Greetings, one and all! While I run around a massive education conference for my university, please enjoy this lovely chat I had with Indie Fantasy Author Marsha A. Moore.
What was an early experience where you learned that language had power?
As a child, instead of having a bedtime story read to me, my father prompted me to create oral stories with him. Together over a few years, we conjured a series of fantasy tales called The Land of Wickee Wackee. Our characters and sub-plots interwove. Nothing was more exciting than creating new stories in that make-believe world! Bedtime was amazing!
Have you read anything that made you think differently about fiction?
Natasha Mostert’s Season of the Witch changed how I view my role as an author of fantasy fiction. In her book, magic causes mental effects for both the giver and receiver. I find the complexity of that sort of magical system riveting, something I strive for in my own work.
It’s so cool to find a story that pushes us to think beyond how we’ve previously built our worlds. That kind of care surely takes time. Unfortunately, we don’t always see this kind of care in books currently published by indie writers, do we?
have a growing dislike for the indie practice of pushing books out so fast that
quality is sacrificed. The trend worsens each year. Books are produced that
lack originality and depth, and writers burn out and then teach their
methodology for “success” only because they were unable to maintain the arduous
pace long term. Art requires reflection.
Indeed! It took me eight years of writing, revision, reflection, and more writing to make my own first novel worthy of publication. What is the most difficult part of your artistic process?
Picking up writing a particular story after I’ve left it for a while and it’s gone cold, absent from my daily thoughts. That is a beast I definitely dread tackling.
I’d love to hear more about your series, The Coon Hollow Coven Tales. What inspired you to bring witches and magic to the Midwestern setting?
My series, Coon Hollow Coven Tales, is set in my version of a real place near where I lived in southern Indiana as a child. With its rolling forested ravines and artist residences tucked away in sleepy, rustic log and limestone cabins, the place captured my imagination and never let go.
place is Nashville, Indiana, which lies south of Bloomington. In fact, all of
Brown County and its rolling hills inspires this series.
unusual tiny town in the county, Story, Indiana, is now privately owned and run
as a small bed and breakfast resort. It’s a living fairy tale! And some of the
buildings are haunted! The Blue Lady lives in the rooms above the
inn/restaurant/old general store. If you get a chance to visit, you must!
In Witch’s Mystic Woods, I adapted that little village, renamed it “Fable” and gave it to my Summer Fae King and his faeries to run. In the book, I needed a location to throw a Winter Solstice party. Who else would be better party hosts than fae? So the inn of Fable opened its doors to the witches of Coon Hollow Coven for a memorable night.
The books in my Coon Hollow Coven Tales series are rich with a warm Hoosier down-home feel as well as mysterious magic that lurks in the ravines of those deep woods.
Did Coon Hollow Coven Tales require lots of research? I can’t help but imagine so, considering the subject matter.
Writing Coon Hollow Coven Tales has given me a terrific reason to spend inordinate amounts of time researching all kinds of witchcraft, from group to solitary practices, green witchcraft, wiccan work compared to paganism, Cherokee shamanism (for Witch’s Windsong), and even necromancy (the raising of the dead, for Witch’s Cursed Cabin).
But the most interesting witchcraft I learned about was that of a Hedge Witch, an old, old practice. It relies upon communication with the world of faeries going through the “hedge” or “veil” into their realm. These Hedge Witches are the true-life, Appalachian granny witches, also knowns as “root doctors” or “wildwood mystics.” Their skills riveted me and became the background for my book Blood Ice & Oak Moon. During the past year, I’ve begun a new series, a YA alternate reality/historic fantasy. The series is set in the year 2,355 in what was once the United States, well past an apocalypse that occurred at the end of the Civil War. I’ve done considerate research about the Civil War and how different areas of the country were affected. One of my best references for small things, which books or YouTube cannot convey, has been one of my former high school students who has been an avid 18th and 19th century reenactor for decades. I treasure her advice!
As a writer, what would you choose as your spirit animal?
In preparing to write Witch’s Windsong, the most recent in my Coon Hollow Coven Tales, I studied with a local shaman. My main character, Keir, is a shaman, and I wanted to portray his work accurately. The local shaman taught me how to journey into the different realms and helped me locate and meet my spirit animal, the Coyote, who often teaches me valuable lessons.
The Coyote helps in with my general outlook, including my
writing, always poking at me to take time to “play” with my creative process.
When I listen, the process becomes hugely more rewarding, as much or more than
achieving the final outcome.
Helloooooo, my lovely folks! While I vanquish the mountain of term papers and attempt to discover new territory in Camp NaNoWriMo,I want to treat you all to a month of interviews with amazing indie authors. As April is also Poetry Month, it is only fitting to begin with the one, the only, Master Mike Steeden. x
First, Mike, why not tell us a little about yourself?
As to imparting ‘a little about myself’ it is probably for the best that such information remains left untold. Were I to continue there is a very real risk of your readers becoming consumed with the urgent desire to open a vein and end it all out of sheer tedium.All I will say is that aside from being a time-traveller…and frankly that’s not all it’s made out to be…and having shared a few beers with both Joan of Arc, a lovely gal, although lacking that certain panache on the coiffure front, and the much maligned yet a decent sort when you get to know him, Vlad the Impaler, there is little of interest to divulge.
What first inspired you to create with words?
I know many ‘words’ yet cannot spell for toffee, hence the day I discovered that Word had a ‘spellcheck’ I was inspired to have a stab at writing. To my addled mind, although irrelevant in the global plan of things, that event became my metamorphosis moment. Notwithstanding the spelling issues, possibly I should also extend my thanks to the inventers of the keyboard for I am incapable of reading my own handwriting.
You create a lush mix of poetry, prose poetry, flash fiction, and novel fiction. When does that form take shape? That is, does a story always begin a story, or does the scene you begin later transform into a poem? Your piece “The Shop that Sells Kisses” feels like it could have been a bit of flash fiction, but the rhythm of language clearly demands its rightful place among your poetry. 🙂
When fate affords me a decent ‘first line’ or a ‘title’ I’m straight on the case. Hardly ever do I know in which direction or sub-genre the words might take me. I simply leave it up to them. Some words beg to rhyme others seem to not care less what happens next. I tend to work to my disorganized version of organized and without a blind clue as to the content of what I’ve written until it feels like the finished article. Only then do I read it back. At that stage some finished pieces face the firing squad, others live to see another day. ‘Words’ are anarchistic creatures…free roaming is their way of life. Were it the case they ended up confined within the cages of Manuscript Zoo they would commit hara-kiri. In life I cannot, as the old London saying goes, ‘Organize a piss up at a brewery’ and likewise when writing I’ve never been capable of successfully structuring a coherent plan. Quite the opposite as I live in constant fear of preordained rules. Free-thinking never submits to precedent’s ineptitude.
Something I’ve always wanted to ask a poet pertains to line breaks. “The Longest Night” has both fluid lines, long and winding, as well as stark lines of extreme brevity. How do you decide where lines should be broken?
As I alluded to previously, the words make decisions for me. I have no say in the matter. It is akin to being in a maze wearing just a blindfold and socks. I’ve never claimed to be a poet. ‘Almost poetry’ is the name I coined for my genre. The words decide the line breaks amongst themselves. Rarely do they argue with one another. A democracy of syllables? Possibly. Some words are shy and want to hold hands together, others prefer the hustle and bustle of the cityscape on a summers night. Given that rules bore me rigid I am grateful to the wantonly pliable words for making life easy. In terms of ‘The Longest Night’, albeit written in what feels like a lifetime lost I do remember being sat outside a café watching the day go by when a group of now aging Gurkha ex-soldiers strolled by. For whatever reason the chalk on the blackboard inside my head came out with the obscure first line, ‘Forgotten tribes and luminaries outwear handicaps’. It hit me smack in the face Tysonesque punch style. I suspect that the pattern the words took was due to the quantum leaps of shifting back and forth across two time zones. Sorrowfully, the event I wrote of was concerning the stupidity of WW1. The word collective demanded the whole picture be seen even if the subject matter was in cameo; a convoluted fiction of respect.
What, according to you, is the hardest thing about writing?
By far and away the hardest thing is when, over an evening’s glass or two of something French and red I’ve welcomed in the multi-coloured immigrant words and ensured the poor things are safe and sound in the sanctuary of my laptop only to find come the morn they have mutated into a gang of shaven headed, tattooed archetypical plain white indigenous thugs. Sadly, I have to evict the unwanted and await for new arrivals.
Do you pen down revelations and ideas as you get them, right then and there?
Yes. Words are delicate things. Give them a home at the drop of a hat in the knowledge that should they not be cared for they will die young.
You’ve clearly tapped an endless vein of inspiration from WWII and the Cold War, as poems like the “The Sunshine Girl” and “She is the Ghost of Generations” show. What is it about these particular years that hold your imaginative curiosity above all others?
Twixt the end of one evil, namely WW1 and the commencement of
another…morally far, far worse than its predecessor…a new dawn would trade
peace’s bright sun-shiny new dawn for darkest storms clouds that would
hurriedly mature into the tempest that was the unremitting thunder and
lightning of WW2. Within the traditional
European battlefield a Lilliputian era of unrefined, unadulterated passion for
passion’s sake. A ‘passion’ initially
for simply ‘living life to the full’; a thing lost in the death and destruction
of what had gone before. Then, in passion’s adolescence; new artforms; adapted
old artforms; polar opposite political doctrines; deliciously sullied ‘encounters’
of any and every shape and form; writers taking bold risks like never before.
