#Indie #Author #Interview: Chris Hall discusses #reading, #blogging, #writinginspiration, and other delightful bits of the #writinglife. Thanks, @ChrissyH_07!

Featured

Greetings, one and all! After a rough week schooling the kiddos at home (stay tuned for THAT post), it’s high time we celebrate Indie April with an interview with an AMAZING writer and reader, Chris Hall.

Let’s begin with the niceties. Tell us a little about yourself, please!

Nice to be here, Jean!

I was born, grew up, lived and worked in the UK until 10 years ago, when childless, in our forties and fed up with our jobs, my husband, Cliff and I upped sticks and emigrated to South Africa. We’d already met people here through a school exchange programme which Cliff was involved in, visited numerous times, and finally decided to come to a new country and do something different.

We’ve settled in a town about 30 miles from Cape Town, where we can almost see the ocean from our house. Our cat, Luna (after whom my blog is named) emigrated with us and loves it here. We inherited some chickens along with the house, all of which have since gone to chicken heaven at a ripe old age, but now we have two large brown hens which usually means lots of lovely eggs, although it’s a bit hot for laying at the moment they tell me.

Chris is on Goodreads, too!

Since I moved out here I’ve done various voluntary work, been employed as an administrator in a guesthouse and an art gallery, and now I’ve turned freelance doing copywriting, ghost-blogging and social media stuff for other creative people who lack the time/patience to do for themselves. In my spare time I write a lot and read a lot (when I’m not chasing hens off the veg-patch or catering to Luna’s little whims). It’s all a far cry from the 24 years working in risk management which I left behind in the UK.

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

Two of my favourite authors have written about the craft of writing. On Writing by Stephen King and Steering the Craft by Ursula K. le Guin, have both had a positive impact on the way I write. Their words are wise.

But also, when you read any book with the eye of a writer, your experience is a whole lot richer. Considering the way that other authors construct their books and frame their words makes me think that little bit harder about my own writing.

What is your favorite childhood book?

This is difficult! I’ve wrestled a bit with this, but having roamed my bookshelves, it has to be Laura Ingalls Wilder’s Little House series – and if forced to choose one, it would be The Little House on the Prairie. For the whole of my first high school year (aged 11-12), I totally lost myself in Laura’s world. The daily chores, the struggles and adventures of pioneering life, within the context of this close-knit family, enthralled me. I always had one of her books in my school bag. I’d take it out at every opportunity before and between lessons and bury my head in the pages. The covers are little battered and the pages yellowed, but I still have them all.

What literary pilgrimages have you gone on?

My ‘stand out’ visits were to the homes of the Chilean poet, Pablo Neruda. I fell in love with his poetry when I was studying advanced level Spanish, prior to a series of visits to Spanish-speaking countries back in the early noughties (that’s another story).

Neruda has three houses in Chile: in Santiago, Valparaiso, and Isla Negra. I visited all three over the course of two trips to Chile, and I found all three utterly stunning: true reflections of the man and his poetry. The ultimate is the house at Isla Negra, located right on the beach in a tiny, remote town. Getting there on a local bus was an adventure in itself, but the sprawling, single storey property and its surroundings are jam-packed with mad collections of ships mastheads and bottles, shells and ship’s bells and all manner of things. I especially liked Neruda’s writing room which looks out onto the ocean. He made his desk from a piece of driftwood which he waded in and rescued from the waves.

On your website, you call yourself an “accidental blogger.” How would you say blogging’s benefited your writing life? Do you recommend it as a method of building an indie author’s platform? What’s one thing you do differently now with blogging that you wish you’d done from the beginning?

Blogging has been a very happy accident. When I began with my website, I really had no idea that there was this big, friendly and supportive world of writers (and others) out there. What a revelation!

The support and the feedback from the people in our little corner of blog-land has been a tremendous encouragement, which I hope I reciprocate adequately. Keeping up the blog has helped me with the discipline of writing something almost every day, although I don’t post all that I write. Some things are remaining under wraps.

A blog gives you a presence as an author (indie or otherwise). It gives you a chance to get out there, show off you books and share a little about yourself. My Twitter and Facebook and LinkedIn accounts are all connected to my blog, and more recently I’ve added Instagram too. So now I can be found and so can my books, should anyone care to look. Whether this had as much impact on the sales of my books, I’m not so sure, but it forms a foundation.

