to join an online writing summit (the Women in Publishing Summit the first week of March every year is well-worth attending). I’m usually six months ahead with my work. Before I made this shift, I would jump from project-to-project never finishing anything – I still have folders full of half-finished ideas that I’m turning into amazing stories.

I have quite the list of half-finished ideas, too. Heck, some of them are even on this site, if one wishes to check out What Happened when Grandmother Failed to Die. 🙂 Would you say writing energizes you, or does it exhaust you?

Planning, plotting and researching are energising phases, mainly because it’s all new and shiny – and I can do it in any order which suits my ADHD quite nicely. Writing, on the other hand, is exhausting. Not only does it require me to slip into the mind and skin of the character, feeling what the character is feeling, experiencing what the character is experiencing, and going through time at hyperspeed, it also takes a lot out of me mentally, emotionally and physically to be in that mental space for hours at a time (and it’s painful on my carpal tunnel, leaving me with swollen hands at the end of the writing day). For example: after writing one complete story line in one sitting in “Once and Future Queen”, I was in tears à la Joan Wilder in the opening scene of “Romancing the Stone”. Yeah. Hopefully readers will have the same reaction.

I think we all hope our books pull at something deep within our readers, just as other books have done to us. What’s your favorite under-appreciated novel and why?

“Ushig” by Annemarie Allan is my favourite novel that seems to be invisible on Goodreads. I bought it a decade ago on an online store (as a paperback – I love paperbacks!) and it was so dark and thrilling I just had to read it again to figure out whether I liked or hated it. It introduced me to the Celtic water horse, the ushig, and made me want to learn more about the different types of water horses across cultures.

Have you ever gotten reader’s block?

Unfortunately, yes. For a long time, almost a year, I struggled to read. I pretended that it was because of bad grammar or something silly story-wise that pulled me from the book, but it was as if I just couldn’t read. Then I found this amazing series about faeries by another South African author and it was like coming up for air. Maybe the books are better in my head than they actually are, but after reading three (there are nine primary works and three companion books) I felt like I loved reading again. So I space reading the books out in case reading becomes dull again (it took me two years doing it like that to read the entire series).

Click here to read my reviews about the “Creepy Hollow” series.

Thank you for the recommendation! Such books really motivate us to find the settings that inspire their authors. What literary pilgrimages have you gone on?

I’ve done virtual pilgrimages to New Orleans (vampires, am I right?), several locations in France (the Bastille, anyone?), and Bath (Jane Austen knew her stuff). My first literary pilgrimage happened by chance when I was a tween: I read this amazing book I had borrowed from the school library (can’t remember the title, though it had something about running in it) and it mentioned a local stadium. A few weeks later, my primary school had a sporting event there and I could see the characters from the book competing in their final sprint. It was absolutely amazing. One day I’d like to do those virtual tours in person so I can experience the physical and imaginary spaces meet as I did that day when I was twelve.

YES–I’d love to visit the lands that inspire my favorite stories. Folks, if there is a place you would love to visit on a literary pilgrimage, please share it in the comments below!
Now, back to writing. You write a good deal of fantasy, both in series form and as standalone stories. Series writing is often the “hot” thing to do from a marketing perspective, but let’s face it–a lot of stories can be told in one book! Can you describe your process for choosing whether a story requires one book or more? 

With my current on-going series, the decision was made to do several short books as it isn’t conforming to any publishing norms: the first book (for free on most online retailers) has a couple of flash fiction pieces (defined as a story shorter than a thousand words) followed by the folklore from original (very old!) sources. It serves as an introduction to the series. The second book, exclusive to newsletter subscribers, contains three connected short stories followed by a bit of folklore. Books three and four are flash fiction collections, books five, six and seven are short story collections, books eight, nine and ten are novellas, and the last five will be even longer as they connect storylines from all the books before them.

Readers will either love or hate this way of telling the story. But with so many storylines and characters that tell the bigger story, it was the best way for me to tell it and for readers to consume it (in bite-size pieces). I’ll probably release a box-set when all the books are done (hopefully by the end of this year!).

But for other stories, I stick with one escalating problem per book. In “Magic at Midnight”, Amy saving her pegasi no matter the cost was the core problem, everything else just sort of happened and anything that would have dragged the story beyond one book was cut. There might be more books set in that universe at a future date, but then the series will be connected through a shared universe, not because Amy’s story was dragged out.

Personally, I like to look at TV series to see when they’re dragging a thing out too long. For example: “The Vampire Diaries” ends perfectly at the end of season four when Damon and Elena end up together. The point of the series was to get her to choose her true love between the Salvatore boys, and when she chose the Salvatore I liked, it should have ended. Torturing Damon in season five, Elena being removed from the series in season six, mama Salvatore coming to town in season seven, and the Sirens in season eight were all filler until Damon and Elena end up together anyway. The point? Know what your story is about and cut anything that doesn’t belong.

Excellent advice! There are many traps for writers aspiring and established alike, and we all fall into them at some point. What are the worst you’ve seen?

Most traps are set in “everyone knows” or strongly believing something because it is “what everyone says.” As you move deeper into the writing world and especially the dark side, as Mark Dawson calls indie publishing (he’s a big-name indie author, FYI), you learn that you have to forge your own path and do things your own way. But here are the biggies that is especially prevalent among South African aspiring writers and I believe everywhere else:

  • Believing everything Stephen King says in “On Writing” to be gospel. (It’s a good book, but there are other great books about writing, too. See my Goodreads shelf for inspiration.
  • Believing that being published through a big publishing house is the only right way to be published.
  • Believing that having an online presence as an author shouldn’t be done until a publisher tells you to do so.
  • Being so desperate to have that publishing deal, that they’ll sign their rights away without thinking twice.

These are definitely major assumptions we’ve got to work on changing. Considering your experience in writing and publishing, what would you say is the most unethical practice in the publishing industry?

There are several. Some I even fell for as a newbie author. To be absolutely safe, I suggest checking out “Writer Beware” run by Victoria Strauss.

Two I would warn about, though, as they aren’t talked about enough.

  • Reviewers asking for money. It happens. It’s even acceptable in some places. Even on BookSirens (the best place to find reviewers in one spot) has good reviewers asking for a fee. But here’s the thing: Amazon doesn’t like paid reviews. And if a reviewer contacts you because “they love the blurb and the cover is so gorgeous” you shouldn’t feel flattered: just delete the email. This was a costly lesson. Not only didn’t the reviewer deliver on her end (despite shining testimonials and seeing all the proof that it is money well spent), she got my surname wrong. Building your own review team organically is the best way to get honest, proper reviews for your books.
  • Sponsors of competitions offering more services for your book. Look, at first I didn’t think twice about it. I knew nothing about indie publishing and thought the amount the “self-publishing with support” company was asking to convert my book into an ebook was reasonable (the prize of printed books I’d won was worth more than twice that). The promises of promotion and all the other things that sound good (getting your book into a brick-and-mortar store) didn’t happen. And despite telling them what the price for the ebook should be, I found it for five times the price on the (only) store they’d published it to. With Amazon, you can easily convert your own ebooks (with Kindle Create) and your paperbacks (either with Kindle Create or with their templates) for free, you can hire freelancers on Upwork to do it for you, and you can format your ebooks easily on Draft2Digital for free. It doesn’t have to cost as much as the printing of a couple dozen books – for an epub “that you can load to Amazon” (tip: Amazon prefers mobi or Kindle Create (kpf) files).

Thanks you SO much for taking time to chat with me, Ronel! Let’s wrap up with a little marketing advice that helps fellow indie authors avoid those unethical practices and helps them connect their stories to readers. What have you found to work with marketing your own books? 

Being authentic. Readers want to connect with the person behind the words. It’s not always easy. I mean, going through the process of your furbaby dying is excruciating enough without sharing it on Instagram, but sharing those real moments in your life help readers to feel like they really know you. The same with sharing a new haircut. Some things are off-limits, like the parts of my life connected to others who don’t want to be on the internet, but I share enough without over-sharing. It works a lot better than doing cover reveals, blog tours and all the other “must-do” marketing things put together. (Though I still love doing cover reveals and blog tours.)

Thank you for having me.

Anytime, Ronel! Folks, I hope you can check out Ronel’s site and all her amazing books.

~STAY TUNED!~

A random library selection has taken me down some new roads of worldbuilding. I hope you’ll join me as I ride the rails and roads through some fantasies of other-wheres…

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

#LessonsLearned from #JohnLeCarre: Always #Write a #Setting of Quality.

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Welcome to February, my friends! Sunlight is rare in Wisconsin these frigid days. The snow has frozen, and mothers–well, this mother, anyway–cruelly refuse to let children hurl ice at one another for fun. This has led to lots of running about the house, blasting imaginary baddies while flying off on dragons, Transformers, and Federation star ships. So long as their epic battles do not end with more stitches, we’ll be fine.

Tales of action and adventure have been long been a part of my life, and Bo’s, too. James Bond is a mutual favorite–the suave rogue against impossible villains, constantly in daring chases across the world, winning all the women and destroying all the doomsday devices. That’s what spy films are all about, right?

And then I discovered John le Carré through a whimsical selection of the library: Tinker, Tailor, Soldier, Spy starring the late great Sir Alec Guinness. Bo, ever the student of all things related to cinema, told me Le Carré wrote the George Smiley novels as a literary retort to Fleming’s Bond.

Image from Bond on the Box. Click the link for more information on a fascinating debate between Anthony Horowitz and David Farr about the spy-worlds crafted by Fleming and Le Carré.

The two authors did actively serve their country in the Intelligence realm, so considering how each approached the world of spies, I’ll leave the idea of a rivalry up to you. Personally, when a character describes protagonist Smiley with “Looks like a frog, dresses like a bookie, and has a brain I’d give my eyes for,” I can see how one could perceive Smiley to be the antithesis to the debonair 007.

In celebration of the incomparable John Le Carré, let us visit the postwar England of his protagonist, George Smiley. Let us see how one author transforms the landscape for a story dark and full of danger…oh, but this is not a tale of international espionage. Oh no. This is but a humble tale of a village murder.

Yet even a village murder can be filled with secrets and lies. Even a village murder can be a story of quality.

In the spirit of SJ Higbee’s Friday cover comparisons, let’s see a few covers. while I love the ornateness of the Q, isn’t it a shame the back color is a drab white? The gold is practically lost to it.

We begin.

Chapter 1: Black Candles

The greatness of Carne School has been ascribed by common consent to Edward VI, whose educational zeal is ascribed by history to the Duke of Somerset. But Carne prefers the respectability of the monarch to the questionable politics of his adviser, drawing strength from the conviction that Great Schools, like Tudor Kings, were ordained in Heaven.

“Ordained in Heaven.” Already, Le Carré establishes Carne School’s feelings of superiority over the rest of the masses. Not only is this school connected to the throne and the aristocracy, but to God himself. Surely no common man would think himself better than such a place.

