Good morning, my fellow creatives! Today’s selection comes in thanks to my mother, who is an avid listener of Wisconsin Public Radio and heard about a series set in one of her favorite places in all of Wisconsin: Door County.
Hello hello, my wonderful fellow creatives! We find ourselves caught in the whirlwind that often billows about in the middle of summer. After a few good swimming lessons, the kids are determined to prove themselves ready for their own Olympic-style marathons in the water. So long as they don’t participate in another round of “Toss the dead fish” as some other kids did at the beach, they’ll be fine. 🙂
While they splash and holler at one another in the lake, allow me to introduce another lovely fantasy author whose debut novel hits bookstores this month. My friends, meet Ian Green!
Niceties first! Tell us a bit about yourself, please.
Hello! I’m Ian, I’m a writer from Northern Scotland. I have a background in scientific research (working on cancer epigenetics!) and I’m currently based out of Algiers. Whenever I can I spend my time hiking in the woods or clambering around ruins. My first novel, The Gauntlet and the Fist Beneath, is out this summer. It is an epic fantasy- book one of a new trilogy!
What was an early experience where you learned that language had power?
My dad had an old paperback of The Lord of the Rings- all three volumes in one huge thick book, with an amazing John Howe painting of Gandalf on the front cover looking utterly mysterious and serious. I remember reading that when I was too young to understand most of it, but the cadence of the language and the weight of the words, the way Tolkien’s writing could summon images in my mind astonished me- the imagery of the shire felt true to me in a way I didn’t think fiction could be. That, and perhaps reading Goosebumps in the school library and managing to scare myself- how can a word elicit such strong emotion? I was hooked.
Hey, there are plenty of Goosebumps books that scared me as a kid by their insides–and outsides! I had to stay away from any volume with that ventriloquist doll the cover. (Shivers.) What authors did you dislike at first but grew into?
I struggled with Cixin Liu for a long time- I found the start of The Three-body Problem impassably dense, and the characters didn’t resonate with me throughout. I think I was coming from a long run of character driven SFF and this was such sweeping, concept driven SF that I just couldn’t seem to find a purchase. I’m so glad I stuck with it- the second book in that series, The Dark Forest, is one of my favourite SF books.
What’s your favorite under-appreciated novel?
Malagash by Joey Comeau– I’ve been a huge fan of his work for a long time, and this novel is so tender and sad and brutal and sweet. It delivers perfectly, a dark humour running throughout even as it prises open your heart. Utterly incredible. I want to give a copy to everyone I know.
Have you read anything that made you think differently about fiction?
The book that made me think differently about fiction was The Bridge by Iain Banks. My mum gave me a copy when I was probably too young to understand a lot of it- but I understood the sheer audacity and fun it was having. It was having so much fun with structure and there was such a joy to it. For me fiction can serve so many purposes, from light entertainment and escapism to far heavier explorations. The Bridge to me was a book that did all of those without a thought to convention, and did it all with a smile.
Ah, that sounds like a marvelous story! Any book that not only is run to read but to experience sounds like a perfect find in my, well, my book. 🙂 Speaking of books,Congratulations on your debut fantasy novel The Gauntlet and the Fist Beneath! I love hearing about fellow fantasy writers’ worldbuilding process. Did you base Gauntlet’s world on your Scottish homeland, or was other research involved in creating the story’s setting?
Certainly, Scotland was a huge source of inspiration. When I wrote this book I knew I wanted to set myself a few challenges regarding the culture I created and the story I was telling, but with the world I wanted to take some of the rugged and harsh beauty of Scotland- to make sure that the physicality of the world had an impact on the society and the world that grew around it. So in terms of geography I took a lot of inspiration from Scotland. Historically I think the Pictish stones scattered around Scotland gave me my first ideas of how the magic of the world might work- the old ideas of celtic animism that have been so long lost were a big inspiration. I wanted to create a world where monotheism had never become a dominant force, and to take some of the ideas of animism and craft them into a new and novel magic system and world. In terms of the history and cultures represented, I tried hard to make sure I wasn’t echoing any specific histories- I drew inspiration from a lot of history and myth from around the world, and I didn’t want to create a world that was simply a fantasy version of Scotland- I wanted to create something wholly its own, with its own myth and legend and history and forces pushing and pulling at its people.
Building such a rich, complex world is no small undertaking. Do you think it wise that aspiring writers take on such a project, or is it better they try a different method to sharpen their skills?
I think it can be tempting to start hugely ambitious projects (creating an entire world! A ten book series covering the fall of an empire!) but I found more successful to work on shorter pieces while I was honing my craft and voice. This also let me try out lost of different styles and concepts to see what I wanted to do more with.