Blogging has been, and still is, a journey for me. What I put out on my blog now is all my own work or about my work: stories, installments, reviews, a bit about my successes (and failures) in trying to promote my books and occasionally, a bit about my writing life.

And I don’t think there’s anything I wish I’d done differently at the start. As in many things, I’m still learning and growing. Change is good; development is better. I’m planning to set up a separate author website under my actual name; it’s something I’ll ‘get around to’.

You chose to publish your first book, The Silver Locket (2012), under a pen name. May I ask what your reasoning was for using a pen name then and not now?

I have to admit that it was out of a lack of confidence. I was a ‘secret’ writer then. I hardly told anyone about the book when I first published it on Amazon, much less publicized it. But little by little, as people I knew downloaded it – even bought paperback copies from me – then read it and told me that they enjoyed it, my mindset started to alter. I could actually bring myself to tell people that I was an author!

Then I had a couple of short pieces published in online magazines and I joined Medium and started publishing on there, all under my own name, so it seemed logical to continue. I now wish that I’d written under my own name from the start. Holly Atkins will remain a one book wonder.

Your next publication, A Sextet of Shorts (2018), takes reader through a variety of quick adventures both personal and fantastical. Can you take us through the process of how you choose to craft a story as short fiction and other stories as novels?

The six short stories I published in that slim volume were ones I’d written way before I started working on The Silver Locket. They were the stories which I’d written for the creative writing classes which I attended for a couple years before we left the UK. I’d had good feedback from the writing tutors and members of the associated writing groups, and I was pleased with them.

Two years ago, I decided to dust them off and publish them to use for a bit of local publicity. With my bio and blog details on the back cover, there are copies in waiting rooms, doctors’ surgeries and hair salons around my home town. A couple of them are quite well-thumbed now!

Since writing them, and although I continue to enjoy writing the many, many micro- and flash-fiction pieces I’ve put on my blog and flung out around social media, I’ve discovered how satisfying working on a novel is. There’s so much more time and space to get to know the characters, immerse myself in their lives and watch what they get up to. And that comes back to finding my Happy Place.

You’ve published TWO novels in 2019! The first, You’ll Never Walk Alone, takes readers back to the 1980s in a location quite different from your own! What inspired you to set the story in Liverpool, and in that particular decade?

My former life in Liverpool has been an enormously important part of my personal history. I moved there in 1981 to attend University, and You’ll Never Walk Alone is set in that city at that time. I was in my early twenties and those were truly my formative years, when away from where I grew up, I started to make my own way in the world. Very little of any of that is in the book, but Gina and Lucy would have been my contemporaries, and the house in which they live is based on one of the large, converted old buildings where I had a flat, even down to the Chinese landlord. The locations in which the novel is set would be very recognizable to anyone who knew the city then, but everything else is pure fantasy!

The novel was a long time in the making. Gina, Lucy and Cynthia were born out of a short story I’d written more than 10 years earlier. That’s a long time for a character to be hanging about in The Well of Lost Plots (Jasper Fforde, 2003), but now they have a book of their own, and they’ve told the world they want another. One day, ladies!


Considering your experience writing fiction set in the past, how would you describe your research process in taking care the historical context is accurate? What would you consider to be the ethics of writing about historical figures?

Can I say how scary it is to think that the eighties are historical now?! But I do always check my facts so far as I can, mostly via our friend, Mr Google. Even though I lived through the times and events which form the backdrop to You’ll Never Walk Alone and The Silver Locket, (circa 1983 and 1989 respectively), I covered the research ground as wanted to make sure there were no glaring errors.

When writing Following the Green Rabbit, I was even more conscious of the two time periods in which the narrative is set. I researched what people would have worn, what they would have eaten and drank, what herbs would have grown in England in the early 17th century and so on. I deliberately left the earlier date vague and avoided mentioning any identifiable historical figures for the very reason of avoiding any dilemma about portraying real people.


Your latest, Following the Green Rabbit, features some heroic children in an Alice in Wonderland-esque adventure. What would you consider to be the biggest challenge in writing a Middle-Grade adventure, and how did you see yourself through that challenge?

First if all, let me correct any misconception that despite the tropish title, the story has anything in common with the Lewis Carroll fantasy story. It may be sub-titled a ‘fantastical adventure’, but that’s to do with the girls’ inexplicable transition to ‘past-times’. There are no mythical creatures or size-changing potions; the children find themselves in a place and time where the dangers are very human and very real.