Nothing was taboo. At its centre was Paris, ‘The City of Love’, although Weimar
Berlin ran it a close second. How could
I not be drawn into such an array of talent revealed; sometimes wasted in this
Bohemian, Parisian wonderland? Oh, to be
a fly on the wall. I have said before,
even in the knowledge that by 1939 the world would once again be in conflict, I
would give my right arm to, as the poet Max Jacob said when taking up residence
in Montparnasse district of the city, “I have come to sin disgracefully.”
One must not overlook that during those years at various times
within this small quarter was home to Hemingway, F Scott Fitzgerald, Man Ray,
Picasso, Gertrude Stein, Dali, Henry Miller, Ezra Pound, Lee Miller and a whole
host of others from abroad. In the case of the many young, talented American’s
arriving, they came because they believed their ‘native land was a cultural
sink.’ Perhaps all ‘native’ lands had earned such a dull tag when compared to
Paris back then? Whatever, Ms Lee that is the reasoning behind my constant
My risqué ‘romance come espionage’ book, ‘Notoriously Naked Flames’ is themed around the events of that short-lived libertine era. Writing that book was pure joy. I think I fell in love with the albino Goddess who was my lead character and a diamond gal, to boot.
Another element of poetry that fascinates me is word choice. When you write poems like “The Passing of a Myth,” do you first concentrate on creating the visuals within the poem, or are you first dedicated to building the music of the line? Both are gorgeous in this poem, but I can’t fathom trying to work on both at once, so I’m assuming there’s a process. 🙂
There’s no process, I promise.
In truth I’d forgotten I ever wrote that one. Having just read it once again I recall that at the time a dark depression had consumed me. I’m particularly good at those. In their own clinging way they have a creative spark unique to their species. The addictive perk depression offers is that it spawns words of own volition. They may have come alive in my head yet I never feel ‘ownership’ of them. What and how I write is, as ever, at their discretion. If there is a benefit in chance visits from my old nemesis, Monsieur Chien Noir, then it is that, by way of compensation for outstaying his welcome, I often find he settles his account by way a currency born of milk and honey words that flow like there’s no tomorrow.
What advice would you like to pass on to young writers of today that is unconventional but true?
Well, this is my personal take on the subject. I’m sure many will justifiably
see it differently. I would firstly advise that nothing is sacred. You can get
away with murder when your only weapon is the written word. Never pull a punch.
It took me an age to realize that words beg to be out of their comfort zone. Let
them run feral. Also, never run ahead of yourself and believe you’re a poet or
a novelist. You’re not. I’m not. Most aren’t. To me only the greats who have
earned their stripes in that regard can lay claim to those tags. Mostly they
never find that out, as accolades tend to chase only the great and grateful dead.
Importantly, grab hold of self-doubt and make her your new best friend. She’ll never let you down. While a smidgen of self-believe is a harmless thing, never believe you’re capable of walking on the inky waters of Lake Egocentric for you will lose all respect from your peer group as well as potential readers.
If you’re writing about a city/country/culture you haven’t physically visited, how much research do you conduct before you start writing?
Albeit a contradiction given what I’ve said vis a vis ‘words’, yes I
do research. I find it chivvies the lazy words amongst the contingent along. In
many ways it’s the most enjoyable aspect. I learn shed loads of things I never
knew previously. Even with my ‘Jonny Catapult the Plumber the Artist’s All
Trust’ lunatic skits…as per my new book, ‘Fanny,
I Think of You Often’…I had to research pretty much all angles of
plumbing believe it or not…not that I shall actually or actively ‘plumb’ now
or at any time in the future unless there is a revolver fixed firmly at my
temple. Plainly, it is essential to share my research with the tribe curious ‘words’
thus giving them an idea as to where I live in hope they will travel.
‘Notoriously Naked Flames’ demanded a whole mass of painstaking research. I had to discover exactly how life was and how it looked during those years building up to WW2 in countries and cities across Europe, from Amsterdam, Mother Russia…including the Ukraine, Istanbul and Berlin, none of which I was that familiar with, although when it came to Paris and the coastal areas of Belgium I was very much on home territory. History, architecture, politics and the ways of life of both the good and the bad became key to creating a canvas upon which words could paint their picture.
Thank you so, so much for taking time to chat, Master Steeden! Let’s wrap-up with a rundown of your latest works available now on Amazon.
I’ve have already made mention of the new book, full title, ‘Fanny, I Think of You Often & Other Tales of Abject Lunacy’. It is the first of two books both of which are a deranged collection of skits, such as ‘Audrey Hepburn’s Bout of Gout’; ‘Marilyn Monroe’s Distressing Flatulence’; ‘The fate of the old grannie from Lowestoft who once upon a time inadvertently stepped upon Elvis’s blue suede shoes’ and much, much more. The sister to this tome, ‘The Elastic Snapped,’ is also available.
Another addition to the shelves at Amazon/Kindle is co-authored with Shirley Blamey. It’s name is ‘Whatever Happened To Eve?’ Eighteen months previous I commenced collecting ever willing words for this story. A third of the book complete, the new words arriving were a motley crew who failed abysmally to direct my tale toward a conclusion.
Then a stroke of good fortune. It was in September last year, having
suffered an irksome eye injury some months previous that had slowed my progress
when coaxing words, that Shirl and I took a short break in France and it was
there a story imagined over cold bière blonde in a clandestine darkest corner
of a once voguish bar in ‘Paris par la mer’ took on a new shape. Twixt the pair
of us, in concert we found ourselves acting and reacting to the seductive pulse
of mutual, sometimes deliciously wicked thoughts. No ‘what if’s’, ‘but’s’ or ‘maybe’s’ when a
dark fantasy drops out the night sky for it must, for rationalities’ sake, be
put to the written word before it is lost forever to the merciless ether. An
excited cluster of unshackled ‘words’ agreed. We were on a roll.
I have to say, come breakfast, I questioned Shirl on a number of potentially
controversial topics and storylines we had come up with that night in France.
“Can we really get away with that? Seriously?” I asked. “Molly Parkin got away
with it time and time again. Why not?,” her pokerfaced riposte. Soon after wily
‘words’ found they had two craniums to take up residence in. I tend to think
mine was just their holiday home.
130,000 or so words later we have a book we shall shortly make known
to others. Having said that…and you
are the first to know, the lovely Ms. Lee…
‘Whatever Happened To Eve?’ is, in truth, already available in both
paperback and Kindle at Amazon sites far and wide.
Lastly Ms Lee, my
thanks for the invitation, your time and patience.
Gentlemen Prefer a Pulse: Poetry with a Hint of Lunacy: Gentlemen Prefer a Pulse is Mike Steeden’s first published collection of poetry and features over a hundred poems that are sometimes humourous, serious, satirical, surreal, thought provoking and brilliant! Mike says his inspiration is drawn from his self proclaimed love of the fairer sex, his passion for ‘people watching’ (a trait born of his time as a private investigator), social justice and compassion.
Notoriously Naked Flames: Part espionage thriller, part romance, part fantasy, part adventure, ‘Notoriously Naked Flames’ is Mike Steeden’s first novel. Spanning the lead up to World War II, the war itself, and into the early 1950s, the unnamed heroine of the piece, a bewitching albino of Bohemian bent, masquerades in all manner of risqué guises dishing out her own version of clandestine justice to those evil souls spawned of conflict’s disregard for compassion, law, and order.
Fanny, I Think of You Often… Nothing is sacred. If permitted, the mind wanders free in the knowledge that anything and everything is possible. Season such a mind with a pinch of satire plus a hint of Pythonesque surrealism and the dish of ‘fusion lunacy’ is ready to be served. Within the pages of this deranged collection of skits you will discover how Audrey Hepburn dealt with a bout of gout; similarly what became of Marilyn Monroe’s false teeth; the fate of the old grannie from Lowestoft who once upon a time inadvertently stepped upon Elvis’s blue suede shoes and much, much more.
The Elastic Snapped: WARNING: This book may contain traces of nuts (not of the edible kind) and may also cause drowsiness amongst those unfamiliar with the English language. Bibliophobia sufferers may experience severe panic attacks. Additionally, it is strongly recommended that you do not drive whilst reading.INGREDIENTS: Lunacy, stupidity, silliness, idiocy, absurdity, aberration, eccentricity and fragments of appallingly bad taste.
Whatever Happened to Eve? No writer can help what he or she writes. Whether they be scandalous or sweet, dull or bright, words arrive as and when the fancy takes and evolve into whatever fable suits. With that in mind this collective of untamed words, of their own volition, chose not to be pitched at the easily offended or fainthearted, instead they opted for a captivating darkness.
With the eighteen gazillion snow days my kids have had this winter, reading’s been all but impossible. Cabin fever sets in sure and fast, nerves fray–you know the drill. It’s like the fall after our basement flooded,only now we can’t even utilize the outdoors much due to the extreme cold that sweeps in, sweeps out.
Yet here I am, determined to write a “lessons learned” post SOMEhow. Look to something I read a while ago? Well I could, but that would take some research time that I don’t have because my job interview for teaching full-time’s in…90 minutes.