Ah yes, your short fiction. We’ll get to that in a bit. 🙂 All this world-building must surely take a lot of time in your writing process. Have you ever experienced a blockage during that research, or have ever become overwhelmed by the sheer volume of it all?
I sometimes need reminding to clarify some points of a world’s lore- when you are so deep into research and worldbuilding it can be easy to forget that someone coming to the material fresh is coming from a totally different context and set of background knowledge! Luckily this is something that can be fixed without too much stress normally.
That’s good to hear! The research involved in building a world can easily intimidate any writer, but writing outside of one’s own experience can REALLY put the pressure on a writer these days. The protagonist of your book, General Floré, is a parent determined to fight through any hell to rescue her child. This is a character many of us readers can root for! What challenges did you face as a writer in writing characters from the opposite sex, and do you have any advice for other writers who want to write outside their living experience?
I don’t think for me writing a character of one sex or another held any more challenge than any other sex. In the world of The Gauntlet and the Fist Beneath sex, gender, and sexuality are of far less consequence than they are in our own world, and so I really just focused on character and motivation. In terms of writing outside of my lived experience, in a lot of ways fantasy as a genre frees me up to not worry so much about accuracy except within the confines of what I’ve created. I’m writing from the perspective of seven foot tall lizard people who live in intricate coral reef cities, and people who live under the weight of an eternal arcane storm- nobody has lived those experiences! There are of course more normal experiences where this might come to bear, but all I can do is rely on research and imagination and beta-readers with different experiences to myself to hopefully make sure I am not straying too far from the mark.
Gauntlet is your debut novel, but as your website shows, you’ve published loads of short fiction as well. When you write short fiction, do you know it’ll be short fiction going in, or do some novel ideas transform into short stories in their creation (or vice versa)?
This is a great question- so when I’m writing short fiction I often know that is what I want to do, I will have simple concepts or plots or ideas that I want to play with. For longer work, before committing to writing a whole novel what I normally do is flesh out a few potential ideas and then try and write a short story in each- I can pretty quickly tell which idea I’m excited about and want to keep going with! I always keep those other fragments though- just because I’m not excited about it right now doesn’t mean it might not be a strong contender to flesh out either as a short story or a longer piece later on.
One of my biggest struggles with writing short fiction comes with the worldbuilding. I wanted to say sooooo much in my story “The Hungry Mother,” but there just wasn’t the space. How do you overcome the restraints on worldbuilding when writing short fiction?
I love the challenge of this- it is so difficult to present world-building that feels deep and real in that shorter setting. I try and pare it back so I’m not presenting details that are unnecessary (are all the window frames in this world black for an obscure historical reason? Does this impact the plot? If not, forget about it!). So anything that impacts the plot or the physicality of the character’s situation I try and expand on a little, but unless it is vital I don’t bother expanding on explanations- the reader’s imagination can do a lot of the heavy lifting!
What is the most unethical practice in the publishing industry?
As I was looking for an agent and publisher for The Gauntlet and the Fist Beneath I came across plenty of agents who would charge reading fees, editors claiming they could increase your chance of publication with their proofreading, and services promising to push your book to the right people. I’m not sure I know what the most unethical practice in the publishing industry is, but in general I think there are plenty of bad actors willing to take advantage of people are trying to break into the more mainstream spaces- caution is often a good thing!
Oh, I agree with you there. I’m sure we could all share a story or two of the bad actors who beguile us as writers. That’s why so many of us just choose to “go it alone,” as it were. This means we’re handling all the steps of publishing as well as marketing, and I’ve got to admit it is HARD. Have you worked out any useful way to market your books?
This is my first novel so I’m not sure I’m the best person to ask! I’ve tried to make myself as available as possible for any opportunity- I’m not famous, I’m not particularly well-connected, and historically my social media profiles have mainly been links to music I like and pictures of mountains, food, dogs, and cats. So switching all of that to focusing more on marketing my work has been a strange idea! There are so many communities where you could potentially interact and grow your audience, but I think it is important to try and partition off specific time for this or else you could spend all of your time marketing rather than actually writing.
I also saw on your site that you co-wrote a story inspired by game play! I’ve heard so many friends tell me how Dungeons and Dragons inspires fun fantasy storytelling for them. Would you ever write another story based on gameplay as you did The Cursed Tomb?
The Cursed Tomb is a very fun wee book that is essentially a transcript of a game me and some friends were playing- certainly not something I would expect other people to buy and spend time on, we actually published it more as a memento for the four of us. I do think it is a lot of fun, and very silly- those gameplay stories benefit from the chaos of multiple creators, each of whom can bring their own ideas and background to play. I’d definitely do so again, but unless it was a lot more organised I think it would end up being another artefact for me and my friends, rather than a book I wanted to send out into the world!