As for the challenge of writing for a MG audience, I hope I made the story page-turning enough, I hope there were sufficient cliff-hangers and there was adequate suspense and enough alarm. But I suppose I fell back on telling a story which I would have wanted to have read, with characters with whom the much-younger me would have identified.

Time and feedback will tell me to whether I pulled it off as a MG adventure, but I’ve described it as a ‘novel for adventurers everywhere, from 9 to 90 years’, partly based on the fact that my 90 year old mother said she ‘really enjoyed it and didn’t want it to end’. My mother is not one to hand out compliments lightly, so I consider that to be praise indeed!

Out of aaaaaall the fiction you’ve written through the decades, what would you consider to be the most difficult scene you ever had to write? What made it so hard, and how did you overcome it!

Ah, this is where sex rears its ugly head!!

Both of my adult novels required sex scenes. None is gratuitous; each is an integral part of the story. The ways in which each of the scenes play out tell the reader something more about the characters involved, and after all, people in their 20s who are attracted to each other will inevitably end up in bed.

There is no doubt that sex scenes are difficult. You don’t want to be too cheesy and you don’t want to be too anatomical, and I believe that cutting to ‘waves washing over a beach’ is a cop out. The scenes must feel real.

Basically, they all involved a large number of rewrites to hit the right tone. I haven’t written anything especially graphic, although I did end up toning down the one at the start of Chapter 10 in You’ll Never Walk Alone during my final, final edit.

Hooray to new projects! I know that, like me, you worked on something new during 2019’s NaNoWriMo—and you got way further in your project than me, too. Will we be seeing another Chris Hall tale hit bookshelves in 2020?

Well, yes, I was indeed busy with a new book during NaNo. I guess I’m almost half way through the first draft now. It has been semi-parked through December, but now we’re in the final days of the holidays, I’m ready to get stuck in again.

I decided to write a novel firmly rooted in South Africa this time. The story is set in the present day, in a fictional small town on our West Coast and the overarching theme is the lack of water which is a serious and on-going concern for us here. The narrative combines a slightly romanticized tale of everyday folk with a large dollop of magical realism and myth thrown into the mix. I have assembled an eclectic cast, some of whom people might recognise from some of my stories last year. All but one of them is contributing nicely to the story, but I can’t quite get under this one’s skin yet.

It’s a more ambitious project than any I’ve worked on before, but for the moment I’m just going with the flow. I’m not sure how I’m going to pull all the strands together, but that’s all part of the fun. I’m hoping to complete the first draft by mid-2020, so who knows, maybe it’ll be ready for release towards the end of this year. No promises though!

Last question, I promise! (Hee hee!) Does writing energize or exhaust you?

When I’m deep inside a story, crafting that story energizes and excites me; there’s a little shot of adrenaline too. That’s when it’s going well.

Ah, but when it isn’t! It’s frustrating, it’s unnerving, it’s heart-thumping for all the wrong reasons. I question what I’ve written. Is this a story? Is it going anywhere? I guess some of that might not happen if I planned properly. But that’s not how I write.

I go through a whole gamut of emotions. Not every day, not all the time, but enough.

Many, many thanks, Chris! I can’t wait to see how your writing blossoms in the months to come.

I do hope you’ll check Chris out! Be sure to also swing by and vote on my own short story for an anthology produced by Wisconsin’s own Something or Other Publishing. Every vote matters!

Inspired by street photography and fantasy writer Diana Wynne Jones, “The Final Tampering of Madame Midsomer” takes readers to the town of Pips Row, where magic grows as sweet as the fruit of the trees. In the wrong hands, however, magic becomes as rotten as the sorceress who wields it, and no one is more rotten than the fearsome Madame Midsomer. Today, the people of Pips Row have had enough.

The Final Tampering of Madame Midsomer

Stay tuned! Gah, I gotta vent a little about teachers NOT used to distance learning having out-of-whack expectations of little kids. I’d also some lesson ideas for you to use with your children, and then some music to escape the home and discover writing inspiration.

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

#AuthorInterview: #indie #poets David Ellis and Cendrine Marrouat discuss #reading #inspiration, #writing #poetry, and #submissions for the @abpoetryjournal

Happy March, everyone! Spring is coming slow and steady to the Midwest. Let’s celebrate a new month with two amazing indie authors who’ve founded a literary journal currently open to submissions.