And indeed its greatness is little short of miraculous. Founded by obscure monks, endowed by a sickly boy king, and dragged from oblivion by a Victorian bully, Carne had straightened its collar, scrubbed its rustic hands and face and presented itself shining to the courts of the twentieth century. And in the twinkling of an eye, the Dorset bumpkin was London’s darling: Dick Whittington had arrived. Carne had parchments in Latin, seals in wax and Lammas Land behind the Abbey. Carne had property, cloisters and woodworm, a whipping block and a line in the Doomsday Book–then what more did it need to instruct the sons of the rich?

“Rustic hands.” “Bumpkin.” A school of the country, nestled in the dirty rural life, yearns to be a part of the “courts” and be “London’s darling.” Classism flows through the novel with a powerful current, the kind that grabs you by the foot and pulls you under if you’re not careful. We must tread on, carefully, for the students are arriving.

This cover tells me I am in a school, but that’s it. The font for title and author are equally vague. Blech.

And they came; each Half they came (for terms are not elegant things), so that throughout a whole afternoon the trains would unload sad groups of black-coated boys on to the station platform. They came in great cars that shone with mournful purity.

They came to bury poor King Edward, trundling handcarts over the cobbled streets or carrying tuck boxes like little coffins. Some wore gowns, and when they walked they looked like crows, or black angels come for the burying. Some followed singly like undertakers’ mutes, and you could hear the clip of their boots as they went. They were always in mourning at Carne: the small boys because they must stay and the big boys because they must leave, the masters because mourning was respectable and the wives because respectability was underpaid…

Oh, this imagery! All the vibrant energies equated with youth have been cloaked with black and contained with piety.

But more on that in a moment, I just want to pause here on the importance of connecting what is “normal” in one setting is not always normal elsewhere. Sending children away to boarding school is not a common thing in the United States; I did so in high school (that is, for ages 14-18), and even for my religious boarding school, life was nothing like Carne. At first read, I couldn’t help but think of Ripping Yarns by Michael Palin and his episode all about poor Tomkinson’s transformation from a lowly first year to…well. You can watch the episode. It’s brilliant. 🙂

For those who did not send or attend a boarding school for children, this idea of youth forced to attend a starkly religious place for education completely justifies this procession of “black angels” and “little coffins.” But Le Carré also says the boys look like “crows,” and this hints at something a bit more malicious, a bit more sinister. After all, crows are the mediators between life and death, and feasters upon the rotting flesh of others.

Crosshairs! Well now, that is exciting. 🙂 But why the pea green?

We’re not two pages in, yet we are already keenly aware Death is afoot in this place.

…and now, as the Lent Half (as the Easter term was called) drew to its end, the cloud of gloom was as firmly settled as ever over the grey towers of Carne.

Gloom and the cold. The cold was crisp and sharp as flint. It cut the faces of the boys as they moved slowly from the deserted playing fields after the school match. It pierced their black topcoats and turned their stiff, pointed collars into icy rings round their necks.

“Gloom and the cold.” I love that this is a sentence fragment after such lines about gloom over “grey towers”–for an institution that considers itself divine, Carne certainly has no physical sense of light or hope. But gloom can be a different thing on warmer days, when sunlight is not so rare. In the wintry days of Lent (Carne can’t even refer to this time as the Easter Term, Easter being a holiday of light, resurrection, glory, HOPE!), when the Divine is at its lowest point in preparation for crucifixion, the cold has a physical power to “cut” the innocents of this school.

Carne isn’t the only gloomy place

in England on this day. London, too, struggles beneath foreboding.

Who the bloody hell designed this?! There are no mysterious men in sunglasses, no sexy dames with their thighs hanging out. Just because a spy is in the novel doesn’t make it a spy novel! You are a very stupid boy, Tomkinson!

Abruptly [Brimley] stood up, the letter still in her hand, and walked to the uncurtained window…She looked down into the street, a slight, sensible figure leaning forward a little and framed by the incandescent fog outside; fog made yellow from the stolen light of London’s streets. She could just distinguish the street lamps far below, pale and sullen. She suddenly felt the need for fresh air, and on an impulse quite alien to her usual calm, she opened the window wide. The quick cold and the angry surge of noise burst in on her, and the insidious fog followed. The sound of traffic was constant, so that for a moment she thought it was the turning of some great machine. Then above its steady growl she heard the newsboys. Their cries were like the cries of gulls against a gathering storm. She could see them now, sentinels among the hastening shadows.

This theme of proper mourning flows downwards from the school to the nearby village. For instance, Le Carré has readers picture the village’s hotel as “sitting like a prim Victorian lady, its slate roof in the mauve of half mourning” (24). When a policeman meets with George Smiley about the murdered wife of a teacher, he wastes no time in establishing the set-apartness of Carne School:

“Funny place, Carne. There’s a big gap between the Town and Gown, as we say; neither side knows or likes the other. It’s fear that does it, fear and ignorance. It makes it hard in a case like this….They’ve got their own community, see, and no one outside it can get in. No gossip in the pubs, no contacts, nothing…just cups of tea and bits of seed cake….”

“Town and Gown.” What a phrase. Now this definitely recalls something of my own boarding school experience. We were all of us outsiders to this small Midwestern community. We weren’t of their earth, we teens of unknown backgrounds. And with all the rules dictating where we could go and when, we rarely connected with any peers of town. Where no one knows the other, ignorance will take root, and in Carne, those roots run as deep as the currents of classism. All are beneath the sanctity of the School, worthy only of “bits” of seed cake and tea. Not even seed cake–bits of seed cake. It hearkens to the Biblical image of dogs begging for scraps from the Master’s table, and that such scraps of Gospel Truth are the key to salvation.

Now this one I rather like. The red threatens, the long shadow looms. The boy on a bicycle looks to the side as if worried (as he should be). The text size and color aren’t ideal, but they do stand out without detracting from the boy.

Yet clearly Carne School does not feel the rest of the town is worth such truth, as one teacher proves in a conversation with Smiley:

“The press, you know, are a constant worry here. In the past it could never have happened. Formerly our great families and institutions were not subjected to this intrusion. No, indeed not. But today all that is changed. Many of us are compelled to subscribe to the cheaper newspapers for this very reason.”

It is quite a surprise to Carne School’s faculty, then, when the new teacher’s wife refuses to follow the rules and restrictions that keep Town and Gown apart. After this same wife is found brutally murdered in her home late one snowy night, both Town and Gown are suspect because, as another teacher’s wife put it, “‘Stella didn’t want to be a lady of quality. She was quite happy to be herself. That’s what really worried Shane. Shane likes people to compete so that she can make fools of them.’ ‘So does Carne,’ said Simon, quietly.”

Let us close this analysis with Smiley’s glimpse of the murder scene.

[Smiley] glanced towards the garden. The coppice which bordered the lane encroached almost as far as the corner of the house, and extended to the far end of the lawn, screening the house from the playing fields. The murderer had reached the house by a path which led across the lawn and through the trees to the lane at the furthest end of the garden. Looking carefully at the snow on the lawn, he was able to discern the course of the path. The white glazed door to the left of the house must lead to the conservatory…And suddenly he knew he was afraid–afraid of the house, afraid of the sprawling dark garden. The knowledge came to him like an awareness of pain. The ivy walls seemed to reach forward and hold him, like an old woman cosseting an unwilling child. The house was large, yet dingy, holding to itself unearthly shapes, black and oily in the sudden contrasts of moonlight. Fascinated despite his fear, he moved towards it. The shadows broke and reformed, darting swiftly and becoming still, hiding in the abundant ivy, or merging with the black windows.

We return to darkness, slick and liquid, seeping into all the cracks seen and unseen. We return to the imagery of a woman from a bygone era and the doomed youth. In this place ordained by heaven to protect and enlighten, the pure innocence has been stained black and red. Beware the Town. Beware the Gown. Beware the Devil flying with silver wings.

Such are the details that catch the reader’s breath in their throat. Hold it there, writers. Take a lesson from the Master of Subtlety and Method, whose Slow Burns creep so delicately the reader never notices the licking flames until it’s too late. Use the details of the setting to bind actor, atmosphere, and action together, leaving no chance for escape until the final page is read and the reader can breathe at last.

~STAY TUNED!~

Along with more lovely indie author interviews, I’m keen to share my process in worldbuilding for my own fantasy fiction. We’ll have a go at a little mapping, a little digging, a little thrill-seeking. 😉

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

#Indie #AuthorInterview: @SavyLeiser Discusses Tough #Storytelling, the Importance of #OwnVoices, and the Joy in #Writing #RealStories of #RescueDogs in @FureverBooks

Happy December, one and all! I think we would all love to enjoy some stories with our morning dish of treats, wouldn’t you say?

Luckily I have just the thing.

As I was researching the murky world of network marketing (aka, multi-level marketing) for my short story “The Hungry Mother,” I came across an indie author who spreads awareness of networking marketing’s scams while also writing YA novels and books dedicated to rescue dogs and funding rescue shelters. My friends, please welcome Savy Leiser!

Let’s jump first into how hard you help promote other writers and voices. I was deeply moved by your June video on OwnVoices and Diversity in fiction. You emphasize the vital role sensitivity readers play in bringing a story to bookshelves—and how publishing companies need to pay more attention to them. Have you noticed any shifts in the publishing world to be more inclusive, or no?

Thank you! I’m glad you liked that video. From my perspective, I’d say yes, there has been a shift to be more inclusive. However, I’m always cynical regarding big corporations. A lot of the pushes for diversity by larger publishing houses seem to be performative. I recently posted a video called “Books I’m Reading for Bisexual Visibility Day,” and after reading A LOT OF BOOKS, I noticed a consistent pattern: the books that were self-published or published by small presses had way better representation. I think a lot of times, big publishers study and adapt to market trends (which is reasonable from a business perspective) but a lot of the push for inclusion comes from indie authors writing what they want to write and putting it out there, not taking no for an answer. I’ve talked about this in other videos too; sometimes I worry that publishing houses are scared to publish m/f romances with bisexual characters because it’s easier to box something into the market as a “LGBTQ+ romance” or a “straight romance” — but indie authors are doing a great job with that already.

It definitely seems to make a big difference when indie authors have that extra creative control. I remember you saying something about a neat new way readers can get a hold of awesome indie reads. What was it, again?

Yes! Another YouTuber, Amara Franklin, just launched an indie books subscription box! It’s called the Indie Bookworm. Here’s the website: https://theindiebookworm.com/

Ah, that was it–thank you! Let’s peruse your own books for a bit. You first published The Making of a Small Town Beauty King back in 2016. This coming-of-age novel brings to life many family struggles in a small-town setting many of us can relate to. What inspired the seed of this story to take root in you, and how did publishing Beauty King change your process of writing?