Good morning, my fellow creatives! I was so excited to discover July’s reading theme:
But but but, rather than retreading all sorts of ground I’ve already trod before with my Agatha Christie posts, I decided I should focus on mysteries with a fantasy flare–mixed with a recommendation or two you amazing souls have shared with me. 🙂
A landscape of danger and mystery, perhaps. A relic with power to change the world dropped in the rain while fleeing the enemy. A duel of ambitions, weapons poised to take life and light of all.
You see a brittle world, crushed and smoldering. You know how to save it.
We don’t always begin with the conflict or the setting. Sometimes, we begin with an identity, one which turns the wheels of the plot in ways we are not yet sure, but we know the workings are hidden there, beneath the face of this person.
“It gives me great pleasure, a good name. I always in writing start with a name. Give me a name and it produces a story, not the other way about normally.”
Now I’m sure this method worked wonderfully for Mr. Tolkien, as I believe he’s gotten himself published a few times. However, we other creatives just do not always have a name to go with and find ourselves going “the other way about” quite a bit. Let’s explore a few of those situations together.
When a key scene and its conflict are etched in my mind, the character names are but one detail in a sea of details–not to be fussed about until the rest of the moment is captured. That was my approach in “The Hungry Mother” (free to read in Mobius: The Journal of Social Change!) where I could see the con artist and the mark engage in a rundown park, but not hear their names. So, my first draft had nothing but alphabet letters for character names to keep them straight. Only after that first draft was completed did I consider the backgrounds of the characters and setting to discover Puritan-style names for the homely, rural Remembrace and her daughter, Tace. But what of my network marketing hustler? Social media loves to dub such people “Karens,” so there was that name…eh, too on the nose. So I looked back into my own memories of bullies and deceives to uncover the name of a girl who was a real jerk during our school days: Nicole.
The woman turns away from the old man and locks eyes with Nicole. For a moment, Nicole is a freshman on the bus all over again, snickering at the pathetic group of Old Sancs boarding to attend school at New Sanctuary thirteen miles away, and none was more pathetic than the hunched creature in patched rags named Remembrance Priest. That was the creature Nicole pictured when she messaged that name and a hundred others about Suzy Ray! and its wonders. That was the creature Nicole pictured when agreeing to meet in this town forgotten among the fields of corn and cow shit.
“Oh, my, gosh,” Nicole says. Normally she must count to three between each word so she sounds as wondrously pleased as possible, but Remembrance’s total lack of hunchback makes the greeting almost genuine. “Look at you, Mem! Has it really been ten years?” And a part of Nicole wriggles at how ten years has affected Mem. Her skin is smoother, firmer. Her braid of thick hair looks strong enough for a rope swing. Was Mem always this tall?Did another Ray of Sunshine beat me here?
Mem waves like the homecoming queen she never was. “Hiii!” She says and embraces Nicole so tightly Nicole almost spills her drink. Mem’s lips press through Nicole’s dark curly hair and onto her Suzy Ray! sunshine studs. “Sooo good to see you, Nicole. You look sooo pretty.”
Ten years clearly hadn’t taken the sliding whine out of her voice.
When the conflict shines so clearly before us, we must capture every line, every movement, as quickly as we can before that light dims. It is all too easy to allow our exploration of names get in the way of storytelling, so using the simplest identifier possible will keep characters straight until their true identities come to you.
I’ll be the first to admit I got lost in names for myFallen Princebornnovels. Nearly all the names went through multiple changes as I researched history and better understood my velidevour world. Only Charlotte’s name remain unchanged, for it was a choice close to my maternal heart. Bo and I had been considering the name for our daughter-to-be, but in the end we gave Blondie a different name and Charlotte remained bodiless, name of strength, fluidity, tenacity, beauty and…I just had to put that identity, that soul, to use. The different versions of “Charlotte” also allowed the girl to make her name a boundary in and of itself, which helped those around her–and readers–see when she had finally accepted the friendship and trust of another.
“Come now, Charlie, don’t leave.” Liam’s fingertips graze her hand.
“Don’t call me Charlie.” That’s for family. You are not my family.
“Cate’s the luckiest princeborn ever, having a brother like you,” Charlotte lets the thought out, surprising herself a little, but sorry for the slip? Nah.
Dorjan blushes. “Well then, here.” He pulls an extremely fast hat trick of hair tug, ear flick, nose tweak. “Consider yourself an Honorary Durant.”
And now Charlotte can’t help but hug them both, these two who were willing to fight alongside her before they had known her a single day. “Call me Charlie.”