Let’s begin with the niceties. Tell us a little about yourselves, please!

Cendrine: My name is Cendrine Marrouat. I was born and raised in Toulouse, France, and now live in Winnipeg, Canada.

I am a photographer, poet and the author of 15 books in different genres: poetry, photography, theatre, and social media. In my career, I have worked in quite a few other fields, including translation, teaching, social media coaching, and journalism. I was a content curator and creator, as well as an art critic for a while too.

David and I launched Auroras & Blossoms Poetry Journal and the Poetry Really Matters show in 2019. I am also the co-founder of a photography collective called FPoint Collective. Finally, I created the Sixku (a poetry form) and the Reminigram (a type of digital photography).

My website can be found at www.cendrinemedia.com.

David: Hello, my name is David Ellis. I am a British born and raised, I live in the South-East of England.

I am the author of several collections of poetry (my debut collection won an international award in the Readers Favorite Book Award Inspirational Poetry Category). I also have authored a short story collection, co-authored several books with Cendrine and co-founded Auroras & Blossoms Poetry Journal with Cendrine too.

I have interviewed hundreds of authors about their creative drives and what has inspired the writing in their lives.

My website can be found at www.toofulltowrite.com.

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

Cendrine: My mother was a teacher. She was adamant that I learn to read, write and count before the end of kindergarten. My father is an avid reader, like she was. As I discovered the world around me, I realized that words mattered, that the way a person spoke or wrote had an impact on people’s perception of them. Then I studied English and (some) Spanish in school and at university. My understanding of the power of language increased tremendously as a result. 

David: I think for me, my epiphany with the power residing in language started with and will always be indebted to the late author Terry Pratchett. I remember when I first started reading his books that I needed a dictionary to keep up with some of his turns of phrase. What I believe was happening was that he was planting seeds that were evolving into the more humourous aspects of my writing. My English grades actually went up higher than any other subject at the time, due to Pratchett forging a love of language inside of me, as I devoured his fantasy Discworld series.

Furthermore, it has been through the act of writing poetry for many years that I have discovered my passion for crafting inspirational and motivational verse. The reactions from people regarding how I have encouraged them over the years with my words have given me even more respect for the magical power that language can have, along with how words can heal people and bring them closer together.

Who are your favorite under-appreciated writers/photographers? Let’s spread the word on them, here and now!

Cendrine: My favorite poets: Kahlil Gibran and Alphonse de Lamartine. The Prophet is loved worldwide. But very few people actually know that Gibran wrote many other stories. His drawings are also beautiful.

Lamartine was a French writer, poet and politician whose most famous piece, The Lake, also contains his most famous words:

“Oh, Time, stop your flight!  Hours, don’t run away!

Allow us to savor this delight, the best of life’s brief day!”

My friend Isabel Nolasco, the other co-founder of FPoint Collective, is a very talented photographer. She hails from Portugal and the world is starting to discover her images.

David: If we are talking poets, I would definitely have to go with Edgar Allan Poe, since I wrote an entire book of poetry inspired by all of his poetry! I would say that Poe is remembered more for his short stories but probably less well known for some of the unique gems in his poetry collection. Leonard Cohen is another hero of mine, who I think gets more focus on his music than his poetry, which I find to be really sensual and compelling.

I have a few favourite indie writers who could always do with more reader love any day of the week. Christie Stratos (www.christiestratos.com), who has her own podcast interview show and writes really unique fiction books (check out her Dark Victoriana collection). JD Estrada is another amazing author who has a ton of brilliant books covering fiction and lots of incredible poetry, you can find him at https://jdestradawriter.blogspot.com/. Finally, I would also like to put out a quick shout out to Anais Chartschenko, who is a fabulous musician, poet, author and fellow lover of tea! She can be found at https://anaischartschenko.weebly.com/. All of them are extremely friendly, multi-talented and very inspirational to me in many different ways. They are definitely very groovy people, so go check out their wares soon!

Cendrine, you also regularly update your growing collection of photography. How does visual expression differ from written expression? What does a composition need to contain before you feel ready to hold your camera up for the shot?

Cendrine: Photography and poetry are the same to me. Whether I pen a piece or take a photo, it is all about telling a story but in the “show don’t tell” fashion.

Composition is in the mind before it ends in an image or a poem.