Don’t worry, this is NOT like the panic of yesterday. It’s just that I haven’t worked full-time since Blondie was born, making even the potential for this culture shift intimidating. As Bo says, though, it is NOT worth worrying about unless I actually get the job.
So, let’s divert from that bridge for a moment and think of warmer climes, where dew drops hug the tree leaves and a million lives scurry around us, out of sight. Every day, every hour, these lives are in life or death struggles to eat, fight, and survive. Duels over prey, wars over homeland. Nonstop action at every turn….
…until winter when everyone’s gotta hibernate.
I’m talkin’ about bugs.
Bash is our bug kid. He’ll stare at books on insects for ages. He’ll watch ladybugs and ants traverse across the sidewalk (until Biff comes over to stomp on them). The tiniest life fascinates him.
I forget how, but I stumbled upon a cancelled show still on YouTube that brought his love for bugs to his siblings. This show was a savior during the snowdaypacolypse.
I’m talkin’ about Monster Bug Wars.
Just listen to that cool movie-trailer voice they got to narrate this show.
Every episode is like this! “In this life and death struggle….For the centipede, will it be fight, or flight?…The katydid, katydidn’t.”
Okay, I made that last one up, but this narrator is full of dark and dangerous turns of phrase to make every showdown the most epic showdown of them all. You’d think you’re watching a wrestling match, or some action schlock movie (probably why I like it, then, ahem).
But more than the voice, my attention was hooked by the bugs. For instance, check out this snippet on the moss mantis.
Look at that camouflage, all the little mossy-like bits on its exoskeleton. How it sways in the breeze like any other leafy growth.
Imagine something like that the size of a dog. A bear.
Suddenly those hooked arms and mandibles are pretty damn terrifying, aren’t they?
~TWO HOURS LATER~
How in Hades did I forget about the time difference?!
Okay, the job interview is done and done. A bit of rambling, a bit of awkward Loony Tunes-style vocal staggers into the phone, but I was me, and that’s…well, dramatic, to say the least. No different than I am in the classroom.
Anyway. Back to bugs.
As a fantasy writer, the pressure’s always on to create worlds unique unto themselves. This means I–and I’m assuming other writers–feel like we have to create from scratch. Yet when I look at creatures like this mantis or spider, I can’t help but wonder: why are we starting from scratch when such amazing monsters already live among us?
No, I’m not saying you make giant bugs be the monsters of your stories. What I am saying is that these creatures are a wealth of inspiration: the way they melt into their surrounding environments. Their weapons. Their weaknesses. Their fighting styles. The way they hunt, breed, survive.
Our world overflows with creations both beautiful and terrible. In the writer’s quest to bring the unique and never-before-seen to readers, we too often forget the wealth of unknown predators that move in our oceans and forests. Utilize the mind-blowing traits of such predators, and you’ll create a monster that truly terrifies characters and readers alike.
Let’s talk first about reading awesome stuff. What is your favorite childhood book? C’mon, say Voyage of the Dawn Treader, you know you want to!
Haha, is that your favorite Narnia book? If I was to go with something from C.S. Lewis I’d say Out of the Silent Planet. I’m a big fan of Roald Dahl, it’s hard to pick one, maybe James and the Giant Peach. Also, I’ve been reading Calvin & Hobbes to my kids at night, and I’m always impressed by how much insight Bill Waterson has into the fundamental nature of childhood. Do other people identify that much with Calvin or is it just me?
OH MY GOSH YES! We found all our old Calvin & Hobbes collections when the basement flooded. The kids LOVE reading them, which is awesome…until one starts using some of Calvin’s vocabulary at school and winds up seeing the principal as a result. That’s not so awesome.
Anyway, what authors did you dislike at first but grew into?
I think that The Catcher in the Rye is one of those books where there’s a small window in your life where it really hits you like a punch in the face. I think high schools do it a disservice by teaching it in Sophomore years. I think you need to approach it a bit later. Sooner or later you’ll feel what Holden was feeling, and Catcher is magical if you pick it up at that moment. However, if you’re reading it against your will it becomes absolutely miserable…which is unfortunate.
I know just what you mean. I recall being forced to readThe Count of Monte Cristoin college and absolutely loathed it, but when I tried it again a few years ago, I was completely enraptured. It’s like there needs to be a shedding of expectations, an allowance to read for reading’s sake, and allow the story to dictate the pace rather than the reader.
I remember being pretty upset at the end of The Elfstones of Shannara. I also found the first 6 minutes of Transformers: The Movie completely devastating. I know it was just a big advertisement to get us to buy toy robots…but it meant something to me dang it!
Oh yeah, I made the mistake of showing this “kid’s movie” to my sons. Watch the opening if you dare, folks. This movie opens with an entire planet of living robots BEING EATEN. Kids love death on a planetary scale!
(Gotta say, though, that the theme song is totally metal.)
Bash sobbed for ages after it was done, and I don’t blame him–you’re watching beloved Robots in Disguise MELT TO DEATH throughout this movie! Biff thought it all amusing and wanted to watch it again. (Yes, we are watching him.)
I’m sure you get a lot of authors and/or stories recommended to you that you just don’t dig—a reader’s block, as it were. Do you fight your way through to finish the story, or do you shelve the story, never to be finished?
The main reason I don’t finish a book these days is just a lack of time. Endings don’t surprise me anymore so the main craft of a book is in the beginning I believe. If an astute reader hasn’t guessed the ending of a book then there are problems with the build up. It’s pretty rare to encounter a book so terrible I have to put it down. Whether a book is published by a small press, a major publisher, or independently, there is almost always a memorable line or scene. Everybody has a worthwhile story to tell.
Excellent point. In all my years I can’t think of more than a few books that I just couldn’t bring myself to finish. Have you read anything that made you think differently about fiction?
Walter Rhein with Janet & Chris Morris at the Library of Congress
I like the onomatopoeic words that show interjections of simultaneous action during a dialogue, and the present tense portions create a sense of urgency. Janet Morris does something similar in her Beyondseries, although she slips out of it into a more traditional narrative voice. I might try doing a short story in your style just to see how it feels.
That’d be cool! It’s important to test different styles. Yeah, they might not work, but some other excellent character or plot idea may arise in that attempt, and that makes the experiment worth it.
How did publishing your first book change your process of writing?
I think you gain more confidence in the process as you go. Usually there’s a theme or an idea that I want to work through, and I come up with a lot of stories that surround that idea. Once you have a hundred pages of stories, you start to see how they connect in a storyline. I imagine that The Hobbit came as a result of Tolkien saying, “I’d like to daydream about a place called Middle-Earth for a while.” Writing a book is very much taking a journey. You take the journey because you’re curious what the scenery looks like.
You’re currently a member of the St. Croix Writers, a writing group based in the beautiful North Woods of Wisconsin. Can you share a bit about this group and its awesomeness?
I just met those folks as a result of a concerted effort I’m making in 2019 to be more active in writing groups. I found a web page that listed all the writing groups in the state of Wisconsin and I wrote all of them a message. Thomas Wayne King sent me his phone number and encouraged me to call for a chat which I thought was very nice. I plan on attending their next meeting. I think a lot of writing groups could come into the 20th century a little more. There are a lot of ways that writers can support each other and I think that needs to be encouraged.
Yes, indeed! Especially because it’s easy to feel a bit cut off where we are, the “backwaters” that “real writers” don’t live in.
So of course I have to ask about Wisconsin, too, being a “Cheesehead” myself (yet not a Packer fan. I know, I know, I’m lucky not to be banished to Illinois for that.) Do you feel there’s something about Wisconsin’s land, people, or culture that inspires your storytelling? How so?
I think a lot of stories from rural Wisconsin are overlooked or dismissed. There’s quite a bit of arrogance in the writing community, and an impulse to disregard certain stories, which is unfortunate. Everyone has a story to tell, and all of those stories are very important and deserve attention. Actually, if you want to read more about my thoughts on this matter, check out my article “Not Worthy of Study: The Catastrophic Arrogance of the Literary Community.” Go Packers!
Ugh, don’t even TALK to me about the Packers after this lousy excuse of a season!
It can be a huge struggle balancing the writing side of life with that of family. Does your family inspire your stories, or support you in your writing endeavors? In what way(s)?
I’ll often read my stories to my girls at night before they go to sleep. If they pay attention all the way to the end, I know I have something good. If they drift off, I know I have to rewrite. They’re very honest and that’s vital.
Aw, that’s so awesome! I haven’t dared share my writing with my kids. When I see them, the fear of disappointing them digs too deep.
You regularly travel between the United States and Peru to visit family. How amazing to be immersed in such different cultures! What kinds of inspiration do you draw from the Peruvian landscape, culture, and people?
I went to Peru when I was 26 and it was super helpful to me because it was so inexpensive to live there. As a writer, you need a lot of time, not just for writing, but for reflection. Also, you can go a lot time between pay days writing, so it’s nice not to have a lot of financial pressure. Being in a foreign country is great for anyone because it shows that whole societies are built on radically different ideas. This is useful to see in person if you’re one of those people who walks around thinking, “So many things in our society seem wrong to me.” People will tell you that you’re crazy if you point out an error. “That’s the way it’s always been,” they say. It’s a massive existential boost to see that, no, it HASN’T always been that way in other parts of the world.