My original inspiration for this novel was the town where I went to high school. Most people know I’m from Chicago (and still live here!) but when I was younger, my family moved to rural Pennsylvania for a few years, and I went to high school in a Philadelphia suburb with a town fair. Our fair had a beauty pageant, where a few of my friends won awards over the years. I always considered entering but I was never good at adapting to traditional beauty standards. As a teenager, I had that constant conflict of what empowerment for women meant; did it mean a lack of pressure to adhere to beauty standards, or freedom to adhere to those if you choose? (This is a theme I explore in Sculpt Yourself as well.) When I was in college, I decided to explore these feelings in a screenplay for a class, and after I graduated I decided to turn it into a novella.

As one who helped care for her grandmother during her last years suffering dementia, the premise of your novel One Final Vinyl really struck a cord with me. Does this story have roots in your own life? What inspired the road trip your protagonists (a teen and a ninety-year-old woman) take?

Yes! This book has two main inspirations: my own grandmother and another 86-year-old woman I met and never saw again. My grandmother, Kasia (my parents recently adopted a new dog that they named after her! And I’m planning out a big tattoo of her name to get on my arm soon) was one of my primary guardians during my early years. When my mom was working 4 shifts, I spent most of my time at my grandma’s house, so she and I were really close. She started showing signs of dementia when I was in high school and she passed away when I was 19, which took a huge toll on me. A couple years later, an 86-year-old woman appeared at my front door in the middle of the night. She had driven away from her retirement home and gotten lost, and she also seemed to show signs of dementia. While we waited for her daughter to come get her, she and I spent the evening having Christmas cookies and tea while she told me about her childhood in the Great Depression. I’ve never seen her since then, and I’m not sure if she’s still alive, but that kind of interaction, where two people randomly cross paths like that, hit me really hard emotionally, especially since she reminded me of my grandma whom I’d lost recently. Sometimes I’d ponder, what would happen if I’d spent more time with her? What would’ve happened if someone randomly met another person like this and ended up on a road trip? Eventually, the pieces for the story came together for me.

You work damn hard taking readers into places they may not have been ready to go on their own, but through your characters they can tackle issues like self-worth and body image. Sculpt Yourself is a powerful example of this. As a writer, how do you balance telling a good story while also sharing an important message with readers?

I like to think of writing as my way to normalize a more equal world. We all have specialties and our own strengths we can use to make the world better. I’m not going to change laws; I’m not a politician or a lawyer. But I AM a writer, so I can use my storytelling abilities to get someone to think about an issue through a new perspective or to portray a world where those ideologies would be possible. To strike that balance, I focus on the characters and their relationships to one another first. In Sculpt Yourself, the focus is much more on Amber’s relationship with her sister and with her new girlfriend than it is with the sci-fi elements of Lipamorph’s development. I tried to create well rounded characters with a variety of viewpoints that could discuss these topics in an authentic context; that way, it feels like a story, not like I’m hitting the reader over the head with a message.

And thank you for that! I’m all for having an important message in a story, but not at the cost of telling the story well. Would you say writing energizes or exhausts you?

Both, LOL

HA! Fair enough. I know I’ve gone through those same spells where I can get a rush from a flurry of writing only to want a nap a few hours later. (Not that my kids would ever allow that, but I digress.) Establishing a creative atmosphere has been a HUGE challenge with the twins remote learning this year. What would you say is the most difficult part of your own artistic process?

Being lonely. I’m a hardcore extrovert. I used to do my work in public, at coffee shops, or at random places throughout Chicago. But now there’s a pandemic going on. I also used to sell books primarily at events, like conventions and art fairs. But now there’s a pandemic going on! The pandemic has been REALLY rough on my business and my creative process and I’ve had to adapt a lot.

I could loan you my kids for a week if you’d like to re-create the hum of social noise, lol! Even reading can be a struggle sometimes. Have you ever gotten reader’s block?

Definitely! I go through periods where I’ll read like 12 books on my Kindle in one day, and then go months without reading anything. My reading habits definitely aren’t consistent.

Have you read anything that made you think differently about fiction?

I read the book Two Boys Kissing by David Levithan for Pride Month in 2018. That book uses POV in one of the most interesting ways I’ve ever seen: a combination of plural first-person POV through a Greek-chorus style setup, combined with an omniscient third-person POV of all the main characters. That book sticks with me because of how much it made me reflect on how authors can use character points of view to their advantage in storytelling.

What is your favorite childhood book?

I loved the American Girl books, and that company was actually a huge inspiration for the model I followed with Furever Home Friends. (Books and toys combined to help kids learn!) I loved the series about Molly from World War II. I have my doll of her displayed on top of my bookshelf.

Oh my gosh! I looooved the American Girl books, and I still have my Kirsten and Addy dolls. I learned so much about life in the 1800s and the struggle to build a new life after traumatic experiences. I’ve dabbled with writing historical fiction with my own novella Night’s Tooth, but I threw enough fantasy into it that the history’s a bit, um, loosey-goosey. What kind of research do you do, and how long do you spend researching before beginning a book?

That depends a lot on the book. For the 4th Furever Home Friends book, Kringle’s Christmas, the research was completed in one afternoon when I interviewed the owner of the shelter where he was living all about his story. For #SavvyBusinessOwner, I talked mostly about my own personal experiences, so I just launched into that book without a whole lot of research. It depends a lot on the project.

What would you say are common traps for aspiring writers?

Twitter!

Darn tootin’. I have to set a timer for myself so I don’t fall down the social media rabbit hole. It’s so tempting when we tell ourselves “but that’s where the small presses are! I could query!” Then here we are, two hours later, still reading reaction tweets about DC comics or something. As an indie author who has launched her own books as well as recently signed on with an indie press, what do you consider to be the most unethical practice in the publishing industry?

That’s hard to say. The industry is vast and includes a lot of different types of companies, writers, creators, and readers. I don’t want to publicly trash talk any specific publications right now, but I do have a problem with the barriers put up to keep small businesses from achieving success on the level of the established big 5 publishing corporations. For example, if your book gets published with a big press, you’re more likely to get reviews in established periodicals that schools and libraries receive in the mail and use to make their purchasing decisions. Some reviewers will only accept books sent to them by publishing companies rather than individual authors.

I suppose that’s partly why you do a LOT as an indie writer when it comes to maintaining and building your platform. Could you share at least one method of marketing that, after three books and your awesome new #SavvyBusinessOwner: A Book for Small Business Owners!, you’ve found to be effective?

Thank you! Honestly, my YouTube channel has been the most effective form of marketing for me. With the internet being such a prevalent force in people’s lives (especially during the pandemic!) people are more likely to become fans of content they can receive for free. I think of all the webcomics I read for free online, and then went on to buy that creator’s book when they released one, or the YouTubers who created entertaining videos, who I eventually bought merch from or joined their Patreon. My YouTube channel is at almost 10,000 subscribers, which happens because I gave people video content for free. As a result, 10,000 people now know who I am and are AWARE that I have books out, even if they’re not interested in them. The hardest part of marketing is making people aware you exist. I talk about this process a lot in the “Screaming into the Void” chapter of #SavvyBusinessOwner.

Now I may be going out on a limb here, but if I were to guess your writing mascot, it would be your dog. One of the reasons I wanted to interview you was I LOVED the drive behind your book series Furever Home Friends. Please share what this wonderful series is about—and how there are matching comfy dogs and accessories that would make perfect presents for the dog-lovers in our lives!

Thank you! Furever Home Friends is my biggest, longest-running project, and I’m really proud to see this business growing.

For some background, Furever Home Friends is a series of picture books, stuffed animals, toys, and accessories based on real rescue dogs. Each book tells the story of a dog’s journey to adoption and includes a photo of the real-life dog in the back.

For each of our main book characters, we have a plushie friend of that dog that you can “adopt” on our website (that’s just a cute way of saying you’re buying the plushie, LOL) and accessorize with little dog-sized accessories that I created on a 3D printer. We donate 10% of our profits to animal shelters.

Thank you so much for sharing your incredible stories, Savy! I can’t wait to see what your imagination creates next. For those excited to check out Savy’s work, visit her YouTube Channel for a hub of her social media links as well as her Furever Home Friends series.

~STAY TUNED!~

I’m determined to visit with you all before December ends because by golly, Christmas is my favorite holiday and I MISS YOU ALL. I want to talk about music and holiday storytelling, AND I’ve almost won Bo over to the idea of baking a Christmas Pudding. We shall see!

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

#Indie #AuthorInterview: @FDS_NaturallyMe shares her love of #writing #fantasy while I share my love of #storytelling with @Grasshopper2407

Hello, lovely creatives! It’s been crazy adapting to the new full-time schedule, but I know I’ll find my groove in time. I did get to share a virtual slice of cake along with an interview with fellow indie writer Claire Buss.

Click here to check out the interview.

I was also fortunate to interview another awesome soul in the midst of crazy remote schooling. Read on to check out my chat with the fantastical F.D. Stewart!

What is your favorite childhood book?

The Beautiful Bible Stories for children book.

I know what you mean. There are some powerful stories in the Bible! I was raised in a preacher’s home, so faith has always been a part of life. You mentioned your family has inspired some of your fantasy writing.

My mascot for this series is Grandma Quinones. She reminds me of my grandmother, who is the backbone of the family, and she keeps us together. She is a grandmother of wisdom and knowledge and does not play at all

What was an early experience where you learned that language had power?

 When I was a little girl, I started as a lead singer in the Sunbeam Choir. I went from being a lead singer to one of the lead singers in the Gospel choir with my dad, which was extremely exciting for me. Right then, I realize how powerful your words can be when you put your all into what you are singing and seeing the reaction of the people being blessed by it. Even when I write poetry and reading it in front of people of what’s a part of me, is very successful, and you would be amazed how people who you don’t know and do know approach you afterward. Words alone are productive when it begins to help, encourage, or build up a person who needs to hear you at any given time. So, I will always be careful with my words.

We should all be careful with our words, to be sure! For some of us, it takes time hunting down the information we put into words. What kind of research do you do, and how long do you spend researching before beginning a book?

Well, I had never done any research regarding my book until afterward. My book comes to me like a dream, and within that dream, many things pop out at you. You see yourself directing a story that has never been written or heard, and that is why I keep a notebook at my bedside.  When things start happening, my pen starts writing, and later I am looking at words that I never knew existed.

I can just picture this dream-like state! It’s amazing what comes from us when we’re taken over by the story. It’s not always that way, though. What is the most difficult part of your artistic process?

The hard part of the artistic process is trying to match what is in your head. When you can see so many ideas running in your head concerning your work, you want it to be just like that. Even though it would not come out as how you would like it, but it would always be close enough for you to use. So, I learn that my mind would have a clear picture of what I am trying to bring out in reality for others to see, but in real life, things can only come close to what is in your mind.

Would you say you have a writing kryptonite that can interrupt your process?