David, you find inspiration in the classic writers of the past, including Edgar Allen Poe and William Shakespeare. What is it about such writers that brings the poetry out of you?

David: I’m fascinated with the poetic language that they employ in their writing works. I remember at school being overwhelmed by having to work out what every sentence of Shakespeare’s plays meant, line by line, I actually ended up feeling it was quite a tedious process. It wasn’t until years later that I developed a real fondness for the bard (I’m glad my school years didn’t completely put me off!) when I discovered how he was playing with the language he was using and inventing many idioms that we commonly use to this very day.

I’ve felt that Edgar Allan Poe combines the art of storytelling with his poems magnificently. ‘The Raven’ stirs up such vivid imagery and emotions in me, when I read it and listen to it being read aloud.

There is so much inspiration in the past, providing that you have unique ways of navigating it, appreciating its splendor and inherent beauty. I draw a lot of energy and writing experience from these authors because of what they are describing and the filters they interpret the world through in their own eyes. I find it a privilege to be reading the classics of the past, absorbing them and reinterpreting them for an appreciative future audience.

For me, I’ve actually reached a point where I’ve realised that I can literally find infinite inspirational material from the past and that is an incredible feeling to have in your life. Now, I just have to find the time to keep writing and publishing all of the ideas that I have!

Together you two have created a poetry journal, Auroras and Blossoms. Are you currently accepting submissions? What does it take for a piece of writing to be featured in your journal?

Cendrine: We accept submissions all year long. Our magazine promotes inspirational and uplifting poetry and poetry-related content, no matter the topic. We accept everyone (adults and teenagers alike), as long as they have something positive to say.

Auroras & Blossoms Poetry Journal is family-friendly, which means that the poetry has to be clean. No swearwords and no erotica / political pieces. The poems we select come from people who understand two things: the meaning of the word “positive” and the essence of poetry as an art form. They have a great message to share, a message that can help readers see the world in a different way.

David: Cendrine and I joined forces together on Auroras & Blossoms Poetry Journal because we both have a vision to share more inspirational poetry with the world, written by very talented people from all around the world. This specific type of poetry is the main reason why we both started writing and publishing books.

We encourage people to submit to us from all walks of life, we do not judge people on whether they have been published in previous journals. We prefer to instead look at the quality of the poetry a person writes and whether it could deliver an inspirational theme and message to our readers.

We don’t really have a specific type of poetry style that we are looking for, we will accept short and long pieces. As long as you take us on an inspirational journey with your writing and give us reasons to believe that your poem was written to be positive, uplifting, and/or motivating then you have an excellent chance of being published with us.

If you had to do something differently as a child or teenager to become a better poet/photographer as an adult, what would you do?

Cendrine: I would not do anything differently. I had a difficult childhood followed by challenging teenage years. I learnt a lot from my experiences and that is what makes me the artist I am today.

David: As a child, I think I ignored my literary instincts for quite some time, until it became apparent that I was excelling at English Language and English Literature more than any other subjects I was studying. I also developed a passion for song lyrics, in addition to poetry but I refrained from attempting to make music for many years. So, my advice to my younger self would be to start writing and refining your craft as soon as possible because it will take you many years to discover what you are truly good at and what motivates you to write every single day. That’s when the really exciting part of your life begins!

What is the most difficult part of your artistic processes?

Cendrine: Nothing, really. I am just a slow writer. But I have improved over the years.

David: I think for me it is having too many ideas to deal with at once and engaging in the necessary discipline to sit down and list out all of these ideas. This can extend to listing down ideas that I have about the project itself. When I find my focus, I can keep going for hours, often at the expense of not noticing where the time has gone. So yes, focus is the most difficult part for me in the artistic process, once you nail it down and commit to a project, that’s when you can ignore all other distractions and get on with completing a project to the best of your ability.

Does writing energize or exhaust you?

Cendrine: It energizes me greatly!

David: I used to find writing exhausted me when I worked on many different aspects of it at the same time. Take National Poetry Writing Month for example. When I participate, I tend to write and edit poems every day for a month, make a professional looking blog post and share many other poems that I find too and then attempt to read them all as well. When you are looking at tens, possibly even a hundred posts at a time, in addition to trying to write your own polished post, it is easy to get burnt out.

I’ve therefore learnt to be more considerate of my own time and not to try to cram too many things into one day. Writing has become a lot more fun for me as a result and I can do much more of it, when I appreciate and reflect on how much I have achieved in a single day.