As much as I love my kids, they can be my writing Kryptonite: nothing zaps the creative drive like a call from the principal or a kid waking waaaay too early for his own good. What is your writing Kryptonite?
I’m the first to admit I “Google as I go” as far as researching is concerned. How long do you spend researching before beginning a book?
I think research is more important to a tech type writer, somebody like Tom Clancy where historical items are far more important to the plot. I’m a character type writer, so research doesn’t play that big a role. However, my most recent release, Paperclip, required some research. We did it on the fly, and we found exactly what we were looking for. It turns out there were some documents that were supposed to be shredded by the government but got misfiled instead—you can’t make stuff like that up!
Oh, what a lucky find!
You and I are both published via small presses, which are different than self-publishing programs or the “traditional” publishing houses, so we see things a bit differently in the publishing industry. What do you think is the most unethical practice in the publishing industry, and what can be done to change it?
There are a lot of things I’d like to change in the publishing industry. One of the things I really dislike is that people seem to be afraid to express their own opinions. A narrative gets created about a book, and people fall in step with what the narrative states. I’ve been fortunate where I’ve felt the tidal effect of a positive narrative, but it still is a disquieting feeling. I used to get in trouble in college classes a lot because I like to offer nuanced opinions, but the mass of people want to reassign you to a larger, dumbed down narrative. “Well it sounds like you’re saying this…” they say, when you aren’t saying anything of the sort.
Oh yes, I’ve noticed that, these “narratives.” There’s hype that will lump the book into a certain group, and if you disagree than you’re an awful person. There’s no nuance anymore, no “I liked Element A in the book but not B, and here’s why.” It’s all or nothing.
Mostly, I’d like to see new authors get more of a fair shake, but part of advertising is to take customers away from the competition. The thing I’m doing to change it is to read and engage with as many new authors as I can. I’ve become pretty bored with major Hollywood releases, there are some fascinating works out there in small-press and independent publishing.
Kudos to you, Sir! There’s such a wealth of amazing tales out there that the mainstream media never touches. It’s up to us to dig them up!
Lastly, what are common traps for aspiring writers, and how can they avoid them?
A lot of the general beliefs about what it means to be a writer are just flat out wrong, and there are a lot of people giving bad advice. The big thing to remember is that the money is supposed to flow TO the writer, not FROM the writer. Even if it’s not a lot of money, it needs to be going TO you. The other thing to keep in mind is that your work will often be rejected without being read. There are some agents and publishers who send out really snooty form letters, and you’ll get these even from an email query that doesn’t even include an attachment of your work. It’s pretty much a rigged game with no chance of success, but play it anyway. Maybe we should all be thankful for that because I think too much attention is just as destructive to your ability to do important work as too little. Every story is important, and every story has an audience. Thanks for having me!
And thank you for taking the time to chat! Lord willing I can drive up to Chippewa Falls sometime for a chat. 🙂
If you’re in northern Midwest, Rhein and co-author Dan Woll are having a talk about writing and marketing thrillers.
I connected with P.J. Lazos online as a fellow indie writer of fiction and nonfiction. Her discussions on environmental issues, writing, human virtue, and family are so compelling that I just had to introduce her to all of you.
First, let’s talk about you. Your biography reflects many passions: a passion for truth as a journalist, a passion to fight for what can’t as an environmental lawyer, and a passion for words as a writer. Which of these passions shown itself in you first, and how did it influence your other passions?
I think my strong sense of justice started in childhood. My mother had a baby who died at three months old. I was three years old at the time and remember thinking how unfair it was for our family, but especially for my mother who was devastated by the loss. I think I tried so hard to make it right for her, but of course, what could I do. Maybe the words grew out of that experience — definitely the emotion. I remember journaling when I was a kid although then it was called “keeping a diary” an no where near as in vogue as it is now so clearly the name change helped. As for my bit with the environment, well, my mom used to wrap me in a blanket and tuck me under the big oak tree in the backyard and I would lie there and have a conversation with the tree, or at least that’s what it looked like in the video, so I think that started then, too.
Your Six Sisters series delves into the nuances of family life and all its beautiful imperfections. Now I’m not going to strictly ask if this is autobiographical, but were any characters inspired by family or friends in your life? What drew you to share their stories?
That’s funny. My brother-in-law from my first marriage — I still maintain a solid relationship with my ex-husband and former in-laws — asked me the same question about List of 55. The answer is complicated. No, in that the over-the-top behaviors of the characters in that story were definitely not us, but yes in that the underlying emotion behind a break-up was definitely there. You don’t have to have a specific experience to write about it convincingly as long as you can access the emotion behind it. For example, I remarried and my now husband’s first wife died when their two kids were very young. Hearing that story from his POV allowed me to access his unbearable loss and I created a character — David Hartos in Oil and Water — loosely based on my husband who was also a commercial diver. He provided me with insight into how a heart completely busted open by grief struggled to raise two kids as well as how the world of commercial diving worked. I think that as writers, a piece of you lands in every story you ever write, but some are just more autobiographical than others. The part of List of 55 where the central character has a miscarriage — that precise situation did not happen to me, but I did have a miscarriage in a bathroom stall at 30th St. Station in Philadelphia and I think it may have been the saddest, most horrific moment of my life. I tried to write about it before, but it never came out with the gravity I wanted to convey so I put all that angst into Belinda’s character and that’s what I got. Sometimes it’s easier to process your own pain through a made up character. Isn’t that a staple of psychological counseling for kids, and aren’t we all just kids walking around in adult bodies, still harboring all the crap and still relishing all the joys we experienced in childhood?
Now, your most recent novel, Oil and Water,is an environmental thriller. Considering your legal expertise, I imagine you didn’t have to do a ton of research for this novel…or is that being presumptuous?
Yeah, I wish it worked that way for me, but it doesn’t. I started with doing some initial research about converting trash into oil and about the Marsh Arabs and the wetlands in the Fertile Crescent (which you would remember from studying Egypt or Mesopotamia), but a lot of the rest, like you, I googled as I went. I have enough information in my head to get me started, but my memory isn’t always a straight arrow so I need to fact check. My favorite kind of fiction is where you learn something so I wanted to be sure I was passing on real time information.
As the premise of Oil and Water brings readers to difficult questions about our dependence on fossil fuels, your website Green Life Blue Wateralso informs readers of some amazing environmental initiatives that are doing their communities some good. Are there any current programs you’d like to highlight right now?
Rain gardens and aquaponics! I’m a member of the Junior League of Lancaster, a group that’s been operating in Lancaster since 1923. This is my 8th year in the League and I love being part of a volunteer women’s organization. We are doing some really cutting edge stuff like building rain gardens which are basically bowl-like depressions planted with hydrophytic plants that hold stormwater and rain water in high flow times as a way to divert it out of combined sewer system.
This year we’re adding aquaponics to the mix which is basically a fish tank with food growing on top — veggies, herbs, whatever you want (well, maybe not pumpkins). The fish poop fertilizes the plants so it’s a self-contained system. We’re doing a pilot project at an elementary school here in Lancaster, installing four tanks in four second grade classrooms and putting together some curriculum to go with it. We want to make a “pizza garden” with basil, oregano, cherries tomatoes, and a few other things so when the kids harvest the food in the tank we can throw them a pizza party. So lots happening: how ecosystems interact, close up look tan water and nutrients, nutrition, and more, I’m sure. Hands on learning is really the best way to get those kind of lessons across. I just learned that the Aztecs were the first to do aquaponics. The called it Chinampas. So you see, I’m learning something, too.
You are also a member of the Insecure Writers’ Support Group, correct? Can you tell us a little about this program and how writers can join?
I actually don’t do that anymore. It was quite fun, but a friend of mine asked me what I had to be insecure about since she loved my writing. That started me thinking about The Law of Attraction and how what you think about all day long is what manifests in your life so I stopped participating in IWSG and started participating in WATWB, We Are the World Blogfest, which had just started. WATWB happens on the last Friday of every month and it showcases positive news stories as a way to counteract all the negativity in the world, an “accentuate the positive” approach to news and life. I also found this group to be more “my people”, writers all, but focused on social justice, environmental issues, a better life for all people. Plus you get a real lift from reading the stories people post.
Lastly, what advice would you like to share with those who are unsure how to explore their family or other passions with writing?
Journaling is always a great way to get started. I always kept a kind-of notebook, but when my daughter was born, a friend gave me a beautiful black sketch book with lovely, creamy paper. I had four months off from work, plus another four on a very part-time basis, I wrote a journal in earnest, a love letter to my kid that I intend to give her one of these days when she’s ready to read it. Her dad and I split before she was born and I wanted to get everything I was feeling down on paper. We joke now that she came out screaming because I was so angry when I was pregnant. Unless I’m reading her wrong, today, like me, she laughs readily and sees both the irony and the gifts in most situations. I don’t write in a journal as much as I used to, but I have a blog and much of what I would write in the journal goes in the blog. One thing I would suggest and that I myself need to get back to is morning pages, something Julia Cameron suggested in “the Artist’s way.” A brain dump every morning to get the gook out and start fresh — something that both reaps and sows benefits. Your mind is clearer, and you’re not as much of a jerk to the the person behind the counter who gets your order wrong or the one who cuts you off in traffic. It helps you to be more chill, in addition to generating ideas, and we all could use more of that.