I always try to avoid distraction, but sometimes that does not work. My family is my kryptonite. I love them, but I always carry a notebook everywhere I go. So, I can continue to write something down regarding my story when I am away from my office and have time to do so.

Oh yes! Notebooks are a must when we’re away from screens and spending time with family–you never know when you’ll get an idea! Does writing energize or exhaust you?

Energize me. It makes me feel alive that I can bring non-existence characters to life. You can create and design anything you put your mind to do. Sometimes, if I do not watch the time, I can write all day and forget to eat until my stomach starts to growl.

Ha! That’s a very important writing tip–don’t forget to eat! What are some other common traps for aspiring writers?

  I am still learning about the common traps as I continue to write my novel, but I can share the ones that I overcome.

A) I learn to overcome your fear of what you are writing. Meaning: Everyone is not going to like/love your work, or what you write, or your style of writing, and the way you write your story.

B) I learn to never speak negatively about what you write or accomplish. Meaning: All the effort that you put in your work is worth more than you realize. It does not matter how long you have work on a story. The point is you accomplish something that is the first of its kind and a part of your legacy of who you are.

C)Never question yourself whether you have written enough. Meaning: It does not matter if the story is long or short. Your way of writing your book is different from how everyone writes. So, never compare yourself to anyone because you are an original writer/Author, who’s doing your own thing.

YES! We need to build our stories our own way with our own processes. One process that always fascinates me is word-building in fantasy. Can you explain your process in building the setting and rules of magic for the Wizard’s Estate?

 Everything is based upon scripture that is common among everyone. Death and life are in the power of the tongue, and those who love it will eat its fruit. Proverbs 18: 21 NKJV 

The story begins way before Livingston University. There was an owner who created the Wizard’s Estate. He was a wealthy man, and he established many things in the town of Livingston, but as the story goes… in which you will be reading it in the prequel of the series, the owner ended up dealing with the people later on throughout his life. Several decades had passed in the new owner took over the wizard’s estate.

 **************************************************

Now, the story begins at Livingston University. There are no rules to the game. Everyone must find themselves. Each and everyone have a purpose in life, but the choice is theirs. They can either accept who they are or get destroyed by who they are not.

These characters must find themselves before they get destroyed by the words of their enemy.

Their words are deadly than magic alone, and every sorcerer knows it very well. It takes a small seed to be planted by an evil sorcerer to cause chaos in a person’s life who is struggling with their identity, and it’s going to take these characters to accept who they are to overcome who they are up against in this series.

There are no rules when it comes to building magic in this series. Every character goes through challenges that allow them to build up themselves and produce their own words from experience.

Welcome to my world!

I’m feeling most welcome, indeed! Putting characters through challenges can be difficult to write, though. What was your hardest scene to write? I know battle scenes are always tough for me.

 My hardest scene that I have ever written for this series was when an evil sorcerer violated one of my female characters. It was incredibly detailed that it made me feel uncomfortable.

~*~

I know just what you mean. I had to crawl through the darkest natures inside my characters in order to start them on the road to redemption. It’s not pretty, what we learn in Fallen Princeborn: Chosen, but it matters to the characters and story, so readers must go there, too.

Through Charlotte’s broken door and across the hall, Arlen stands in Liam’s quarters, mouth agape. “How did you fly through….” He inches towards them, eyes roaming the glass, his student, Charlotte. His head cocks towards the stairwell, then back. “You must face your bloody days, Liam,” he says pointedly. “There will not be another chance. I’ll stall them.” He leans the door into place. Rose House unrolls the wallpaper across the space, removing the door completely once more.

Liam’s hands still grip Charlotte like his talons when he first rescued her from the Pits. “Guess that Bloody Prince thing had to start somewhere,” she says. A sob bursts out, taking any energy to stand with it.

Liam crumples to the floor with her. “I was…” His hands slowly slide down Charlotte’s arms to her wrists. A tear escapes his eye only to be cradled in his scar like a captured star. “I was so…” He pulls out his blood dagger, holds it between them. Grinds his teeth. “…angry.”

My deepest thanks to F.D. Stewart to taking the time to chat with me! You can check her out on Twitter and Amazon. You can also check out my newest release Chosen on Amazon, too. Author Anne Clare left a marvelous review!

Dark, dangerous and immersive–the River Vine grabs hold and won’t let go. The second installment of the story of Charlotte- a survivor of beatings and abuse who now has to face down deadly dangerous magical shapeshifters- doesn’t disappoint. From the River Vine to an underwater realm that is horrifyingly imaginative (and gives me the creeps!) to a family reunion that is anything but welcome, author Jean Lee’s action packed sequel kept me up reading late- partially because I was afraid of what creatures might visit my dreams! The story does deal with childhood abuse suffered by some of the characters-for this and for the intense narrative and language, I’d recommend the story for older readers who enjoy dark, high-stakes fantasy stories.

Anne Clare, Author of Whom Shall I Fear?

~STAY TUNED NEXT WEEK!~

Ack, I can’t believe the end of the year is nigh! I’m so excited for Christmas my husband can’t stand it. 🙂 We’ll see what quirky little analysis I can cook up in the midst of finals, but first I have another interview with an indie writer who started her own awesome line of kid’s story books to support rescue animals. I also unearthed a forgotten soundtrack in my archive that I’d love to share for those embarking on thirty days and nights of literary abandon. I hope you’ll be back to check it out!

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

My #BookLaunch #Countdown for #FallenPrinceborn: Chosen Continues with #WritingTips on #Plot and #Character

Hello once more, my friends! I thought it’d be fun to continue sharing some of the inspiration for my Fallen Princeborn characters, this time including some kickin’ writing advice I got from the craft books 45 Master Characters and 20 Master Plots.

“But I hate templates!” Of course, no one wants their story to be considered some sort of cookie-cutter tale. What’s cool about these particular craft books is their analysis of how far back certain kinds of stories and character types go, and in so doing shows why these kinds of stories and characters are timeless and therefore always relevant no matter what the story.

First, let’s talk plot.

It’s all right to let yourself go when you write, because you’re using the best part of your creative self. But be suspicious of what comes out. Plot is your compass…Fiction is a lot more economical than life. Whereas life allows in anything, fiction is selective. Everything in your writing should relate to your intent. The rest, no matter how brilliantly written, should be taken out.

20 Master Plots is likely a book I’ve mentioned here before, but I can’t help but re-recommend it for both inspiration and reflection on the primary shapes a story has taken through literature. Now I love pantsing my way through plot development like many other NaNoWriMo folk, but when it comes to a series, stuff has to fit, dammit, and if you don’t take time to make things fit, you are promising yourself a story-world of plot holes and problems. You may very well mixing several of the “Master Plots,” such as Rivalry, Rescue, or Riddle, and there is nothing wrong with that. What is wrong is losing sight of what those Master Plots need in order to complete the story. For instance, I know I’ve got some Riddle in mine, as Charlotte’s curious abilities to handle Velidevour magic are not yet explained. Were I to leave that unexplained book after book until the series ends, readers would understandably give me a good rap with the knuckles and ask what’s going on. Pursuit is another Master Plot I use quite often, which Tobias defines here as–

Two games never seem to fail to capture the imagination of children: hide-and-seek and tag. Try to remember the excitement of being on the hunt and finding where everyone was a test of cleverness (how well you could hide) and nerve.
Tag is like that, too. Chasing and being chased, always trying to outwit the other person. We never lose our appetite for the game. For children as well as adults, there’s something fundamentally exciting in finding what has been hidden. As we grow older, we grow more sophisticated about how we play the game, but the thrill at the heart of it never changes. It is pure exhilaration.
The pursuit plot is the literary version of hide-and-seek.

Perhaps you’ve seen thrillers, suspense, and/or mysteries referring to the “cat and mouse” chase within the story. Welp, there you go! We love this game of seeking what’s hidden, or hunting the baddie. It means a constant foray into uncertainty with high stakes, and dire consequences will befall whomever fails. This drives any pursuit within Fallen Princeborn: Chosen, and I promise you now it will only grow in the stories to come.

Liam keeps an arrhythmic staccato pace with Dorjan. Scattered leaves and pine needles hide an array of sharp rocks. Liam’s feet seem to find them all, but with the sparks of Charlotte’s touch still alight within him, he cares little about the pain. Only Dorjan’s nose matters now, tracking the scent of their quarry. He slows, checks the ground, speeds up. Slows, checks the ground, speeds up. They move like this out of the sun-baked brambles and into the tattered forest.

A branch breaks. A creature cries. But nothing is close enough, not yet.

Dorjan is the first to slow. He points where a few drops of oil speckle upon a pine’s crusted sap. The brittle cove around them bears a pathetic green compared to the lushness of the foliage surrounding Rose House.

Then Liam feels it—a prickling around his wrist. Blast it. Already the mark is alive and moving. “The Wall is close.” He strains to look past the scattered clumps of life around them but sees nothing of the Wall surrounding River Vine.

Dorjan sniffs the air. “And Campion’s got company. Two, by the smell of it. Bully for us.”

The first time I read 45 Master Characters, I had already drafted my series’ first book (Stolen), and it struck me how much this description fit Dorjan, my rogue Princeborn who’s appeared in both my novels as well as my novella Night’s Tooth. Unlike other Velidevour who don’t care much about devouring the desires of an adult or child, Dorjan takes extra care to defend human children to the point of killing his own kind, as he does in Stolen:

Human once again, Dorjan grabs Jamie by the neck and pins him against a tree. “You wonder, do you, why I do this. Why I hunt you and Campion, why I seek a duel with Cein. Know, then: I do this for Jennifer Blair, whose brother you unlawfully stole, an innocent, a borderland child. A child!” His fist breaks skin and muscle and bone. Blood splatters Dorjan and leaks from Jamie’s mouth.

“Just… human… just… human…” he murmurs like a broken toy,
hiccupping between words.

“A human worth far more than you or me,” Dorjan says with a low voice that begins with a quiver and ends on a battle cry as his fist tears in and then slams out of Jamie’s ribcage, heart in hand. The moment his last artery snaps, Jamie’s eyes deteriorate into dull gems, onyx. Then mist. Another breath, and his entire body blows away in a cloud of violet embers.

Dorjan studies the black heart a moment before pitching it far into the trees.
“Let me know if Cein and Campion get my message, will you?”

Every character needs motivation to be what they are, be it through principals, wants, needs. Whether or not that purpose lifts them up to heroics or plunges them deep into villainy is up to you, fellow writers.

…the Male Messiah may not know of his connection to the Divine, but he may just be driven to accomplish something important. In this respect, he isn’t working on a spiritual goal. It seems his whole life is for one sole purpose and that purpose affects the lives of thousands of people…The Male Messiah has the ability to see the whole picture when it comes to problems. He never jumps to conclusions or gets involved in the gossip or drama of everyday life…

As the Punisher, he’ll curse the man who has “fallen” to teach him a lesson. He wants to break the man’s ego. He’ll kill the man’s spirit to transform him into his image. He may try to justify himself to others, but they’ll never fully understand his power or the burden he carries. They view his reprimands as harsh and uncaring. Many will leave his side, unable to follow his rules and treatment…He feels his word is law.