The House of Artair holds many Gaelic names. I wanted this family to be rooted to the Isles, intelligent and fierce. “Artair” is a version of Artur, which is Gaelic for “Noble Bear.” Considering the vicious head of the House, Bearnard (“strong as a bear”), transforms into a bear, this was a perfect fit. Liam’s name was a tricky one; it needed to carry the weight of his parents’ aspirations as well as the truth of his inner spirit. Plus, as a writer, I wanted the name to carry a timeless feel to it. Discovering Liam means “resolute protector” was nothing short of a miracle. Liam’s parents are determined to see him lead all velidevour into a new age of dominance; Liam desires to protect Charlotte and those who have come to support him and fight alongside him. And it’s a timeless name. 🙂
Granted, we sometimes allow ourselves a name purely because it sounds cool. Disraeli is the name of a Celestine, offspring of stars and magic. Why did I pick the name Disraeli? Because I saw it in a magazine and thought, That’s a really cool name. It was originally the name I intended for Arlen, but when I realized the need for the princeborn names to carry meaning and history, I knew I had to change that name. Still, I had to find someone to hold that name, and a creature of the stars just happened to fly by…
The world can help us discover character names, too. As I worked out the history of River Vine and the velidevour trapped there, I could see the natural setting would mean everything to them. They were souls who used animal and human bodies to hunt their prey as dictated by wicked The Lady of the Pits. Nature above ground would be their peace, their refuge. This led to me using plant names for many of them, such as Nettle, Poppy, and Campion. Does your own story-world have ties to nature, the elements, or some other unique feature in the setting?
Or perhaps the very world in which you write must change. This happened to me a ways back with Middler’s Pride. The first version of the story was a co-collaboration of sorts with fantasy author Michael Dellert, but as our goals with the character changed, he continued on his world’s story arc and I continued on with the character. This meant renaming recreating the Shield Maidens’ world and practically everyone in it, starting with the protagonist Gwen.
Now here I had to keep in mind that I was not just renaming a protagonist, but a character within a group of protagonists. This meant I did not want the characters’ names to sound alike, have the same cadence, start with the same letter, etc. Now that may sound silly–why should those impact the name if the name MEANS something amazing?–but this is an important strategy for the readers’ sake. How on earth will readers keep a group of protagonists straight if their names blend together or are easily mistaken?
So I first had to look at my own Shield Maidens whose names did not need to change: Wynne, Tegan, and Ellylw. I had chosen all these Welsh names loving how the names bounced so dramatically between simple and complex. Each starts with a unique sound and phonetically differs enough that one shouldn’t confuse them when reading aloud. But they were also all rather short, so Gwen’s new name could not be that simple. Oh, it could have the potential for a nickname–Ellylw becomes “Elle” pretty quickly–but it still needed to be longer than a couple syllables. So, I focused my search on longer Welsh names, and came across Meredydd, “Protector of the sea.” Considering Middler’s Pride is the tale of Meredydd and the other Shield Maidens rescuing the River Goddess from a cursed beast, this name felt right.
Mer watched the sunlight caress the blade. She heard footsteps, and knew the others had pulled in around her to form a half-circle. Hauling lumber would surely take them until dawn, but by dawn she’ll have this worthless batch of—
“Wynne, stand here. Tegan, right? How’s your balance?”
“Hey, what?” That circus freak, walking about like she was next in command. The bloody nerve. “You heard the captain. The best way to get that dagger down will be a ramp, and that’s going to take lumber. All we need is an axe and—”
“No we don’t.”
And I’M the upstart? “Captain Vala said—“
“She said to get the dagger.” The circus freak pressed down on each of Wynne’s shoulders. The pretty face winced, but didn’t complain. “We don’t need lumber. Just a couple good backs. Wynne, I think you can do it.”
She shriveled at the compliment. “I-I’m afraid I’m not as strong as you. I don’t want anyone getting hurt.”
“All the more reason to train up,” Meredydd tugged her arm towards the gate. Ye gods, it was soft as dough. This girl wasn’t lying. “You can’t be a Shield Maiden without power in your limbs.”
“And she’ll get there.” The circus freak grabbed Wynne’s other arm. “But not because you make her do something stupid.”
If Mer could just get Wynne behind her and away from this twit—“Would the king bestow a weapon upon an idiot?”
The circus freak’s scar across her gross face went all squiggly. “Sure, if he’s desperate.”
Wynne yowled. Tegan’s fists tightened around her hips and she screamed:
“STOP YOU’RE RIPPING WYNNE’S ARMS OFF!”
Three loud THUDS and the girls fell in a heap against the gate. Tegan coughed, shook, and ended up plopping down herself. “Look, this”—she waved at the three of them—“is stupid. Mer, you want to follow orders the idiot way? Fine. I’ll go with you. Wynne, you want to work with…”
“Sounds like a pig call.” Mer ignored Tegan’s glare. It seemed to keep her magick at bay, for one thing. And for another, the circus freak’s name did sound like a stupid pig call.
Wynne fixed her hair. Gods help her when a twig undoes her braids. “I think it’s pretty.”