My deepest thanks to P.J. for taking time to time to talk to us! You can find her Amazon page here and her Twitter page here.
Would you like to be interviewed on Jean Lee’s World, or plug your creative work in my newsletter? Contact meand let me know!
Oh, and I just gotta say how cool it is that four of my Tales of the River Vine are STILL in the Top 10 Free YA Fantasy Monster Fiction.
That’s two months now, and going strong! Thank you thank you THANK YOU! I do hope you’ll leave a review letting me know which characters you dig–and which you want to see more of! I’m brainstorming up some more Tales while working on the novels, and would love a little reader input. xxxxxx
Born in Dublin, Ireland, 1967, Celine has spent the majority of her working life in the film business, and her career as a classical feature character animator spanned over seventeen years, before she became a full-time writer. I am honored to spend this week and next sharing her thoughts on world-building, research, character, audience, and hooks.
First, let’s talk about the imagination behind the worlds. I see on your biography you spent years in film and animation. What drew you to visual storytelling as a profession before written storytelling? How does your work as an animator influence the way you write today?
Illustration of Chris and Wynter from Poison Throne
From the moment I could hold a pencil I was always either drawing or writing. In terms of satisfaction, I don’t think there’s a dividing line between the two disciplines for me. But at different stages in my life one has dominated the other by the simple fact of making me a living. At the age of nineteen I left college for an apprenticeship with the brilliant Sullivan Bluth Studios, and as a consequence of that went on to a 25 year career as a classical character animator (Land Before Time, All Dogs Go to Heaven,Anastasia, etc.). Animation is a great love of mine ( I animated the book trailer for Raggedy Witches and it was tremendous fun)–
–but it’s not really ‘story telling’ for me. It’s more akin to acting or dancing, where you’re using your skill to enhance or express someone else’s story. To me writing is my true story-telling outlet. You’re god of your own universe in writing. You get to explore the themes you want to explore, with the characters you most want to be with, in a world entirely of your own invention. Its purity has no equal. (I am a compete sucker for graphic novels, though. The combination of pure story telling and visual representation there is intoxicating. One day someone will offer to pay me to sit down and draw up one of my own scripts, at which stage I may just implode with happiness. Until then I get great joy in drawing bookplates and small illustrations for readers who contact me about my stories.)
I love utilizing the world around me as a foundation for world-building, which means Wisconsin’s landscape is a heavy influence in my work. Into the Greyand Resonanceare both set in different historical periods of Ireland: the former in the 1970s, and the latter in the 1890s. What logic led you to choose these particular periods for these stories? Are there any pieces of the Ireland around you that helped inspire the settings?
Book plate for Into the Grey
Both Into the Grey and Resonance are set in very specific time periods due to the long and involved back stories which feed into the protagonists’ experiences. Although they are both readable simply as supernatural adventures (Into the Grey is a haunted house tale of ghostly possession; Resonance a story of inter-dimensional aliens and ‘vampiric’ immortal humans) there are deep historical roots to both that not only feed the story, but also the themes that I was exploring as a writer. For instance, Into the Grey explores the divided nature of Ireland’s history and the way our view of our selves and our lives is warped by the stories history tells about us. Resonance explores the value human beings place on themselves and on others, what does it mean to be alive, to be ‘worthy’ in other peoples eyes, etc. These underlying themes are the reason I write in the first place – I write in order to explore the world around me. But I love the stories to be readable as adventures too, to be scary and fun and exciting (in as far as you can ever anticipate what others will find scary and fun and exciting. I’ve found it’s best to just please myself in that respect and hope at least some others will enjoy them too.).
The mansion in Resonance was deeply influenced by the exterior of Belvedere House in Co Meath and the fabulous interior of Bantry House in Cork, in which my son shot the linked video. (Bantry House is not at all spooky, but this video was shot as a specific tribute to Italian horror movies, so it gives the place the exact frantic, off kilter vibe that the I wanted for the later scenes of the book. It even has a dollhouse – though, admittedly, this one lacking a blood soaked four-poster bed!)
Question about your Moorehawke Trilogy: research. Clearly you did your share of research on medieval life to transport readers into the castle’s kitchens and secret passages. Ugh, that research! I know some writers love the research—friend and author Shehanne Moore does a ton of research for her historical romances, whereas I only research when I have absolutely no other choice. Now granted, that’s partly because I just want to write and work out the nitpicky things later, but the other part is that I get so overwhelmed in the data I can’t decide what details are necessary for the narrative’s clarity and what’s minutiae. Can you share some tips on how to research productively and selecting the best details to ground your readers in the setting?
I usually have a book in my head for a long time before I start writing it. For example, when my first agent took me on I was just finishing up writing The Poison Throne, the first of the Moorehawke trilogy. I still had to clean up draft one of Crowded Shadowsand still had to write all of Rebel Prince. There was years of work ahead of me on Moorehawke (taking into account editing etc.) but I arrived at the agent’s with a biography of Harry Houdini in my hand, my reading material at the time. I’d already consumed many books on the history of the American slave trade and was nibbling away at websites and articles about the history of Jewish persecution in Europe. I knew that all of these things would feed into the characters and setting of Resonance, which was the book I planned to write after Moorehawke.
If memory serves me, it would be at least two years before I started draft one of Resonance, but at that stage I would have had over three years of historical research floating around in my head. I do this with all my books, this years of reading before writing. It means that when I start to write, my story and characters are already pretty firmly grounded in a time, place and setting. They live for me already. So, in a way, it feels like I’m writing about contemporaries. I’m used to the world they live in, and the relevant details settle naturally into the narrative. As I write then, it will be small things that need clarifying – was that type of knife available then? Did they eat that kind of bread? Would they have had access to carriages, to time pieces etc. etc. – and those things only crop up in the narrative if they’re important to the scene. You can quickly check them and move on with the story.
I do the same with all my novels (at the moment – while writing the Wild Magic trilogy – I’m consuming biographies from the 1700s, trying to understand the lifestyle and mindset of the people I hope to populate a future novel with.).
Don’t forget too that editing is a writer’s best friend. You should feel free to put as much useless trash into the first draft as possible. If it makes you happy or interests you, put it onto the page. You can always cut it later (as I’ve got more experience, I’ve learned to cut more and more. I’m far more spare a writer now than I was at the beginning.)
Another element in The Moorehawke Trilogy I LOVE is your world-building. You base the world in an alternative medieval Europe, where cats can talk to people and ghosts are common to see, but religions such as Christianity and Islam have a strong presence. You also explained much of the inner workings of castle life without making readers feel like they had wallowed into info dumps. Exposition can be such a dangerous line to walk in epic fantasy—how on earth did you craft those paragraphs to help readers learn your world without slowing down the narrative?
Tattoo design for a Moorehawke reader
Thank you, that’s so nice of you to say. I do feel that one person’s excruciatingly slow narrative is another person’s meaty delight, so I think the best approach is to write as you like to read and try and be honest to that. However, it’s a good idea to ask yourself in edits whether the information is truly important to the story itself – whether it furthers the readers understanding of the characters, or the plot; or whether it nudges them deeper into the mood or atmosphere of the scene. If it does any of those things, then it’s working for you and you might consider keeping it. Get honest beta readers too – people who will tell you where and when the story has begun to slow or drag for them. Try and get a few of them. If they all tell you that a specific portion of the narrative is a slog for them, then you need to consider cutting a little deeper or refocusing. Make sure the narrative is telling the reader something new or important, and that they feel rewarded by the read.
Stay tuned next week for more from Celine Kiernan! Now pardon me while I, an 80s child raised on Bluth films, fan-girl squeal for the next several hours. To meet a storyteller of powerful fiction who also helped create the visual stories from my own childhood is soooooo awesome! EEEEEEEEEEEEEEEEEE!
+ Writer and fellow Wisconsinite Jon also wrote both an interviewand book review, and on top of shepherding a church, too! You’re too kind.
These are talented writers with stories of their own to tell, so I hope you check them out. Please be sure to share your own thoughts on Stolen or my FREE collection Tales of the River Vineon Goodreads or Amazon–I’d love to hear what you think. 🙂
Shehanne Moore is a Scottish born author who writes gritty, witty, more risky than risqué, historical romance, set wherever takes her fancy–stories that detail the best and worst of human behaviour, as opposed to pouts and flounces. To celebrate the new release of two titles under her London Jewel Thieves series, I asked Shey to stop by and talk about how she creates such uniquely engaging characters and thrusts them into situations that promise spectacular fireworks.
Let’s first begin with what you write—smart, sexy, historical fiction. You delve into various time periods with your books, such as the 9th century in The Viking and the Courtesan and the 19th century in Splendor. What process do you go through when choosing the right century for a story’s setting? That is, if Splendor took place in another century, would it still be the Splendor we know?
Probably not. The stories are influenced by the time, the characters too, although they don’t always abide by the constraints of them. Mind you Splendor would be a shopaholic , running up debts galore in any time because some things are timeless. She’d be having to manage everything too. So I guess a bit of both would be true. I generally stick to the Georgian/Regency period—it’s a sort of genre in own right. BUT I do like to dabble and I do spend time thinking of how I will set a book physically within that period, in terms of imagery etc.. There’s also things that happen when I write.