Just one unmet need–love, hope, peace, whatever else–and one’s soul is cast in darkness. This struck me good and hard as I developed another character in Fallen Princeborn: Chosen. You will know him when you meet him, this carrier of pale fire and song.

Stay tuned for my next post to read his introduction as well as information about a cracking podcast I got to do with fellow indie fantasy author Neil Mach.

Oh, and my kindle countdown sale begins October 23rd! If you know someone who loves dark fantasy and romance, now’s the time to send them to my Amazon page, nudge nudge. 🙂

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

#writerproblems: Expectations and Payoffs in #Storytelling Done Right (or, #writingtips from #YouLetMeIn by @millacream)

Nothing grinds my storyteller-gears like set-ups that go nowhere. As writers, we don’t want to be too predictable, but we also know that subverting expectations is a HUGE risk that does not always pay off. Filmmaker J.J. Abrams is notorious for his “Mystery Boxes,” a method where one establishes several plot questions and mysteries early in the story to hook the audience and keep them riveted. Do Mystery Boxes have a place in storytelling? Of course. The problem comes when the content inside the Mystery Boxes fails to meet expectations.

(Darnit, I never did get to talk about Rise of Skywalker! Let’s tag that onto 2021, I guess.) For some, the Mystery within disappoints and unravels all the joy leading up to that moment. But then there are other Mystery Boxes that intrigue us from afar, that enchant us with every step we take to get nearer, that compel us to study it, to puzzle its workings until at last, it is time to open it, and what we discover within answers the Mystery while still leaving us searching for more.

And you do want to know, don’t you? Want to know if those stories your mother told you are true. If I really killed them all. If I am that mad.
This is the story as I recall it, and yours now too, to guard or treasure or forget as you please. I wanted someone to know, you see. To know my truth, now that I am gone.
How everything and none of it happened. (17)

The marvelous S.J. Higbee recommended Camilla Bruce’s suspense-filled tale of dark fantasy…or horror-fantasy? I’ll call this a suspense-fantasy with a taste for blood. Anyway, Sarah highly recommended the novel, and her recommendations do not come lightly. When my copy came in at the library, I tore through Bruce’s narrative in just a few days. It wasn’t for the world-building, mystery, or drama–all of which were aces in this book, for the record. Actually, it was Bruce’s work paying off expectations that really impressed me.

Let’s start on the very first page, a prologue of sorts in the form of a newspaper clipping detailing renowned writer Cassandra Tipp’s disappearance.

She has a history here, Officer William Parks Jr. said. The officer is no doubt referring to the trial following her husband’s violent death 38 years ago, where Cassandra Tipp was a suspect. The murder and its aftermath launched Mrs. Tipp’s writing career; her fame partly due to her therapist, Dr. V. Martin’s book about the case, “Away with the Fairies: A Study in Trauma-Induced Psychosis”, which briefly climbed the bestseller lists.

Woah! So this famous romance novelist was suspected of MURDERING her husband?! We haven’t even started the story yet, but we are intrigued. As readers, we picture what we think a romance novelist is like. Tipp presumes her nephew wonders the same thing as he and his sister embark on the directions Tipp’s lawyer gave for the two to inherit their mysterious aunt’s money: “How could a childless widow write so much about romance and love?” (15). The two find a manuscript in Tipp’s house, the final manuscript she will ever write. The lawyer’s directions to the siblings were clear: the manuscript must be read in order to find the code word needed to access the inheritance. When the two read the above excerpt from page 17, we readers are now wondering whether or not we’re entering Unreliable Narrator territory. After all, there was a doctor who said this Tipp lady was psychotic. And not just any psychotic, but a psychotic writer, which means Cassandra Tipp isn’t going to simply tell it like it is. Oh no–this character’s life comes in a fragmented sequence, shifting about in time, alluding to people and things in different eras of her life so you are always curious about something.

Take the opening of the next chapter on page 19. Tipp describes her husband and what he was like.

Who doesn’t love a redeemed villain, an angel with the alluring taint of sin? I never was so blind, never wanted him for being dangerous; I already had a dangerous lover–already knew the taste of sin. No wonder the ladies were cross, though, when his gorgeous body was found in the woods.
But I’m moving too fast, we’re not there yet. A lot of things happened before that.
One thing you must know: I was never a good girl.

As you can see, Cassandra Tipp is not going to “spill the tea” so easily, which means Camilla Bruce isn’t going to give away all this story’s secrets so quickly. This moment contains an example of something Bruce–and thereby the protagonist Tipp–does to “set up” the readers and stretch their expectations: she alludes to the promise of telling it all, and then diverts readers with something else, be it another experience or the introduction of a new character, like the Faerie named Pepper-Man. The promises are shared frequently throughout the book, such as two chapters later, when Cassandra Tipp interrupts her experiences to address her niece and nephew from within the manuscript:

This isn’t the story you expected. You were expecting a repenting sinner’s last confession. Expecting me to cry on the page, admit my wrongdoings and beg your forgiveness. Instead you et this: childhood memories. I am sorry about that–sorry to disappoint, but the truth of it is, I cannot recall a world without Pepper-Man in it, and him being in it was the beginning of it all.
We will get to the bodies eventually. (33)

Not just “body.” BodIES. Don’t ask about those bodies yet, though, for we have been promised to learn “eventually.” The word choice here hints to readers that whatever explanation will come about the bodies is a long way off. At this point, however, I doubt many readers are complaining, for now there’s this Faerie companion to try and understand. Camilla Bruce does not completely open Pepper-Man’s Mystery Box, for protagonist Cassandra Tipp is given multiple “claims” from the Pepper-Man on how he came to be in her life. All that matters is that he is in her life, changing as she changes both mentally and physically. As a girl, Cassandra is in constant conflict with her mother, a woman who hates nature and wild, unkempt creatures. The fighting is often violent, and results in Cassandra spending most of her time locked in her room.

I would think back on this time of ceaseless fighting later, when I was the one who had to fight–in vain–to make a teenage girl see reason. It’s as hard as catching a slick fish, the way she skitters and twirls out of reach. (53)

WHAT?!

Please keep in mind, Cassandra Tipp is telling us on page 53 that she “was the one” fighting with a teenage girl–that is, that Cassandra Tipp is a mother. Yet didn’t we hear in the very beginning that she was childless?

Indeed we did. Another Mystery Box has been set before us, one just as bright and intriguing as the murdered bodIES. Is Camilla Bruce going to keep presenting these boxes, or is she going to start opening some?

Considering I don’t want to open all these boxes before you get a chance to read the story, I will allow us to peek into a couple, just to prove that You Let Me In isn’t the Dark Faerie version of The Force Awakens.

Recall how the prologue alluded to the murder of Cassandra Tipp’s husband and her place in the case. Camilla Bruce sprinkles the promises that Tipp will tell us at various places in the first 100 pages, each promise revealing just a smidge more new information. Take this excerpt of a conversation between Tipp and her psychologist Dr. Martin:

“I did kill him, T-; I mean, but that was a long, long time ago.”
“You see, we disagree about that. I remember very well meeting you and T- at your house, and he seemed very much alive to me. Very much flesh and blood. Very much a man.”
“He was supposed to appear so,” she said patiently, as if I [Dr. Martin] were a child. “But it wasn’t really real, you know. When the spell finally broke, his body would just be twigs and moss again.”
“That is not what the police found in the woods.” I kept my voice calm. “They found several body parts. All of them were human.” (69)

Oh…so, we are not just dealing with a body. We are dealing with “parts” in the woods. This sounds vicious, cruel, inhuman.

But that is all we are given. So we must read on.

And now, my young friends, it’s finally time to talk about Tommy Tipp and what happened to him in those woods. (83)

….

You would be confused at this point, I guess. This all happened long before you were born, yet you have met Tommy Tipp many times. He was my husband for over a decade, so how could he have died at twenty-four? Tommy was not what you thought he was, but then I have told you that already.
If you keep turning the pages, I will tell you just what he was. (102)

You see those page numbers? Almost 20 pages go by, and Cassandra’s truth about Tommy Tipp is still not complete. Camilla Bruce carefully paces the information so that as one Mystery Box is slowly opened we are constantly distracted by a different Mystery Box, such as Cassandra Tipp’s aforementioned “teenage girl.” Cassandra Tip rarely mentions her in the first 100 pages.

“Denial, my dear,” Dr. Martin said. “Denial is a powerful drive.”
“Mara says that you are the one in denial, and that she will leave a token on your pillow tonight to prove it.”
….
Mara said later that she had indeed visited the doctor that night leaving half a leaf and acorn by his side. Dr. Martin never mentioned it, though, so either he had not seen it…or maybe–just maybe–he too was in denial. (76)

It is not until after Cassandra’s wedding to Tommy Tipp–and that Mystery Box, as it were, was fully opened–that Camilla Bruce lets us pay more attention to Mara.

“A faerie bride,” she whispered. “That is what my mother is.”
“A faerie child,” I whispered back. “That is what my daughter is.”
~*~
I guess that through all this you have started to wonder about Mara. Who is this person so dear to me, yet absent from your mother’s memories, this woman who draws me to the mound and calls me Mother? The young girl I have been fighting with–and warning you about, though perhaps not strongly enough?
I’ll tell you about Mara, and how she came to be. (121-2)

This is a section where readers’ wonderings about an unreliable narrator strengthen. Dr. Martin’s study of Cassandra Tipp becomes more scientific, more “expert” in matters of the mind and how it copes with trauma. Cassandra herself gives us two different tales of what happened to her body as a teenager. Camilla Bruce does not direct readers one way or the other. All readers know is that questions remain, and the answers to those questions are rarely easy. Or safe.

…questions about what happened later–those other deaths that occurred…I guess I owe you some answers about that. The “family tragedy.” The violent end. Somebody ought to know what really happened.
And so I keep writing–and you two keep reading. (137)

I’ll end my analysis here, so as not to ruin any more surprises for you. Obviously I highly recommend You Let Me In for an unsettling, thoughtful read to pass the time on a chilly autumnal day. But I recommend this book even more to my fellow writers, for we all can use a good reminder of what it means to pay off those expectations. No matter how much our Mystery Boxes sparkle with magic and intrigue on the outside, the inside–the payoff, the promise, the end–must be just as unique as that which enticed readers in the first place. If not, then our stories will be forgotten beneath the tattered scraps of expectations our readers throw away.

~STAY TUNED!~

I’ve another lovely interview with an indie author coming up! I’m also hoping to share some highlights from Fallen Princeborn: Chosen as we grow nearer to its release later this month.