Do you think someone could be a writer if they don’t feel emotions strongly?

Cendrine: Strongly? I’m not sure. But you cannot be a writer if you are afraid of sharing your voice and emotions (even indirectly) with the world. Because every word you leave on a page bears your mark one way or the other.

David: I think it is imperative for writers to be empathetic and to feel emotions strongly because they can then act in ways that people would do in real life. They can get under the skin of a character or subject matter and write in a way that emotionally connects with the reader.

All I know is that I write deeply, emotionally stimulating poetry and it creates a magnetism that helps me connect with like-minded people. When this is lacking in writing, whether it be the passion, focus or drive from the writer, if this emotional distance is conveyed to me as a reader, I am not going to be compelled to read more of their work, plain and simple.

What are common traps for aspiring writers and photographers, and how do they avoid them? (My young daughter is quite keen on both photography and writing, so I’d love to share your advice with her!)

Cendrine: Most of the aspiring artists I have met lack self-confidence and compare themselves to others way too much. How do you avoid those traps? Do NOT listen to naysayers.

Just know that you cannot please everybody. Do not take negative criticism personally. But pay attention to constructive feedback. Compare yourself to others only to understand your own style.   

David: Read the kind of books that you would like to write. Think of the kind of things that you would like to see written but can’t find and then go write them yourself.

Take advice from “How To Guides” as a means to enhance your own creativity but just take what things work for you and discard the rest. Don’t buy many guides and spend all your time reading them as an excuse to neglect your writing.

By all means be prepared but only do enough research to get yourself started. Starting is always the most difficult part in any endeavour. Find a theme, think a bit about it, do your research and get writing as soon as you possibly can. The rest will follow soon enough. If you need guidance, write a short outline of what you want to achieve and then work through all of those points but don’t spend all your time planning and get writing!

Try to write every day, even if it is only a few lines. I have been told constantly in any artistic profession that anyone, no matter how busy they are, can spend at least ten minutes a day indulging in their own creative expression. You will make more time as your passion grows. Diligently find the time to fuel your creative passions, watch an hour less TV a day, shut yourself away for small periods of time, turn off the computer or put aside your mobile phone if you have to and make time in your life to create, your soul will thank you for it.

Be sure to share your work with friends and other writers. Be willing to take constructive (not negative) feedback for your work. Write until you have so much good material that you simply have to publish, then work to get it published!

Just one of the amazing photos from FPoint Collective!

~STAY TUNED NEXT WEEK!~

It’s high time for some powerful music, especially since it was such a joy to use music to welcome spring last year. I am finally, FINALLY working on a bit of short fiction, and would like to share it with you! We also need to consider the dangers of altering characters mid-story, and how those changes cause disconnect among fans…not to mention plot points.

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

#AuthorInterview: #indie #writer @ColinGarrow discusses #bookreviews, #SherlockHolmes, #writing #MG and #mysteries, and the importance of following through on the #writingprocess

Hello hello, everyone! Once again, it’s been…oh, it’s been a week at the good ol’ American public schools. Between tweens yelling at me that they don’t have to do their homework because I’m not their mom, to kiddos my sons’ age hitting each other because the other “was going to do something bad”….well, it’s no wonder I have some of the university students I do. Eeesh.

So, let’s focus on something lovely and positive, shall we? Let’s celebrate one another with a delightful indie author interview. Colin Garrow is a FABULOUS writer of mystery and spine-tingling adventures for adults and children alike. His latest for tweens, The Curse of Calico Jack, and his latest for adults, A Tall Cool Glass of Murder, are available now on Amazon and Smashwords. Check’em out! (After the interview, of course.)

Let’s begin with the niceties. Tell us a little about yourself, please!

You might think from some of my previous jobs (taxi driver, antiques dealer, drama facilitator, Santa Claus impersonator, fish processor, etc) that I’m a bit of a Jack of all trades, but let’s just say I like variety. When I left school, I had a vague idea of becoming either a rock star or a novelist. At the time, I was too timid to strut my stuff on a stage, and instead spent many hours churning out short stories and poems. In those days (late seventies), there were hundreds of what were called ‘little press’ magazines on the go, all looking for talented writers.