I mean there was never meant to be a Viking in The Viking and The Courtesan. That was a straight Regency. But then halfway through chapter two, the little voice whispered, ‘You know that Viking story idea you have, the one you’ve never really got the idea for the heroine ‘s goal in? How about you just use it here?’ Much as I want to ignore that little voice, I can’t.
Such a question should mean I ask you about research, too. I know you’re very passionate about your research to keep the period lifestyle true to history. What’s your process in making the research phase as productive as possible?
You know people think I do a lot of research. I don’t . Too much can kill a story and read like a Wikipedia cut and pastes. At the end of the day I don’t want to know every detail of the time a story is set. I can read a history book for that. I want to read of the things that are universal. The things that stand the test of time. But I have always loved history, especially social history, ever since I can remember. I guess that’s what I have at my fingertips when I write. And of course, I will check a historical timeline detail where it is pertinent to a character, or setting, if I want a certain backdrop.
One thing I love about all your books is that these characters are layered with feeling. They desire, they hate, they aspire, they love, they fear. Your books are so, so much more than the “meet-cute” kinds of romances out there populated by characters with little more than a single quirk each. These characters can get downright wicked, like Devorlane Hawley in Loving Lady Lazuli. How do you bring together both light and dark natures into your characters to keep your stories compelling and un-put-downable?
Now Jean, it’s all right, I won’t set the dudes on you and the check is in the mail. You are way too kind. I just love characters. I want to write about the human condition and let’s face it sometimes it’s downright ugly. Okay, Devorlane Hawley, for example, page one, is not a man you would want to meet. He’s plainly gone to hell in a hand cart, is behaving outrageously and now he’s come into the dukedom because his older, perfect brother is dead, he’s for turfing out his sisters, his late mother’s ward, installing some floozie he’s scoured London to find and setting up a pleasure palace in the ancestral home. By page two/three he’s noticing that his home is nothing like he remembered, it’s a mess, his oldest sister is a drunk and that’s needling at what humanity he has, because it’s plain these years have been hard and the family have regrets. The fact is he’s the family black sheep, the man who made the kind of messes we can all make when we’re young. And that law-abiding, God fearing family let him go down for a crime he never committed, largely for the sake of peace. By the end of chapter one he’s spotted the woman who did commit that crime and his goal instantly changes. Now he’s becoming the architect of his own doom in many ways.
No-one’s all bad—I think it’s important to remember that when you write. But we are all flawed in some way, a bundle of contradictions, the sum and substance of our life experiences. That’s what I’m trying to blend. Ultimately underneath everything Devorlane Hawley isn’t a bad man. In some ways he’s man interrupted by his earlier experiences– and what has shaped his life since has been hardship and brutality. So the race is on then to see if he can become the man he could be, or are the flaws going to get in the way. I spend a lot of time peering through my fingers going… I wouldn’t have done that, to my characters when I write. AND I let them drive everything. I seriously never have any idea where a story is going next.
Yet another thing I dig (someday I’ll learn to write questions better), particularly where the London Jewel Thieves are concerned, is that the series doesn’t just revolve around one heroine; rather, each book focuses on a different character of a group. I love how these different perspectives give us a richer look into their world, as well as fresh looks at characters we’ve met in the other books. Which heroine came to you first? Did she bring all the other thieves with her, or did they start telling you their own stories later on?
Good question. Actually the heroine of a short story I have yet to turn into a full length, came first. The idea was there of the jewel thief gang and being forced into stealing because for one reason or another they’ve fallen into the clutches of the man who runs this gang. BUT Cassidy Armstrong aka Sapphire from Loving Lady Lazuli came first in terms of the writing. Originally it was a standalone but as I wrote it, and I was working the background, I thought of that short story and the whole thing just fell into place. The idea of giving the women the name of a jewel, of the Starkadder Sisterhood, and of setting the books after the gang has broken up. So it’s about them having to find their feet by whatever means and keeping one step ahead when there’s prices on their heads.
Lastly, congratulations on beginning your own small press! I’m so excited to see what Black Wolf Books will bring to readers—your own books, and the books of other authors. You’ve been writing for publishers for a number of years, but now you are both publisher and writer. How would you say your earlier experience prepared you for this change? What’s been the biggest “culture shock,” as it were, with donning the publisher robe?
Thank you so much Jean and ALSO for having me here today AND congrats on your own forthcoming release. Sure to be a rip along read. I have wanted to set up Black Wolf Books for about four years now but life got in the way. But I’m there now. I think the writing industry is in a constant state of flux. When I first subbed back in 2012, you still went the traddy route. Yes there were self published books but not so many, nor the same amount of tools to do it. I mean Amazon makes it so damned easy actually now. I have a lot of experience in the writing business that goes way back before 2012 and I’ve been able to use most of it now.
I think the biggest shock…well learning curve was formatting for ebooks and for paperback. Amazon does make it easy I just got in a flap till I mastered it. I initially paid a formatter for the print version for Splendor. I was too scared to do it, in case I messed it up. But when it came back like a dog’s dinner, I stood at the foot of the mountain and told myself to get up there. That it wasn’t anything like the time I took over the editing and design of a magazine and didn’t know how to draw a text box…
Are you looking for submissions right now? If so, what kind and do you have any guidelines to share?
Well we are not officially open in that I didn’t want swamped. I wanted to feel my way, get out my books, and the Mr’s book, before dealing with what could be an avalanche. And often I think publishers can take on way too many authors without concentrating on the ones they have. But we already have a signing of a YA author who has a trilogy. So I say to folks, contact me through my blog contact right now. And really so long as it’s good, I’m not laying down all kinds of conditions.
One of the reasons I wanted to do this is that I’ve seen a lot of authors get raw deals, not been able to get a book out cos it’s not fitting the mould, despite having books out. My aim in setting up BWB is to help authors. Believe me, I know how brutal this biz can be.
Lastly lastly I’m hoping you’ll allow the little Hamstah Dudes, that precocious batch of knowledgeable cuties who share amazing author interviews & writing advice on your site, to come on over for a moment and have the last word, as they’ve been very good and patient all through our chat.
Many thanks to Shey for sharing her experience and stories with us! And don’t worry, Hamstah Dudes–Blondie’s working on a Halloween picture just for you. Hopefully I can stop by Shey’s site to share it! 🙂
Shehanne still lives in Scotland with her husband Mr Shey. She has two daughters. When not writing intriguing, and of course, sizzling, historical romance, where goals and desires of sassy, unconventional heroines and ruthless men, mean worlds do collide, she fantasizes about cleaning the house, plays the odd musical instrument and loves what in any other country, would not be defined, as hill-walking.
After visiting the lovely Lady Shey, I do hope you’ll pick up my latest FREE fiction for some weekend reading!
Once upon a time, in a land of ancient magic, there lived a wizened old teacher and his errant pupil, a handsome young prince, who was born of a wicked king and a very wicked queen and who sought redemption with all the life that beat in his once-blackened, now-saddened and guilt-ridden heart. This once and cruel prince presided over a prison kingdom of shapeshifters, riven by factions from a dark and evil underworld, fomenting unrest, as food supplies grew more and more scarce with each passing day.
Over their prison Wall they went, growing bolder and more ruthless, unscrupulous and indiscriminate in their hunger and insatiable need. They ventured into the world of man—shapeshifting predators searching for prey.
Can the prince and his wise old Merlin find salvation for themselves and mankind? Or is there no true balm in Gilead?
My ineptitude in the kitchen is legendary. I’ve started no less than three fires in my oven. I’ve burned food to the bottom of pots so badly we had to throw the pots out. Even the most basic of cookbooks goes all twisty-turny in my brain so that I switch ingredients, switch steps around, mix up cooking times, etc.
But field research isn’t about doing what’s easy, or doing what we already know well. It’s time to step outside those comfort zones and experience something new, dammit!
Now granted, there’s only so much one can spend in the name of field research. It’s not like my family’s budget allowed for me to take a hot air balloon ride solely for “experience” to write “No More Pretty Rooms.”I simply drew on the experience of parasailing with an improperly buckled harness. Puh-lenty of excitement and terror in that memory from the teen years.
So to begin this adventure into canning, I get some books from the library with emphasis on making small batches with natural ingredients.
(Yes, I was won over by Marisa McClellan’sinclusion of many pictures so I had a clue what the finished product should look like.)
I poured through the recipes with focus on canned fruit. Something with a realistic fruit for Wisconsin, and with minimal ingredients to befit an impoverished pantry in the wilderness. (That, and fewer ingredients means a smaller dent on the food budget.) Gimme something with five ingredients or less, you books!
Look at that: four ingredients. Peaches are…okay, they’re a bit of a stretch, but doable, as peaches supposedly came to the American colonies in the 1600s. Since Wisconsin became a state in the 1840s, it’s reasonable to expect peaches are in the state by the early 1900s, which is when “Preserved” takes place. The only other items I need are a lemon, some sugar, and bourbon.
Welp, the kids weren’t gonna touch the stuff anyway.
That be a lot of peaches.
Okay. I gotta just hack them up to get the pits out, boil the jars, boil the fruit and then plunge them into ice, skin them, cook sugar water, pack peaches, pour some cooked sugar on them, add the bourbon, then cook the lot. Sounds straightforward enough.
So, first: a pot and a round cooling rack.
You know, the round cooling rack YOU DON’T HAVE.