Throw in the twins’ virtual schooling and my promotion to full-time teaching at the university, and we’ll have an interesting October, indeed. x

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

#IndieAuthor #Interview: @SJHigbee shares #bookjoy with #reading and #writing delightfully #adventurous #sciencefiction and #fantasy

Welcome, Friends, to yet another splendid interview with a beautiful indie author soul! I am thrilled to pause all this chaos of teaching, parenting, and preparing my own novel for publication so I may introduce you to the cosmic dreamer and eternal adventurer, S.J. Higbee.

To call you an “avid reader” feels like a huuuuge understatement. Can you share a little of your reader’s journey with us? That is, can you tell us what inspired you to take on book reviewing with such gusto, and your process for choosing the books you do for reviewing?

Visit her at @sjhigbee & her website sjhigbee.wordpress.com.

I’ve always been an avid reader. Once I got to school and realised the power of words and how stories could take me away from where I was and to different worlds – that was it. I was away…

I originally started reviewing for SFReader.com, a forum for science fiction and fantasy readers and writers from 2006-09. However, I soon had a hefty backlog of reviews stacking up, as I thoroughly enjoyed the process of writing down my thoughts after reading a book. So once I started my own blog back in 2009, it made sense to mostly review books on it. I stumbled across other book reviewers, almost by accident.

What literary pilgrimages have you gone on?

The late, great Terry Pratchett. There aren’t many authors whose complete output we own, but we have all his books, including Where’s My Cow? We also own all Lois McMaster Bujold’s books and I’ve read nearly all of Jo Walton’s output. I am the ultimate mood reader, however. While I do get a steady stream of books from Netgalley, I take care never to overdo it, so I’m forced to sit down and read something that I really, really don’t want to.

Hmmm, I bet those moods can put a damper on the book joy at times. Have you ever gotten reader’s block?

Yes. When I’ve forced myself to trudge through a book that isn’t speaking to me on any level. So I don’t do it, anymore. If I don’t like a book, I DNF it – and that includes Netgalley arcs. I generally don’t mention DNFs on my blog, because I have strong opinions and specific tastes and while I cut loose when discussing book covers and in my private notes about books I’ve disliked sufficiently to stop reading, I don’t think it’s fair to share those views with a wider audience.

I know you’ve recently moved out of the classroom, but as a fellow teacher, reader, writer, and parent (well, I know you’re also a grandparent, but I’m not there *yet*, thank Heaven!), I’d love to hear your thoughts on how we can spread literacy awareness among children today.

I’ve taught children with specific learning difficulties and the secret is always to find what motivates them – be it rulebooks for computer games, cookery recipes and in one case building suppliers’ lists, and use those to spark their interest in reading. Above all MAKE IT FUN! Words games… silly voices… reading a word each… And always stop before the child becomes fed up, so they are left wanting more. Little and often is far more effective than longer stints twice a week, which is why so many children don’t learn to read effectively at school.

Amen to that! When we turn reading into a treat, we know they will ALWAYS be ready for that treat. Rather like cookies, don’t you think? I wonder now if the publishing industry could be doing more to promote literacy.

Children’s writers do a fantastic job in promoting literacy by visiting schools and talking about their characters. But I would LOVE to see more serious imagination with regard to interactive programs to aid literacy. In fairness, I don’t think the publishing industry should be responsible for promoting literacy skills – but governments certainly should. What about a game like Fortnite actually using wordgames, punning, jokes and literacy games, in addition to all the cool graphics, driving music and action scenes, as part of a national reading scheme? It shouldn’t be the only way to reach children, of course. But certainly ought to be part of a range of resources to target children who spend a lot of time on their screens.

Now, let’s talk about your writing. You’ve written a number of slick Sci-Fi novels, including the YA Sunblinded trilogy, the Arcadian Chronicles, and the standalone Netted. What draws you to science fiction more than other genres?

I love the fact that when I open the cover, I never know exactly what I’m getting. To ensure that’s the case, I very rarely bother reading the blurb in advance, either. Sometimes, it’s a bit of a struggle to make sense of what is going on – especially if I’ve crashed midway into a series, but as long as the worldbuilding and characterisation are sound, I’ll generally make sense of what is going on. It’s the genre I love reading the most – and when it goes well, the tingle factor is off the charts… Fantasy is right up there, too.

I never get tired of that tingle! I must admit, though, I cannot crash into the middle of a series as you often do. 🙂 In an age where publishers are eager for stories that smack of potential franchise, what do you consider to be the strengths of a standalone novel?

Sometimes, there is a story I want to tell that is only the length of a single book. If that’s the case, then I don’t want to elongate it into something more drawn-out. I think most stories have a natural arc length – and part of the skill of the author is figuring out exactly what that length is. Some of my best reads, ever, have been standalone books.

You have certainly written your share of both series and standalones as well! Does writing energize or exhaust you?

It depends. If it’s going well, I find a high that I don’t get anywhere else. If it isn’t, then it’s both exhausting and depressing.

I love how you don’t peg yourself into writing a specific kind of character. Running out of Space’s Lizzy and Mantivore’s Kyrillia are both adventurous heroines, while Netted’s Kris is very reticent to take on the responsibilities the story quickly demands of her. Would you say each story helps you shape the characters, or the characters come to you and the story shapes around them?

Oh, it always starts with the character and an initial scene. Often I have dreamt that starting scene. However, the characters don’t leap onto the page fully formed and it is often a question of trial and error as to how they react to events around them that help me figure out exactly who they are. Up to now, I’ve been a pantser, but I’ve just started planning out my stories – and the main success has been in nailing the narrative arcs of all the main characters – it has made such a difference to the writing process.

World-building is HUGE for my writing process. If a story-world’s rules aren’t clear, then it’s a lot harder for readers to fully appreciate the plot’s stakes, let alone care about the characters. Science Fiction is no “easy” genre to write for—not only do you have to create a realistic place, but it also has to feel possible to reach in our future. Can you share a step or three in your world-building process?

I think anyone who writes SFF with any measure of success has to care about worldbuilding. The first rule has to be that it makes sense. I studied History at college, for which I’m constantly grateful. That perspective on how humans behaved in the past is really useful for extrapolating as to how they’d behave in the future. And if they doing something completely different from anything that has happened before, there has to be a solid reason for it.

However, all of that has also to be balanced against my personal loathing for pages of long-winded explanation in some nebulous authorial viewpoint. So readers often don’t get to know exactly what is going on all the time in all the corners of my worlds, because my characters don’t. I’m quite comfortable with that – though I’m aware it bothers some readers. It’s one reason why I use language as one of my main tools for worldbuilding – the slang and swearwords also denote issues like being overrun with pests, or melting icecaps without my even mentioning them.

Blech, I am not a fan of long-winded explanations, either. They exhaust me to read, let alone write…not that my kids give me oodles of time to write, anyway. Their moods are something of a writing Kryptonite for me. What would you consider to be your writing Kryptonite?

Becoming too tired. My instinct is to try and sprint, which is a problem as writing a novel is a marathon. I’m also one of those people who tends to hurl themselves, body and soul, into whatever they are doing. It has many rewards, but the cost is that I can get exhausted. And when that happens, I become ill. I have quite a lot of different calls on my time, which again, I really enjoy. I am lucky to have a lovely family and a range of wonderful friends, but there are times when it would be awesome to also have a writing clone I could shut up in an attic with a computer and never let out until she’s finished the book…

Let’s end on some help for aspiring writers. What’s a common trap you see them falling into time and again, and how can they avoid it?

Dialogue is often a surefire way of working out how experienced a writer is. Don’t use someone’s name if there are only two characters, unless one character is being hostile or arguing. When there are two people, they generally don’t call the other by name unless they are making a point. Don’t have your characters talking for too long – we generally bat a conversation back and forth between us if the power dynamic is equal. And rather than have a dominant character drone on for ages (as they often do in real life) have them, instead, constantly interrupt the subordinate character. Remember to include the thoughts and feelings of your viewpoint character, as they are on one end of a conversation.

YES! Thank you so much for sharing your reading and writing journey with us, Sarah, and for helping us find ways to better our own writing. This issue with dialogue is something I still struggle with, even as an editor when I was tidying up Fallen Princeborn: Chosen.

Arlen sets the bear cub running towards the thicket. “Come along, all of you. Dorjan and the others are waiting.”

But She-Bear does not move. “Why do you wear his weapon?”

Liam remains still on the shore where Charlotte and Arlen placed him, his speckled curls limp, his bruises painting what must be an abridged story of the pain he felt in the nets. So Charlotte answers, “The dagger worked for me in Dissecto-Library-Horrorland .” Charlotte grips one of Liam’s arms and hoists him to his feet.

The She-Bear bares her teeth, but Arlen’s hand upon her head silences her. “You…you worked land magic underwater?” he asks.

“How do you think that one mer-dude’s face got melted?”

Liam’s hand, as mottled as the rest of him, opens and closes as Charlotte wills. Her fingers press his own tightly about his own weapon.

Leather, iron, blood. Then comes the touch of Charlotte—sparks rip through his frame. No more the beaten boy.

“Try it now, Liam. C’mon, get some heartburn goin’. Blood firin’. You know. Flame on. Ppppffffooow.”

Liam closes his eyes and feels his inner wings stretch to blot out the past, if only for a few moments. He wraps his other hand around the base of the blade. The dagger takes its blood, as always.

This time, it pays back.

The blade crackles as it lengthens, its feathers smoldering. The blood sword shines as it did in the forge so long ago, when Liam’s ambitions burned their brightest. He brings the blade close to his face to taste old victories in its heat. He sees the world in melting waves, as he did so often after striking the earth, commanding it to swallow armies and villages whole.

There are no armies now. No villages. Only Charlotte dripping like a botched painting. Arlen halved on one side of the dagger; the beast halved on the other.

The beast, whom he was meant to kill. A mother and her child so…cared for…by…

“Who is this, Arlen?” Liam’s question rumbles slowly out of his lips.

No more evasion.

~STAY TUNED!~

While Autumn creeps its way slowly through Wisconsin’s forests and farmlands, I will continue to share more and more of my coming sequel with you. I’ve also got some interviews waiting in the wings as well as music and analyses to share. Thank you all once more for traveling with me through these unknown lands of indie publishing. You are each and every one of you a blessing to be thankful for.

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

#Publisher #Interview: #submitting #shortstories or #bookproposals to @SOOPLLC

Happy August, my friends! It is difficult to fathom that summer is already on its way out. The school supply displays are up–heck, I saw Halloween candy at Dollar General–and the fireflies have all but departed. And yet, time still feels frozen from the lock-down begun in March. Biff and Bash’s school will continue to be online until __insert random date because they’re all just “we’ll evaluate weekly” __, but unlike the spring, we’re expected to recreate the school day here at home, which means proctoring all these online lessons over the course of 7-8 hours while somehow doing my OWN job so I don’t, you know, lose it.