The circus freak rolled her eyes as she finished catching her breath. “Just call me Elle, it’s easier.”
We are blessed to live in a world of countless tongues and histories. A single name can be the seed to a hundred variations, each unique with potential for an identity across the oceans. Whether you begin with that seed or uncover it as you dig through a story-world’s soil, be mindful of that name’s beginnings, the culture in which it is rooted. Nurture that name with the respect it deserves, and you will find a character as strong and perfect as the imaginary world you cultivate.
Welcome back, my fellow creatives! Where on earth did June go? I’ve not the slightest, but my own three B’s have really taken to their summer reading programs, already earning some tickets to the local museum and state fair. Speaking of my B’s–Biff and Bash, in particular–this particular selection for the podcast is not just to help wrap up Pride Month, but to focus on a unique pair of protagonists: twin brothers.
I hope you enjoy this sip from Infinity Son with me! If there are any stories you would like to recommend for sipping on this podcast, let me know in the comments below! I’d also welcome reading any indie authors’ own stories.
Welcome back, my fellow creatives! It’s been a whirlwind of a week with my university’s literature festival, where I got to present on the diverse representation Outsider Hero in film and the joy of finding humor in everyday experiences. Let’s take a break from academia now to fly away with Crown of Feathers by Nicki Pau Preto.
What does a reader experience in those opening pages, and what does a writer learn? Let’s find out!
I hope you enjoy this sip from Crown of Feathers with me! If there are any stories you would like to recommend for sipping on this podcast, let me know in the comments below! I’d also welcome reading any indie authors’ own stories.
Happy Wednesday, one and all! With Juneteenth Day just around the corner, I would like to take a moment to step back from fantasy this Pride Month and focus on the power of a different kind of story: Juneteenth by Ralph Ellison.
This will not be a typical tasting of the story. A sip of the introduction, a sip of the first chapter. And so very much to savor.
A lovely day to you all, my fellow creatives! I’m really excited to have caught SFF author Adrian Tchaikovsky for another chat as he and readers celebrate the release of his latest, Shards of Earth. If you’d like to read our first interview, please click here.
Welcome back to Jean Lee’s World, Sir! Thank you so much for stopping by to share your work, your thoughts, your bugs, and all the jazz. In our last chat together, we discovered a mutual admiration for the Queen of the Fantastic, Diana Wynne Jones. One of these days I would love to visit England and see where she spent time as a child and student. Have you ever gone on a literary pilgrimage? If so, where? If not, where do you hope to go and why?
This isn’t anything I’ve done, to be honest. (Shakespeare, maybe, but that’s more just standard tourist stuff. And when I went to Oxford a friend took me to Tolkien’s old drinking den, but that was also just ‘a thing you do’). I have an odd relationship with places. People always seem to expect writers to be vastly plugged in to landscapes and the place they grew up and exotic locales they’ve visited. I’m someone who exists very much inside his own head. I draw from a melange of images that filter into my head but my connections to place are generally internal and imaginary. Which on the one hand is probably entirely unhealthy, but on the other hand is probably why I’ve been able to soldier on with things despite adverse external conditions.
What was an early experience where you learned that language had power?
You mention Diane Wynne Jones and there’s a lot of that in her work, with the way she can use carefully chosen language to manage a reader’s expectations and perspective. Another enormously formative book I read was Pratchett’s Strata – one of his very early pre-Discworld (or proto-Discworld in a way) books. It remains the book with the biggest twist I’ve ever read. It turns the whole universe on its head, basically. But what it also does is suddenly make sense of a whole series of weird little inconsistencies that almost look like errors the editor missed when you first (as a 12 year old) romp through it. Except it’s all intentional and it’s all part of a carefully constructed trap.
Here in the States, summer break means long, agenda-less days for kids. Thankfully, all three of my children are avid readers, which promises a smidge of peace in the house. So now comes that precarious balance of celebrating my children’s reading while also challenging them with trying new authors/stories. I recently dared to let my eldest, Blondie, read my WIP Middler’s Pride, and I cannot tell you the wave of relief I felt when she said she liked it. What sort of stories does your son enjoy and recommend? Has he read any of your own stories yet?
So my son doesn’t read much. It doesn’t come naturally or easily to him, which obviously cuts a bit. I do read to him, though, and there’s a small list of books he’s completely fallen in love with. He loves Wynne Jones’ Homeward Bounders, Sophia MacDougall’s Mars Evacuees and its sequel, Space Hostages. He really liked Frances Hardinge’s Fly-By-Night and John Robertson’s Little Town of Marrowville. And I have read him a few of mine, and he really took to The Expert System’s Brother, which was nice.