NO! I WILL do this! I just need to utilize that beloved resource most assuredly available one hundred years ago: The Internet.
Aha! I can build one of my own with aluminum foil! That’s…not entirely appropriate, but at this point, I don’t care. I didn’t buy 6 pounds of peaches for nuthin’. I need the sensory experience of canning, not the…you know, technical whozamawtzits.
With foil grid thingey in place, I can start boiling the jars. I’m only making four pints’ worth, so I can get these jars done in one go.
Eeeeexcept they don’t fit in our pot.
Well…whatever, I gotta slice the peaches up.
“Eeeew, peach brains!” says Bash, all too eager to poke’em around. Blondie makes puking noises. “I’m never eating peaches again.” Biff just shoves a peanut butter sandwich in his mouth and continues reading his Calvin and Hobbes,devoid of interest.
“Scoot you, Mommy’s workin’.” I go over the book’s directions again to see what else I can do while the jars are heated. Hmm, I gotta simmer the lids, okay, and then cook sugar water into syrup, and boil the peaches for one minute at a time to be tossed into the ice-water for peeling.
Well I can’t wait to see you swing that, Jean, since you only have TWO WORKING BURNERS on that stove.
Bo comes in from work to find the kids munching supper and me staring at the stove, utterly flummoxed. “Well?”
“This is going to be an epic failure,” I say, and lob another peanut butter sandwich over the kitchen counter to Biff. “We don’t have a stock pot or the right cooling rack. And we don’t have four burners.” I tip a tablespoon’s worth of hot water from our electric kettle onto a small bowl with the lids.
“Waaaaaaaaaait, wait wait.” Bo puts his lunch cooler down and looks at the directions. “You did read this before you got started, right?”
“Yes!” I’m all indignant about it, but how well did I read it, really? I was so fixed on finding a recipe with minimal ingredients, let alone fixed on canning in general, that I didn’t once stop to study the logistics of it all. I just assumed one needed a pot, some, jars, and some fruit. Wasn’t that how it used to be?
If field research is to be helpful, we can’t treat it as some slipshod affair. One can’t try ice fishing without the right gear. One can’t learn to sew without certain materials. So one sure as hell ain’t gonna can fruit unless she’s got some basic tools like four working burners on a stove. Had I bothered studying the recipe’s logistics, I’d have seen the futility of this field research and saved myself a lot of time…not to mention six pounds of peaches.
“Honey. Schmoopie. Darling.” Bo takes me by the shoulders and kisses my forehead. “I love you. I love how smart and creative you are. You’re beautiful. You’re amazing. You’re not afraid to try new things outside your comfort zone. But with all that research and prep, you’ve been foiled by boiling water?” He turns off the burners, pulls down the Halloween Oreo cookies for the kids.
“No. I’ve been foiled by that flippity flappin’ stove.” I harrumph and try to peel the peach skins, despite the peaches not even being ripe enough for this exercise, or cooked long enough, or cooled long enough.
Of course, it doesn’t work.
Hmm. Maybe I can utilize my frustration into the narrator. Maybe he doesn’t get the canning done the way he normally does because he’s being distracted by taunts over transformers and peach brains and grilled cheese and…maybe not that last part, but still, there’s an emotional bit of field research done here.
And a wise lesson learned, too:
GET A NEW STOVE.
No, no…well yes, there’s that.
Always have a chest freezer in case you end up with two baking trays filled with peaches that will hopefully keep for a winter’s worth of peach cobbler.
Yes, okay, I GET IT. My point, patient writers and readers both, is this: never let ambition lure you into the field before your creativity–and your common sense–are ready.
October is almost here! That means a new installment of my monthly newsletter will be hitting your inboxes on the 1st. I like giving kudos to kindred creative spirits in my newsletter, as well as sharing updates about my Fallen Princeborn Omnibus and other writing endeavors. If you haven’t subscribed yet you can do sohere.
Before kids, Laurel Wanrow studied and worked as a naturalist—someone who leads wildflower walks and answers calls about the snake that wandered into your garage. During a stint of homeschooling, she turned her writing skills to fiction to share her love of the land, magical characters and fantastical settings. Today Laurel answers some questions about digging into history to inspire her steampunk novels and the importance of attending conferences to reach readers.
The steampunk genre has always fascinated me. What first inspired you to write in this genre?
I have always read fantasy and loved living history. As a teenager, I volunteered for the Appalachian craft center my dad ran at Catoctin Mountain National Park in Maryland. Over the years, I apprenticed to the craftsmen, then after college I worked in historic interpretation for several parks. It wasn’t a far reach to write in a historic time period. I began The Luminated Threadsas a strictly fantasy world patterned off of the Victorian period because I’d read several steampunks and really liked the aesthetic. My critique partner said it seemed so like Victorian England that it was annoying that it wasn’t. So I switched it to the Peak District of Derbyshire.
I confess that I’m one of those who will only research when absolutely necessary. It just feels like such a time drain when one’s writing with kids running around. Yet for stories like yours, I imagine research is an extremely important phase of your world-building. Can you share your research process with us, and any tips you have for writers who aren’t accustomed to researching historical periods?
When I say ‘I switched it,’ the process really wasn’t that easy. Having worked as a historic interpreter, I wanted my world to be fairly accurate—fairly because I did take fantasy liberties. Those times were hard, especially for women, but in a fantasy world I could change things like equality and dress. And add magic to equalize the power among genders.
But the research: I questioned and checked everything, including changing the date of The Luminated Threads story—1868—to after steam-powered tractors were invented. Selecting Derby as a location wasn’t random either. It’s the site of the first water-powered silk mill in Britain and many cotton mills followed throughout Derbyshire, making it a center of Industrial Revolution. The borough was also the headquarters of the Midland Railway—and what steampunk doesn’t have steam trains?
I literally looked up everything. To reference it again, I create folders for background research, and save my referenced docs, with the URLs and often the important passages copied and highlighted. Here’s a screenshot of part of my research files, which reminds me how much I have invested in this series, and that I should really work on the second story arc!
I talked to people who write historic in other time periods, who are reenactors and others who are costume designers. I posted on loops and forums. I read blogs. I read books and took notes. My favorite is What Jane Austen Ateand Charles Dickens Knew by Daniel Pool. It gives general life details, but not every specific a writer needs. But the things I still had to learn are endless: I looked up vegetables planted in England in Victorian times, but referred to a rug as pumpkin-colored for a few drafts until I realized pumpkins didn’t grow in England. Cookies aren’t referred to as cookies in Britain, but I wanted readers to know my heroine wasn’t eating a biscuit-biscuit, so I gave them the name “sweet biscuit” and described them as discs. I gave 1800s “Mason” jar images as a reference to my cover designer, then had a fortuitous moment of doubt and learned Mason jars are American, the British used “Kilmer” jars. But I couldn’t find an 1800s image to verify if the logo was embossed on them. Instead, my cover designer embossed my jars with a “Wellspring Collective 1868” logo on The Twisting, making it my favorite of the three.
You asked about historical research, so I focused on it here, but all of the natural history for the series is researched and as correct as I can make it, too: agricultural crops and local plants I based my shapeshifters on native wildlife, a local mineral called Blue John is a fantasy element. Though my hidden valley doesn’t exist in the Peaks District, other valleys like it have been formed through similar natural phenomena.
One problem I have in writing dialogue for historical characters is their vernacular: what word’s okay for what period, how do they swear, etc. How did you tackle writing accurate dialogue for your time period?
Again, I looked up most of the words I use. For example, a character says, “No kidding?” Not in 1868. The colloquial interjection no kidding! “that’s the truth” is from 1914. But to “kid” someone, as to tease playfully, is from 1839.
I know my dialogue isn’t completely accurate, but I tried. You can read historic novels, but other authors make mistakes, too, so honestly, you must double check. Read novels written during the actual time period. I watched You-Tube videos and PBS shows. I asked a British-born friend to beta read and, among many others, he suggested the endearment “Duck” that Mrs. Betsy uses.
Swear words are particularly tricky for historic and YA novels. Some of my information came secondhand from a forum thread on Absolute Write. Many words were reviewed, but most revealing, to me, was that the expletive ‘bloody’ was a highly offensive curse for Victorians. The writer recommended: Holy Sh*t: A Brief History of Swearing by Melissa Mohr, published by Oxford University Press.
I see you attend conventions and signings. Those in-person events terrify me! Any advice to help a new author like myself get properly prepared for such events?
Attend a few as an attendee and, if you can, with other writer friends. Then you can review what you’ve experienced and learned together. Talk to the authors with tables or on panels to learn about their experience at that con and what other cons or fairs they have attended. Don’t be afraid to ask how it’s going or what they wish they had done differently. Take photos of their table set-ups, ask the sources of materials like display items, banners, table drapes, printed materials. Be sure to look up the event websites. The ‘guest writer/author’ fees, volunteer hour commitments and what equipment (canopy, table, chairs) vary widely. And the application dates are often a year to 6 months ahead of the event! With this information, you can prepare your table or presentations in advance.
When you are ready to attend, it’s fun to go with an author friend or two, having your own tables or sharing one. Coordinate to cover each other for panel talks or breaks, or bring a family member or friend as a helper. Keep in mind the distance to some events adds to your time and cost (hotel stays!); try a few local fairs first to test the waters. I have found that ‘book’ festivals have more book buyers than fantasy cons where costumes and gaming compete with books.