I know I’m not the only one in this situation. I know none of us would wish this situation on anyone else. Lastly, I also know that it is crucial to put as much positivity into the situation as we can because our loved ones feed off the feelings we share.

So, let’s focus on the chances for inspiring one another, telling stories to one another, and just being the spark that helps ignite another’s creative soul. Here’s a publisher that loves sharing authors the readers vote for: Something Or Other Publishing out of my very own Wisconsin. One of its directors, Christian Lee, was kind of enough to share his time with me so I could share a bowl full of SOOP here with you. 🙂

1. Let’s start with names. How did you come up with your brand Something or Other Publishing (SOOP)?

Our brand “Something Or Other” signifies openness to diversity and opportunity. When our Founder, Wade Fransson, was looking for avenues to publish his book, he envisioned a “full service traditional” publishing service which allowed creative control, a higher share of the royalties and direct access to decision makers in exchange for a willingness to share the responsibility of promotion and marketing. He realized that such a model could enable a diverse range of voices to be heard, on equal footing. Since there didn’t seem to be an appropriate label for this model, “Something Or Other Publishing” was born to serve these types of authors.

2.  I’d love to hear a little history behind the creation of SOOP–especially because you’re located in Wisconsin, my native state.

Madison’s Capitol Square, Photo via The Edgewater

Wade spent almost three years in Strategy and Operations for Deloitte Consulting, and then two years as an executive helping an expanding national company grow from thirty to 60,000 employees. During this time he gained extensive experience integrating emerging technologies with business strategy. He then left this corporate role to help launch an Internet startup called GoHuman.com, and it was around this time he met a woman. The startup failed, but that new relationship didn’t. After getting married and expecting their first child, they moved to Wisconsin to be closer to her family. Wade began to write his own book and realized that with the rise of self-publishing, print-on-demand, social media marketing, and other innovations, there should be a publishing model suited for authors who share responsibilities to market their books in exchange for higher royalties and more creative agency.

3. You have a unique system for your publishing company: Author-Driven Book Publishing. How does this work?

Instead of traditional submissions with a massive slush pile approach, all of our books start as a “Book Idea” where readers peruse the synopsis and vote to indicate they would read the book if it were published. This approach puts the author in the driver’s seat, allowing them the opportunity to get a publishing contract, so long as they build a verified following. Throughout the voting process SOOP works with the author to sharpen their understanding of the “Three P’s” of publishing: product, platform, and promotion. SOOPworks through these elements with the author as the book progresses toward publication. As a result, SOOP’s publishing process is a more collaborative process between author and publisher.

4. So, let’s say an author wants to submit a book to your site. What kinds of books are you looking for?

Primarily, we look for the right author before we look for the right book, so an entrepreneurial author who is eager to roll up their sleeves and collaborate alongside us is the ideal author and partner. In terms of specific genres, we publish a wide variety of genres, provided that they fit our editorial standards. For example, we recently published an anthology that was a mix of genres. We also have a particular interest in children’s books and just released a new one illustrated by Michael Gellatly, who did the maps for the Game of Thrones books. We have recently published a few books with religious subject matter, although we’re not a “religious publisher,” and we’ve also published a political book. In summary, we publish  a wide variety of authors first, and books second. We can always help an author improve their book. It can be difficult to make things work with an author with whom we’re not aligned.

5. As a publisher, I’m sure you’ve got a few peeves regarding what authors send your way. What should authors avoid when submitting to SOOP?

Our biggest challenge is addressing authors’ misconceptions on what the publishing industry really is, and how it should work so we want authors to keep an open mind to the process. With our Author-Driven Publishing model, we invite authors to learn about the business side of publishing as they go, with no initial commitment either way. Many authors underestimate the difficulty and expense of marketing a new work, and that the publisher needs the author to be on the front line, bringing their network and “platform” to bear in achieving initial, local success.  We provide many tools and considerable support, but the author needs to be behind the wheel and “drive” this up and through the initial book launch.

6. As an indie author, I’ve got to do, well, pretty much all my own marketing for my work. How do you and your authors work together to build a platform for your books?

Our voting system has platforming built in. Each vote is added to our extensive database of potential readers, which is a powerful marketing tool of ours. Closer to publication, we develop a three month marketing plan with the author, which we jointly execute on digital channels and “in real life,” to support key goals such as a successful pre-order campaign, becoming a #1 Hot New Release on Amazon, and being well reviewed.

7. What do you see as a major problem in the publishing industry? How is SOOP tackling that problem?

The Washington Post published an article in 2018 about the ongoing decline in leisure Reading that we’ve been experiencing for many decades. Simultaneously, there is an explosion of self-publishing that has greatly increased the supply of books. Add vanity and indie presses to this, and any business person can quickly see why the industry is in a kind of free-fall. This is why we have created a model that is completely different, one which curates works from motivated authors, to ensure that there is at least a minimal demand in place before we add to the supply. Traditional publishing relied on a few mega-stars as inspiration for the masses, to keep a steady flow of wanna-be’s lining up for lopsided contracts. Vanity publishing seeks to force authors to pay-in-full up front for the privilege of being professionally published. Self-publishing converts the slush pile into “books” that sink like rocks to the bottom of the ocean.

Our goal is to train authors before they get up to bat, and make sure they have a base hit, and are legitimately in the game. Where they go from there depends not only on the quality of their work, but on their belief in themselves, and their capacity to work diligently to build on the success our platform enables.

Thank you so much for sharing your unique publishing platform with us, Christian! I hope you continue to collaborate with authors and bring more powerful stories to our lives.

~STAY TUNED!~

I’m preparing Fallen Princeborn: Chosen for ARC reviews! The ARC will be available by the end of the month. It will be available on Booksprout to review, and if you’re a book blogger who’d like to post a review on your site, contact me and we’ll work something out! The first chapter is still on my Free Fiction if you’d like to get a taste of what you’re in for. And if you’re interested in reviewing the first book of the series, Fallen Princeborn: Stolen, feel free to ask!

Catching up to 2019 here. Better late than never! 🙂

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

#lessonslearned from #AgathaChristie: one #narrative #pov does not fit all #stories.

In Wisconsin, summer is a time for nature immersion. Whether you hike in the woods, take to the lake in a boat, or hunt for bugs’n’birds’n’fairies, this is the season for journeys into the wilderness of the North Woods.

Every venture “Up Nort'” requires mysteries for road reading. Since Bo had gotten me some Poirots for Mother’s Day, this seemed like the perfect time to catch up on them. (Bo can’t read in the car because a)motion sickness and b)my driving style freaks him out.) What was meant to be a little simple escapism turned into a reflection on narrative point of view and how it helps–or hurts–a story’s ability to hold a reader.

Back when I was researching the nonfiction writing workshop I had to give at my university last month, I came across an article that referenced “Fleming Method.” This method, the author said, called for blasting through a story by writing only key elements: the dialogue, the action, etc. All the other elements were to wait for the next draft. Doing this allowed Ian Fleming to complete the initial draft of Casino Royale in a few weeks.

After reading Sad Cypress–published years before Casino Royale–part of me now wonders if Christie came up with the Fleming Method before Fleming did.

The premise is clear-cut.

Beautiful young Elinor Carlisle stood serenely in the dock, accused of the murder of Mary Gerrard, her rival in love. The evidence was damning: only Elinor had the motive, the opportunity, and the means to administer the fatal poison.

Yet, inside the hostile courtroom, only one man still presumed Elinor was innocent until proven guilty. Hercule Poirot was all that stood between Elinor and the gallows.…

The story itself is divided into three parts: Elinor’s flashback through all the events preceding the murder, Poirot’s investigation of the murder, and then the trial. Again, clear-cut.

Yet when I finished the book, I let out a “hmph” and tossed it onto the car’s dashboard.

Bo’s not used to me doing that, especially after what was, by all accounts, a good morning. We had successfully completed a walk and lunch at a beer garden with the kids–a HUGE accomplishment when two out of three are picky eaters. “Wasn’t the book okay?”

The mystery itself, I explained was fine. There’s a love triangle of sorts, a girl gets murdered, Poirot eventually shows up to investigate, yadda yadda. But the way Christie tells it was weird.

Bo gave me a look. “What do you mean?”

I show him a thick pinches of text–Part 1, the flashback. It’s all quite narrative, with descriptions, exchanges, changes of scene. Part 2 changes point of view character-wise, from the accused murderess to Poirot. Again, we’ve got multiple elements of storytelling. Grand. Part 3, however, drops almost all pretense of story-telling and moves forward almost entirely through dialogue–that is, through the exchanges between witnesses and lawyers during the trial. After 200 pages of “traditional” storytelling, 50 pages of almost pure dialogue jolted me so much I found myself nothing but irritated with the story when the mystery was resolved.

Bo considered. “Has Christie done that before?”

I don’t think so, I said. The cynical teacher in me imagined Christie was on a time crunch, didn’t much care for the story, and decided to just slap together the ending so she could move onto something she did want to write. Or maybe she was so mentally drained from writing And Then There Were None the year before that she needed to put out SOMEthing to appease the publishers. But I don’t know for sure, I said with a shrug, and the reception on this road sucks too much for me to do any deep digging.

“So how does Christie normally write a mystery?”

I stared at Bo so long that Biff scolded me. “It’s rude to stare, you know!”

How did Christie “normally” write a mystery? Was there such a thing as “normal”?

I looked at the other books I had packed along: Dumb Witness, After the Funeral, and Death on the Nile. I thumbed through them, sharing observations with Bo as I went…

Dumb Witness

Everyone blamed Emily Arundell’s accident on a rubber ball left on the stairs by her frisky terrier. But the more she thought about her fall, the more convinced she became that one of her relatives was trying to kill her.…

On April 17th she wrote her suspicions in a letter to Hercule Poirot. Mysteriously, he didn’t receive the letter until June 28th…by which time Emily was already dead.…

This story had a mix of methods I both liked and disliked. The first few chapters involve a lot of head-hopping amongst the characters of the victim-to-be’s family. I have written about this head-hopping before–nope, not a fan of this “I’m thinking murderous thoughts” to “and I’m thinking murderous thoughts, too!” to “oh, we’re just aaaaaaall thinking murderous thoughts, aren’t we?”. After those opening chapters, however, the unreliable-yet-charming Captain Hastings takes over as narrator until the end of the book. I’ve also written about benefits of the unreliable narrator for mystery writing, and in Dumb Witness those benefits were seen once again: clues quickly dismissed by the narrator Hastings carry crucial importance, and characters Hastings suspects or respects often tend to be something else entirely.

I always enjoy a trip alongside Poirot and Hastings; the two have a wonderful chemistry that allows for light-hearted moments, such as when the victim’s intelligent dog takes such a liking to Hastings that Hastings feels he knows what the dog is saying.