Looking at your site, I see you recently compiled a list of your short story publications. YOWZA, you published a lot of short pieces in the midst of crafting novels. I confess that I get a bit muddled over submitting short pieces. Some recommend scouting journals first to see what their contests call for and write for the contests, but then others say to write first and then see what journals take the sort of things you wrote. Which process did you use—or did you use a different process altogether?
I wrote some stories on spec and then was able to find a home for them later, but there’s a network of small press contacts that’s fairly easy to get on the radar of, and there are always anthologies being put together with various themes and criteria, so I just wrote and submitted for whatever turned up and for which the ideas came. Writing to a prompt like that is a great exercise for the imagination.
So the art I share on Twitter is very much not connected to any of my books, It’s a relaxation thing, because there’s definitely a part of my mind that needs to do something that’s not writing, but still ends up with a finished product that I can feel proud of (I also paint Warhammer figures!). However, as these things go, I now have quite a collection of art and that professional part of my mind is telling me that I should be doing something with it, so… perhaps the connection will go the other way.
I’d like to touch back on your skill in crafting fantastically beautiful and complex fictionalseries. Instead of looking at the worldbuilding as we did before, let’s consider your prewriting process for the plot. See, I’m something of a pantser. I love getting into a world with the characters and just seeing where they take me and work out the plot accordingly. In creating series the likes of Shadows of the Apt, however, I can’t imagine “pantsing” to be a productive method in building a solid plot arc for a series. In our last chat you mentioned learning how to write from reading a lot, so would you say your planning process for your own novels was inspired by something you read, or perhaps from the trial and error of early writing? Or perhaps even both?
Well Shadows of the Aptwas unusual in that the world was already thoroughly explored in a role-playing game I ran years earlier at university. In general, though, I’m a heavy planner but I start with the world. Worlds are what interest me, as reader and writer, and I feel they’re what the SFF genres can do in a way no others can. I’m always interested in bringing a new world to readers, and the plots and characters arise organically out of the details of the world that I’ve already set out.
Speaking of craftingnew worlds,do you use any special author-friendly software to keep your writing organized? A friend of mine highly recommends Scrivener and Wonderdraft, but I’m a curmudgeon when it comes to learning new software.
I basically just use Word to write notes and lists and things like that, and sometimes I use pencil sketches or a drawing tablet to create visual records of what things look like. I know a lot of authors who do use dedicated writing software, and it’s like everything else, if it helps you, then it’s good.
The protagonists you write are not limited to one gender. Considering the care writers must take in writing outside of their physical experience, what tips could you share for those writers who want to write a for gender, race, or creed that is not their own?
I mean, the protagonists I write aren’t limited to one species! I’ve always pushed myself beyond the natural knee-jerk of characters who are basically of my own demographic, because it’s a very easy trap to fall into. I believe in positively expanding character diversity, especially in a fantasy world where the only limits are those you’ve set for yourself. There’s no reason to have everything follow some stale old stock pattern where it’s always men (white, straight, etc) who Do The Things, and everyone else is a supporting character. And the payoff is, books with a variety of characters are basically more interesting, imho.
Congratulations on your latest publication, Shards of Earth! Its premise promises grand adventure, to be sure, but I cannot help but contemplate your word choice in the title: “Shards of Earth”. I immediately think of something small, broken, but also sharp and able to pierce something strong. (I also think of Dark Crystal, but that’s not really relevant here.) Come to think, loads of your titles have a certain flare with word choice that hooks readers. A few examples:
Cage of Souls
Salute the Dark
“Souls” are so ethereal, substance-less, yet we can cage them? Spiders are of the dark, skittering and silent, but they hold light? The word choices are just too enticing to not contemplate them. I don’t know if this is peculiar or not, but usually, my titles are in my head before I’ve even written a word. The title appears with a visual of a scene, and I have to grab it and copy it before it flies off on me into the unmapped region of the story’s fog. Do your titles arrive early in your process, or do they come later, perhaps with feedback, as you edit?
So the shameful truth here is that the majority of my working titles don’t survive contact with the editor. Either they get trimmed or changed a little, or changed completely. Doors of Eden was originally “The Brain Garden”! I’ve come to accept that what sounds good to me during the writing process doesn’t always hit the ears of others very sweetly. 🙂 We often have a huge faff and rush over the actual title post-submission, after my original gets voted down.
Speaking of those moments of inspiration, I’m also intrigued by Shards of Earth’s conflict with these architect aliens vs. man pushing its own evolution forward. Your antagonists are as intriguing as your protagonists in every novel, so I cannot help but wonder which came first in Shards of Earth (and/or in any other novel of your choosing): the villains, or the heroes?
So in Shards, the Architects came first. I remember talking the series concept over with my agent long ago, where we hammered out various elements (including stuff that will only be made explicit in book 3!) of the setting. The idea of the enormous world-reshaping monsters is definitely the heart of the series.
You can’t go wrong with world-reshaping monsters!
