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

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


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

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My name is Christopher Lee and I am the author of Westward, a Channillo exclusive serial release occult fantasy that blends X-Files and the Magnificent Seven.

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

DAN: I have collections with my publisher GenZ, Lapping Water, Humbled Wise Men Christmas Haikus, and Home other places I’ve yet to see. Channillo has been a good place for projects of mine that I view as smaller endeavors.


CHRIS: For one I love to write as if my story were being presented as a TV show, each chapter I write feels like an episode of a show to me, so it made sense to present it this way. The format of serial publication allows me to work on my story at the same time as I get feedback from readers on previous chapters, etc which in turn helps make the story better down the road.


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

DAN: It’s fun to write these poem-letters in “Weathergirl.” I call it soap opera poetry.


CHRIS: It takes a huge load off of the authorś shoulder to know that they don’t have to crank out a huge manuscript in order for readers to access their work. There is a flexibility that I mentioned before that allows the writer to breath, take a step back, and then return to the keyboard recharged and excited to write the next chapter of the story, not to mention it keeps the readers hungry for more.

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I concur about that load being shirked off! However, I know one problem I have when posting my own Young Adult Fantasy MIDDLER’S PRIDE is publishing on time.

What challenges have you faced writing serials?

CHRIS: Honestly, I have not faced any, save that classic HIT THE DEADLINE. When I began to write Westward, I had a fully developed story arc with complete show/chapter ideas. This allows me to simply sit down and write the next installment, whereas had I not done so I might have run into an issue of keeping the story straight, so to speak. Ultimately it is all about consistency when running a serial. You need to market it consistently and produce the content on time so that your readers know they can count on you. After all, there is nothing worse than investing time as a reader in a story that dead ends.

DAN: Letters to the Weathergirl is about a man writing to a news anchor and the reader doesn’t know if he is a deranged fan, or a fan, or her actual lover and I haven’t had any problems developing that. I’m very fortunate.

Now while I myself have never published any poetry, I find it a pleasure to read! It seems to fit well with the serial form. Because I’ve written Middler with the serial publishing platform in mind, I find myself constantly looking for little arcs or episodes to write within the larger novel-arc. How do you feel your writing and/or genre’s been affected by publishing it in a serialized form?

DAN: Letters to the Weathergirl is weekly so when holidays turn up I like writing themed segments. The arrows on the clock are pointing at me was like a fun dumping ground for unpublished poems and I hope to maybe start another series like that. Venus Fly Trap kept my haiku skills sharp and Little Silver Microphone explores recordings both home and live.

CHRIS: I primarily write in the fantasy genre, which I believe is aided by the format. Fantasy in some ways suffers from the drudgery of 600+ page novels that remain inaccessible to the general public at large. Many consumers of media want smaller bites that they can digest while they ride the bus, an Uber, or just before bed, etc. Just look at Netflix and the advent of binge watching or in this case binge reading.


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

CHRIS: Accessibility and consistent content creation are the two major things for me. One that readers can have an a la carte or buffet experience with different genres, authors, and styles. Two is that there isn’t a huge delay between content dumps from the authors, its the exact opposite of the George R.R. Martin effect, for example waiting for years for a conclusion to the story you as the reader have invested time in.

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

Do you receive any reader feedback on your writing as it’s posted? What do you do with those reader comments?
DAN: Yes, I do. I’ve gotten great feedback that has meant a lot to me. Sometimes I post quotes about my series on the work’s homepage.

CHRIS: If I am being honest, I have not received much in the way of comments via the Channillo platform, but I have been contacted via Twitter, Facebook, and email from readers who have given me some of the most constructive feedback I have gotten to date. It is a really cool experience to have that level of connection with the reader. Usually what I do with said commentary is to implement whatever makes the most sense to the story, all while keeping the core message of the reader close to heart.

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

CHRIS: First and foremost you need to have a fully developed story before you kick the thing off. If you don’t have that, then you run the risk of hitting a dead end that could cause you massive problems. Ultimately a plan will save your booty if you get in a pinch.

DAN: Make sure you do your installments on time with interesting material to help build an audience.

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

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

CHRIS: Kelly makes a great point, though the critics of serialization see it as low art or cheap in quality, I find the process to be far more rigorous. You can simply slap crap together and throw it at the wall and hope that it sticks. In fact, you have to take even more time to craft a tight narrative, then you would in the case of a novel. To run a successful serial you have to keep your readers hooked. In the traditional method, example a fully fledged novel, once they buy your book, the transaction is largely done, you have the readers money, whether or not they come back for subsequent books is altogether another animal. With a serial, you have the flexibility that you don´t have in the traditional sense, and that is the true strength of serialization.

Thanks so much for sharing your thoughts, guys, and good luck building those Channillo stories! You’re reminding me I need to update what’s going on with Meredydd…

In the meantime, check out these authors and other amazing folks at Channillo. You can scope out their amazing store of stories FREE for thirty days. Who knows? Maybe you’d like to write for them, too!

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

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

#AprilShowers bring #AuthorInterviews! @MarshaAMoore discusses #writing a #setting #inspired by #childhoodmemories & #researching #witchcraft and #magic. #IndieApril #WritingLife

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?

I 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.

The place is Nashville, Indiana, which lies south of Bloomington. In fact, all of Brown County and its rolling hills inspires this series.

One 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! Reference: https://the-line-up.com/blue-lady

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.

Many thanks for taking time to talk with us, Marsha! You can find her on her website as well as on Twitter and Facebook. Don’t forget to visit her Amazon page, too!

If you dig more fantasy adventure set in the American Midwest, feel free to check out my free short stories on Amazon, too.

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