If Christie had written every Poirot mystery with Hastings, though, the misdirections would grow tedious, the joviality stale.

In other words, we’d get bored.

After the Funeral (also known as Funerals are Fatal)

“He was murdered, wasn’t he?”

When Cora Lansquenet is savagely murdered, the extraordinary remark she had made the previous day at her brother Richard’s funeral suddenly takes on a chilling significance. At the reading of Richard’s will, Cora was clearly heard to say, “It’s been hushed up very nicely, hasn’t it. But he was murdered, wasn’t he?”

Did Cora’s accusation a dark truth that sealed her own fate? Or are the siblings’ deaths just tragic coincidences?

Desperate to know the truth, the Lansquenet’s solicitor turns to Hercule Poirot to unravel the mystery. For even after the funeral, death isn’t finished yet . . .

I hope you like head-hopping, because this story moves from character to character in an entire family tree throughout the whoooole novel. For the record, I didn’t throw this book out the car window because a) I recalled some of the plot from the David Suchet adaptation, but not all the bits and that was really irritating, and b) the kids would have yelled at me for littering, which would have been even more irritating.

But, I must admit, there was something else here, a good something that kept me wanting to remember the solution. For all the head-hopping, there remained a consistent uncertainty between characters, a singular dread of not feeling entirely comfortable around one’s own family, of relief for getting money and the simultaneous guilt for being thankful someone died so that money could be given. By giving these characters that mutual guilt and suspicion, the narrative no longer jostles readers about. We’re still following that dread, catching the little things that make the characters unique instead of having those things hit us in the face page after page after page to remind us who’s who.

Death on the Nile

The tranquility of a cruise along the Nile was shattered by the discovery that Linnet Ridgeway had been shot through the head. She was young, stylish, and beautiful. A girl who had everything . . . until she lost her life.

Hercule Poirot recalled an earlier outburst by a fellow passenger: “I’d like to put my dear little pistol against her head and just press the trigger.” Yet in this exotic setting nothing is ever quite what it seems.

I feel like this is the mystery that inspired spoofs like Monty Python’s Agatha Christie sketch or the movie Clue–you know, where someone says, “I saw the ___ who did it!” And just before that someone says a name, the lights go dark, a shot rings out, someone groans, and thud–another murder.

(I’m likely quite wrong on this, but that sort of scene is in Death on the Nile, so it’s all I can think about now.)

Blessedly, Death on the Nile is told with an omniscient narrator who mostly follows Poirot about, only occasionally lingering with other characters if there’s a romance arc to propel along.

The narrator never focuses readers away from what Poirot’s doing, nor does the narrator give unnecessary attention for the sake of distraction or red herrings. Being a third person limited point of view, readers don’t get insight into Poirot’s head, either, so we still don’t learn the full solution until Poirot’s ready to “do his thing,” as it were. And that’s fine.

It’s all fine.

Honestly, it is. The head-hopping, the unreliable narrator, the traditional omniscient–each are appropriate approaches to telling a story. Even a chapter of pure dialogue has its place. What matters is that the chosen method encourages readers to continue the story. Can the reader get the information by following one character around, or are multiple viewpoints needed in order to get the big picture? Would readers enjoy the guessing game that comes with unreliable narrators, or does the plot require a more neutral voice to share it? Does the scene’s power come in what is said, or what is not?

It never hurts to experiment and find which approach is the best fit for the story at hand, for like our kids, every story is different. So long as we consider the heart of the story–spurned love, broken family, desperate greed–we can take a step back and consider how readers should reach this heart. We don’t want it to be a simple straight path, nor the path we know so well we could write it blindfolded. Where’s the fun in that? Where’s the understanding in that?

So, try directing readers to different characters to help them appreciate the multiple relationships. Let them follow the outsider to reach that inside perspective. Leave them with one soul and see if they will trust that character–or not.

Just don’t commit the Unforgivable Writing Sin, one that leads to readers abandoning your story to the Did Not Finish shelf, never to be journeyed again:

Thou Shalt Not Bore.

Have you ever been intrigued by an author’s choice in narrative point of view? Befuddled? Disappointed? I’d love to hear about it!

STAY TUNED!

Interviews, music, and fantasy fiction lie ahead! I’ll also provide more updates regarding my new novel, Fallen Princeborn: Chosen and how YOU can get your hands on an ARC.

(Yes, I know this says 2019, but IT’S HAPPENING, dagnabit, and that’s what counts!)

Thank you for companionship on this writing journey. You help make my corner of the world a brighter, saner place. x

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

#writerproblems: Balancing #WritingGoals in #storytelling and #Blogging During These #Uncertaintimes

Mama Robin calls
as morning’s dew captures light


Never mind writing haiku without coffee is hard.

Anyway.

‘Tis July first! The year is officially halfway over, and with all that’s happened in the world, I know many would prefer to wash their hands of 2020 and be done with it.

But then there are folks like me, who see a half-year of potential rather than a full year wasted. Lamenting opportunities lost only breeds bitterness and anger. Now is the time to grow onward and upward with whatever we have.

Even if all we have is a page of fantastical hopes.

Fellow Young Adult author K.M. Allen posted a couple articles recently about her own struggles with time management during the lockdown life and balancing the writing we do for our platforms vs. the writing we do for, you know, storytelling and whatnot. (Allen used a much better term–“The Art of Authoring.”) Her posts got me thinking about my writing mindset, and how I’ve tended to lump aaaaaaaaall the writing together into this single act. Writing a blogpost? Still writing. Writing notes on history? Still writing. Writing an actual honest-and-true story? Still writing.

Were my extra teaching jobs and graduate school work still a part of my life, this kind of writing would be enough. Heck, I’d be ecstatic if I found time to blog while writing term papers. But these extra factors are not a part of my life right now. Sure, University work still is–I even presented on nonfiction writing at the Lit Fest earlier this month. While researching I stumbled across a Writer’s Digest article called “The 9-Minute Novelist,” and that got me thinking…

Why not me, too?

I know I’ve bemoaned my struggle with time before–when my kids were toddlers, when they attended school but only part-time, when everyone’s home on summer break, etc etc etc. When lockdown life began, I thought for sure I could do do a little, just a little, writing. But too often I allowed blogging, researching, plotting, and those other -ings replace the actual DRAFT-ing that needed to happen.

Some are quite adept at blending one task to create another–history notes get typed up into the blog to help show a writing update, for instance. I know I used my 2019 attempt at NaNoWriMo as a chance to both draft and post all at once. It worked for a little while, just as the notes-turned-blogposts can work for a little while, too.

With the coming school year’s attendance procedures impossible to predict, parents like myself have to be prepared for more of “School at Home” while also working in or out of the home. (And of course, just as I type this, Bash has come into the room. “What is it, dude? I’m trying to work,” I say. “But I wanna be by you,” he says with the smallest possible voice, and moves all my materials to snuggle up by me. Oh, little kiddo.)

Some days the kids are great at occupying themselves, and other days not. Parent-Writers, we know setting aside “hours” to write, even once a week, just isn’t realistic. Heck, I’m amazed when the kids leave me be for twenty minutes in a row.

And that’s the key here: working with the minimum amount of time, not the maximum. Let’s consider what non-kid stuff requires our attention in the day, and where we can find those nine–or ten–minutes to write.

(Yes, I’m back to the old bulletin board. I need my visual schedule!)

One Hour

Risky thing, setting aside an hour. Either a movie better be on that ALL the kids will watch, or someone else needs to be in the house with the kids. My online classes are an hour long in the evenings when Bo is home. If I do a movie during the day, that is my one chance at an hour block. This time’s usually needed for grading, a task that I can safely break from and start back on when kids intervene. Writing-wise? That hour better be had outside of the house.

(Aaaand now Biff is in the room, poking Bash with his toes. “Why don’t you two read something?” *Two pairs of eyes continue staring off into space as toes continue poking legs*)

Thirty Minutes

Done right, half an hour can be a very productive time. One can write proposals for a conference, respond to a few students, or catch up on the late grading. As a writer, thirty minutes is perfect for looking through research, scoping out potential publishers, or drafting.

(Aaaaand now Blondie pokes her head in with a page she just has to read from Dogman: For Whom the Ball Rolls. “Yes, kiddo, thank you. Now go and occupy YOURSELVES. I am not here to entertain you!” Three bodies sluff off, complete with drooping shoulders and groans of “I’m too tired to build Lego.”)

Twenty Minutes

This is probably where one can feel the sprint effect–that is, there’s not a minute to waste. Good! Too often I fall down the social media hole with Twitter or YouTube. We must make every minute of that twenty count, be it drafting, editing, grading, or…gasp…exercising.

Again, being realistic with myself. I know I won’t set aside an hour for it, not even half. Twenty…yeah, I could swing that, if the mood strikes. Plus I can drag the little “what are you doing nooooow?” buckos right along with me. Win-win.

Ten Minutes

Okay, THIS has to be the golden number for one who’s got kids and job AND writing in life. Even my attention-lovers can be occupied by books, drawing, or Snoopy Monopoly for ten minutes.

So many lovely moments can be made in just ten minutes: reading a story aloud to kids. Drafting dialogue. Answering student questions. Editing a scene. Playing catch outside. Prepping for class. Networking on social media. Writing a Goodreads review.

Maybe it hurts a little inside to think I’m only spending ten minutes with my kids/story? I can’t do that! They deserve better! We need to remember this important point.

The day is no mere ten minutes.

I’m usually up from roughly 4:30am to 9:30pm. Want to guess how many minutes there are in seventeen hours? 1,020 minutes. Or, 102 slots of Ten Minutes.

102.

You are not giving your kids 1 slot out of 102 and you know it. You are not giving your writing 1 slot out of 102 and you know it. Don’t beat yourself up over organizing your time. If you don’t organize your time, then you will always feel like something is being set aside for the sake of the other, and that fear will lead to nothing but bitterness, anger, and the Dark Side.

Nothing has to be sacrificed here. Honest and for true. You just need to jigger those expectations over what you want to do and when. Take me, eager to publish the sequel to Fallen Princeborn: Stolen before 2020 ends. If I set aside 10 minutes to edit every day, I can make that goal. I want to expand and re-publish Middler’s Pride, too. 10 minutes a day can get me there. I’d LOVE to get “Hungry Mother” in an online magazine, finish the novella What Happened After Grandmother Failed to Die, work on the OTHER Princeborn novella I’ve sketched out–

And I can do all those things. I will do all those things. And you can, too.

Ten minutes at a time.

STAY TUNED NEXT FORTNIGHT!

Yup, two weeks. Part of this “jiggering” of expectations means blogging can’t overwhelm the story-writing. I’m going to follow K.M. Allen’s idea of blogging every other week, scheduling my own posts for the first and fifteenth of every month. Thank you all so much for your patience, kindness, and encouragement, and I hope you’ll be back when I share the interviews, analyses, music, and doodles waiting in the wings!

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