Let’s wrap up with another creature question.As a writer, what would youchoose as your spirit animal?
Well I write a lot of animals so I’ve got a fair few to choose from. I tend to write about the animals that really appeal to me, too, so they’re right there on the page. So maybe octopus, or praying mantis, or salticid spider… Or perhaps some unholy combination of all three.
Thank you so much for sharing your time in the midst of a crazy release schedule! I hope you and your son continue to discover new stories to enjoy together, and that the worlds of your imagination never lose their wonder.
My podcast series continues with a detour to Juneteenth before returning to fantasy in celebration of Pride Month. We’ll also consider the timeless, transcending character that is the Outsider-turned-Hero. Character names, everyday absurdities, and more author interviews are on their way!
Hello, my fellow creatives! Summer has returned to the Midwest at last. While my kids eagerly toss their backpacks into the air crying Hallelujah, I am wrapping up finals while also preparing for the next term. It’s a little scary, changing over terms, but, you know…we manage somehow. 🙂
But all this monsterly ruckus does not mean we cannot think of writerly things. In fact, I was fortunate enough to host a virtual Creative Salon for some fellow teachers about the importance of oral storytelling for its cultural, creative, and classroom significance. Let me take you through a few bits of research, perhaps a pondering or two, so that we may all remember just what is treasured–preserved–known through the tradition of oral storytelling.
The oral traditions and expressions include of many spoken such us riddles, proverbs, folklore, tales, legends story, myths, epic songs and poems, charms, prayers, chants, songs, dramatic performances and more. Oral traditions and expressions are used to give information about the knowledge, social and culture values as well as the collective memory.
Cultural Preservation: Rediscovering the Endangered Oral Tradition of Maluku
Think back to your days listening to a story a loved one tells you, or that you told yourself. “Once upon a time”… and off you go into someplace Other and New. Such a common little phrase, isn’t it? We hear it over and over in familiar fairy tells and legends. You can even trim that phrase down further to simply “Once.” Countless stories start at this very moment. These stories come from across land and time to reach us, here and now, and pull us into their “once”: stories of battles waged, quests completed, families reunited.
Or perhaps those stories come from an Elsewhere altogether different: lands of myth and magic, where the Impossible is just as real as you, or you…ooooryou!
Campfires call upon that Impossible Magic, don’t they? When the words of a spoken story combine with the sparks and stars, we cannot help but fall under the story’s spell. Such was the way we and others wove with words: summer camp’s ghost stories, Dad’s evening devotions, or the bizarre fairy tales we’d tell ourselves while poking the embers with our sticks still sticky from the last of the marshmallows.
In the time of Dickens, reading aloud at home was very much a common household entertainment. The practice had become broadly accessible in Britain a hundred years earlier, with the spread of literacy and the increased availability of books and periodicals…they saw reading as a pick-me-up and a dangerous influence, a source of improvement, a way to stave off boredom, and even as a health-giving substitute…
The Enchanted Hour
But let us not be so foolish as to suppose the stories told could only be for fun. Telling tales aloud could be extremely instructive, too, for any class. From oral historians describing battles to Caesar as he dined, to the man reading newspapers to Cuban cigar-rollers as they worked, we have depended on the oral storyteller to take us outside of ourselves and witness that which we cannot experience otherwise. It is through the telling of lives that we have learned what it is like to emigrate to a foreign land, to live in a centuries-old slum, to hide in the trenches as bombs decimate the land. Countless cultures have depended upon oral storytelling to preserve their histories and customs, and it is through such practice that modern generations have been able to preserve the ways of their ancestors.
The art of storytelling was practiced by both men and women in Lakota culture and society, where a form of high culture existed prior to the reservation period. Those individuals born in the early part of the twentieth century retained memories of narratives told by grandparents who lived during this “high culture” period, which extended from the time before contact with Europeans to approximately 1850.
George Sword’s Warrior Narratives
Nowadays, Kapata is performed (sung) widely [in Indonesia]. In its development, Kapata helps to carry out the function as the medium to enrich language and literature…Another function of Kapata is a social control function. It can be found in the texts of Kapata such as in Kapata Nasihat in Central Maluku from parents to children or from kings to his people. Kapata [maintains] the sanctity of customs regulations and upholding custom laws in a particular community; and to preserve and maintain custom relations that have been established in a community for years.