If you have a character in your novel that inspires you to dress in costume, do it. I attract a lot of attention when I wear my steampunk costume.
Also, watch for sales with printing suppliers to stock up on business cards, postcards, banners, etc. That 40-50% off really helps. Black Friday is coming and that’s a big sale time. Go on the sites early to sift through what you want and even set up your designs.
Any other closing words of encouragement to help your fellow writers through the rough days?
Join a writing chapter so you can develop friendships with those going through the same work, frustrations and joys. Writing is a lonely endeavor and it helps to be able to reach out. I’ve found that having an accountability partner helps—one in similar circumstances to yourself (i.e. writes full time, works fulltime/writes on weekends, writing around toddler schedule) is best.
Thank you so much for your time!
About the Author
Laurel is the author of The Luminated Threads series, a Victorian historical fantasy mixing witches, shapeshifters and a sweet romance in a secret corner of England, and The Windborne, a lighthearted YA fantasy series that begins with The Witch of the Meadows.
When not living in her fantasy worlds, Laurel camps, hunts fossils, and argues with her husband and two new adult kids over whose turn it is to clean house. Though they live on the East Coast, a cherished family cabin in the Colorado Rockies holds Laurel’s heart.
Thanks so much for sharing your experience, Laurel! I hope everyone checks out your work.
I’d also like to invite everyone to add my free fiction to their weekend reading–my latest short story “No More Pretty Rooms” is now available. Other free short stories in Tales of the River Vinecan be downloaded for Kindle, Nook, and other platforms, too!
I have always believed that for the hero to be successful, the villain has to be their equal.
Nothing wrecks a good story like a lame villain.
Be it Mustache Twirlers, Righteous Avengers, or World Conquerors, such villains have nothing to them apart from their evilness. And no matter how grandiose that evilness is, evil without any depth is boring.
A villain’s got to have more than just evil intent to be worthy of page space. A villain needs interests, feelings, and hopes all their own.
I always try to write the villains as the heroes of their own stories.
He was a small, rather dapper-looking man, dressed in a neat charcoal-gray three-piece suit that looked vaguely old-fashioned but that she could tell had been tailor-made for him. His iron gray hair was pulled back from an angular face into a tight pontytail, while a neat triangular bear, mostly black but flecked with gray, concealed his mouth and chin. (5)
Right here, in our first sight of Dr. John Dee, we get a sense of Dee’s style. He’s one for theatrical elegance, right down to the very scent of his aura when ignited:
Dee closed his eyes and breathed deeply. “I rather like the smell of brimstone. It is so…” He paused. “So dramatic.” (20)
Chapter 6 builds on this physical image of Dee, with limousines, leather coats, and the latest technology. The man’s even got a favorite ringtone: the theme from The X-Files (which, oddly enough, was MY favorite show back in the day. *Gasp* a sign of my inner villainy!). While a little detail like a favorite ringtone may not sound worth writing, such a little detail gives us a sense of a man amused by what humanity considers paranormal, one who might watch such a show just to see what humans get right. Heck, maybe Dee has a crush on Gillian Anderson.
My point is, a villain sharing his personal tastes in some fashion, any fashion, helps readers see a complete person on the page.
We also see that Dee’s not so disconnected from the world as to think he can do what he wants without affecting the environment. For example, when his undead army fails to capture Flamel and Co. but succeeds to destroy a chunk of a town, there’s a newspaper account of him holding his movie company accountable for the damage and promising to make reparations. Dee’s physical wealth gives him the ability to cover up his magical actions, including the kidnapping of Nicholas’ wife Perenelle. He’s bought Alcatraz as a prison for her…with a sphinx for a guard. Where else could one hide a sphinx near San Francisco?
An icy shiver ran down Perenelle’s spine as she realized just how clever Dee was. She was a defenseless and powerless prisoner on Alcatraz, and she knew that no one had ever escaped The Rock alive. (315)
Dee is, indeed, a wickedly clever individual. He understands alchemy, necromancy, sorcery, and more. He can call up the consciousness of a dead member of the Elder Race, one of the most powerful beings on the planet Earth, and command it to speak truth.
Even though he has not been able to study the powerful book known as the Codex because Flamel guards it, he remembers several elements of its contents, including a prophecy involving twins heralding a powerful change for all races, magical and non-magical, that walk the earth.
So when twins Sophie and Josh are separated in Chapter 37, Dee uses his wit to corner Josh’s fragile mental state. He knows just the lines to say to make Josh feel like Dee is full of truth, and Flamel is the proper liar. Lines like:
“Are you a victim too?”
“It seems we are all victims of Nicholas Flamel.”
“Do you know how long I’ve been chasing Nicholas Flamel, or Nick Fleming, or any of the hundreds of other aliases he’s used?…Flamel never tells anyone everything,” he said. “I used to say that half of everything he said was a lie, and the other half wasn’t entirely truthful, either.” (338-40)
Terms like “victim” and “lie” are just enough to keep Josh second-guessing if Dee is being truly helpful or truly villanous. This buys Dee enough time to cast a spell on Josh to numb his senses so he can go hunting for the others.
But no scene quite shows the inner motivations of Dee like the end of Chapter 32, after the Dark Elders leave Dee to chase Flamel and Co. southward.
Dee shoved his hands in the pockets of his ruined leather coat and set off down the narrow path. He hated it when they did that, dismissed him as if he were nothing more than a child.
But things would change.
The Elders like to think that Dee was their puppet, their tool. He had seen how Bastet had abandoned Senuhet, who had been with her for at least a century, without a second glance. He knew they would do exactly the same to him, given the chance.
But Dr. John Dee had plans to ensure that they never got that chance. (298)
Dee has been granted immortality by the Dark Elders in return for his service. He’s led their armies, he’s spent years wandering Otherworlds and Shadowrealms, he’s fought monsters that would frighten the blackest of natures. If you had ten years to wander around in an Otherworld of ice, that’d leave you time to think.
Dee absolutely believes he is doing the right thing; he has to believe that Flamel and Perenelle are in the wrong. –Michael Scott
Michael Scott takes care to give us consistent glimpses into Dee’s feelings via changes in point of view. Not only do we see the progress of the story from Flamel’s narrow escapes and feats of magic, but we also see the story from Dee’s prepared traps, skillful attacks, angry defeats.
By focusing solely on the twins’ POV, we would only get a tiny glimpse of what was happening. Similarly, with Flamel, we get just another tiny slice. By giving us Dee, and the other POV and perspectives, we get a bigger, broader and wider story. Also, it teases the reader slightly (and this is something which is explored in more detail as the series progressed): are the Flamels being honest? We, the reader, know they are lying to the twins, so suddenly, everything we know about them is thrown into doubt. Maybe, just maybe Dee is telling the truth. –Michael Scott
Dee is just as passionate about achieving his plan as he is cunning in his means to fulfill it. This man even carries one of the greatest swords of humanity’s heroes: Excalibur.
Dr. John Dee lifted the short-bladed sword in his hand. Dirty blue light coiled down its length, and for an instant the ancient stone blade hummed as an invisible breeze moved across the edge. The twisting snakes carved into its hilt came to twisting, hissing life. (267)
Surely a hero wields a heroic sword, doesn’t he? Yet Dee uses it to kill an Elder and destroy an entire Shadowrealm. That doesn’t sound heroic.
But we readers started this series with Flamel. We’ve connected the term “hero” to Flamel, not to Dee–which is ironic, considering the author Scott’s own words:
…for the longest time, [Dee] WAS the hero of the series. It was called the Secrets of Doctor Dee, with Machiavelli, who appears in book two, as the villain of the piece. However, Dee never felt “right” for the role. Because my rule for the series was that every character had to come from history and every creature from myth, I wanted to stick as closely to the “real” Dee as possible. And while the real Dee was many things, he was not a hero. –Michael Scott
Like the “common” villain, Dee has his moments of confidence, and rightfully earned, too: when he first takes the Codex, when he kidnaps Perenelle, when he kills an Elder. His skills and knowledge shine in these moments.
But unlike the “common” villain, Dee does not assume his plans are fool-proof. He often has to create new attacks on the fly. He’s often afraid to deal with the Dark Elders, but he has no choice and seeks their aid.
“Fixing a smile on his lips, he rose stiffly to his feet and turned to face one of the few of the Dark Elders who genuinely terrified him.” (92)
Now normally I’d say fear makes a villain whiny, or at the very least obnoxious. But with Dee, this simply shows he’s capable of more than confident arrogance. Just as a hero fears failure, so does this villain. Both hero and villain are desperate to succeed, but unsure they can. This dual uncertainty, emphasized with the multiple points of view, drives readers to turn one page after another, eager to see who gets the power tipped into his favor in the next chapter, and the next chapter, and the next.
He was a real man, extraordinary in so many ways, but incredibly flawed.
May your own villain be as Dr. John Dee:
A devil in need of sympathy.
Many thanks to Michael Scott for taking the time to talk to me! Over the past few decades he’s written one hundred novels in a variety of genres, including Fantasy and Science Fiction. He also writes for both adults and young adults. A student of story himself, Scott’s studied Celtic Folklore so deeply he’s become a renowned authority on the subject. Learn more about him and his work at http://www.dillonscott.com/.