Rediscovering the Endangered Oral Tradition of Maluku
Māori who participate in ceremonies and meetings there, descendants of those who composed and passed on the ancient records, know the lineage of their forebears because of often quoted genealogies, which were also preserved in the oral tradition. The words handed down from the ancestors are cherished and kept current in various ways and through new media….The literature that bears the closest relationship to the oral tradition in its original form are the texts that Māori first wrote down from memory or that were written for them as they dictated…
Maori Oral Tradition
The West had shaped the knowledge and discourse about Africa for hundreds of years and it was important to shift that power relationship. Obviously, decades of European colonial incursion and rule needed to be sorted out as it pertained to earlier scholarship….Certainly, African societies have preserved their histories, cultures, and ideas in nonverbal forms in the plastic, musical, dancing, and ritual arts, and these need to be taken into account when seeking a thorough historical picture. This also allows us to understand how earlier events have been reconsidered or even reshaped over time for contemporary purposes.
On the Status of African Oral Tradition Since 1970s: An Interview with Robert Cancel
Reading becomes a priority again. One of my university colleagues broke down the current literacy plight as an inevitable consequence of the “multimodality” of our entertainment. Once radio and film came to Main Street, people no longer needed newspapers and books like they used to. A representative of Wisconsin Literacy concurred, noting that a child is not raised in a home where reading matters, that mindset is carried into adulthood and passed on to the next generation. This mindset propels that vicious cycle of low-literacy onward: no motivation to read = inability to decipher and synthesize text both simple and complex. Forget research–low-literacy means being unable to properly fill out a job application or understand a medical prescription. Studies shared in The Enchanted Hour show that the majority of a child’s neurological development occurs in the first five years, and when a child watches a video instead of listening to a book being read, that development suffers greatly.
Listening to a picture book being read, however, helps children connect the pictures and words they see with the words they hear. They hear how the words sound, how the sentences sound, and are therefore able to use those words and sentences themselves with confidence. And this isn’t just for kids, by the way. I have recommended my adult learners reading fun stuff for years, and the response is overwhelmingly positive. Reading for fun makes reading for school a smidge easier. Reading for school makes writing for school a smidge easier. Writing for school makes writing for work a smidge easier. Put all those smidges together, and you’ve got yourselves a broken vicious cycle.
If a child sees something in a parent that that child aspires to, he or she will copy that parent and be content.
The Reading Promise
This is another reason why I started my podcast last month: in all my encouragement to students, I was neglecting myself. Story Cuppings became a way for me to not only sample and study stories through reading their first chapters, but to read aloud and experience new language again and again. If you’ve a book–be it one you love, wrote, or both–you’d like me to share on Story Cuppings, just let me know!
Passion swells to share one’s life experience, the struggles here and now. “Once upon a time” is not limited to Past Days or Elsewheres. “Once” means “now” as much as it means “then.” “Once” there is a group of people who struggle, not struggled, against adversity. That “once” takes us to the accounts of individuals in Hong Kong, in the United States, in Myanmar, in Poland, in Mexico. It is through the words of an individual—what they see and hear, what they experience at the hands of others—that we learn of the epic quests and battles of today.
And do not assume “epic” must mean “global stakes.” On the contrary, the most epic victories can be one family, one person, living life one season to the next. Such are the stories we hear at family gatherings, be they around a campfire, kitchen table, or fence post. As fellow Wisconsinite storyteller and documentarian Jeremy Apps explains:
My father and my uncles were storytellers, and so were several of the neighbors in the farming community where I grew up in central Wisconsin. Family members told stories when we gathered for celebrations, birthday parties, anniversaries, and at Christmas and Thanksgiving family affairs. Our farm neighbors told stories during threshing and wood sawing bees, while they waited at the grist mill for their cow feed to be ground, and when they came to town on Saturday nights and waited for their wives to grocery shop. These stories were always entertaining, as many of them had a humorous bent to them, but they were also filled with information—how the cattle were surviving during the summer drought, what price Sam got for his potato crop and how he managed to get that price. How the weather this year was not nearly as bad as the weather twenty years ago. Many of the stories were also sad, such as how Frank was making it on his poor farm since his wife died and left him with three kids to fee and care for.
Telling Your Own Story
When I read App’s words and see his work like A Farm Winter, I see the shine of the pivotal truth he wrote in Telling Your Own Story….
Your stories are snippets of history.
Never, EVER, sell your own story short. Whether you weave your experiences with imagined elements or you stitch the raw details together for all to know, YOUR story matters.
Now, tell it aloud.
Hear the sounds of the words you choose, the rhythm they create like the genealogies repeated by the Maori over and over as the story is told by the teller. Listen to the nuances of your characters’ voices–what words embody the tones you use when your voice dresses up as each character? What words bring sensory feeling to the settings you describe?
There is beauty in your story’s language, my fellow writers. Share it with the sparks and stars, and see its magic pass from one generation to the next.~
Would you believe I’m actually working on a humor writing workshop for my university this summer? I’m still working out how I got roped into that, too. Plus we need to FINALLY talk about the process of choosing character names. Let’s not forget studying those character archetypes that cross time and culture! There’s lots of literary fun to share over the coming months, not to mention some more kickin’ author interviews.