So, sending my scribblings out to such literary tomes as Stand Magazine, Envoi and Staple, I managed to collect a huge pile of rejection slips, and though I did eventually get a few poems and a short story published, it was studying for a BA in Drama that really made the difference to the quality of my writing. After that, I spent a few years writing plays, some of which were eventually performed by my theatre company in Aberdeen, but I didn’t start trying to write novels seriously until 2013, after a failed relationship left me living alone in a damp, mould-infested hovel, with little money and a lot of spare time. That summer I decided to try and finish a book I’d started a few years earlier. It was called The Devil’s Porridge Gang and was set in a fictionalised version of the town where I grew up.

I suppose I started writing for children because I didn’t think I had the talent to write for adults, so my Terry Bell and Watson Letters books didn’t get under way until a few years later. Now, having recently published my 20th book, I’m feeling a lot more confident about my creative abilities.

TWENTY BOOKS, my goodness! I tip my hat to you, Friend, and admire your years of experience in this publishing jungle. As a book reviewer and writer, what do you see as the most unethical practice in the publishing industry?

Aside from Kirkus reviews which, at several hundred dollars a pop, should never be considered by any sane person, I think the practice of paying a reviewer for his or her opinion is dodgy, to say the least. Even if you believe the individual is completely unbiased, you’re never going to know for sure. Readers too, are aware of this practice and if a book has too many five-star reviews on Amazon, it can give the impression someone is taking backhanders, even when that’s not the case. I’ve also seen books with six or seven reviews that sound so similar they could have been written by the same person.

Indie authors often give away free books in the hope of prompting readers to buy some of our other wares, or at least to leave a review. While I don’t have a problem with this, it’s not the same as someone actually handing over hard-earned cash in exchange for a book. My own reviewing practice is to buy a copy of any book I intend to review, which puts money in the author’s pocket, and eans they also get a ‘verified’ review on Amazon. Even so, I do sometimes accept a free copy in return for an honest review, though this is mostly due to my being on Amazon’s Vine programme.

You review SOOOO many books that I’m always humbled whenever you read one of my stories. Plus, you clearly use your growth as a reader to build your own unique stories. What would you consider to be the most difficult part of your artistic process?

It might sound odd, but the hardest part is coming up with a title and a cover for the book. With these in place I then have the motivation to write the book and discover what it’s about. As an example, the cover for the second Terry Bell mystery, A Long Cool Glass of Murder had to fit with the design of the first book, so it took me a while to come up with something that made sense. It also gave me a title that suggested poison, which was a good starting point.

On the other hand, I’m currently working on a horror novel for adults (as opposed to children), which doesn’t have a title or a cover. I do have a working title of Witch Moon (which may end up as the actual title), and a vague idea of what the cover will be, so there’s enough to get started with but I’ll need to finalise both before progressing much further with the plot.

One of the reasons I jive so well with you is because you’re a HUGE Sherlock Holmes fan, just like me! Tell us about The Watson Letters.

I’ve loved Sherlock Holmes for years but not being a particular devotee of ‘fan fiction’ had never thought of writing about him. Several years ago, a friend and I started emailing each other under the guise of a variety of fictional characters, usually centred around toilet humour and fart gags. Our favourite roles were Holmes and Watson, so when I started a website in praise of Arthur Conan Doyle and the associated books and movies etc, I included a spoof blog called The Watson Letters inspired by our musings. Some years later, my friend having taken to producing fewer and fewer emails in response to my attempts to create actual stories, I often found myself writing both parts of whatever adventure we were ensconced in, and when she eventually gave up altogether, it occurred to me I might take selected episodes of the blog and knock them into some sort of book.

The first book, The Watson Letters vol 1: Something Wicker This Way Comes was a bit of a hotchpotch and I didn’t really expect it to catch on, particularly as it jumped around a lot and didn’t exactly have a ‘through line’ in terms of the plot. It’s also very short, at around 23,000 words. But considering a second book, I opted to write three complete adventures and continued with that idea for books three and four. The current book, Murder on Mystery Island is different, in that it’s one complete adventure, and the next book, The Haunting of Roderick Usher will probably be the
same.

By this time, I’d scrapped the original website and started a new Watson Letters Blog, so what hasn’t changed, is that I still write each story on the Blog first, before putting it into book form. I’m aware that this practice limits me to what I’ve already written, but it’s good to have a challenge.

Another challenge in writing new stories with established characters comes in the
expectations of the reader. (Pretty sure Disney’s feeling this challenge with their
attempts at creating Star Wars sequels, but I digress
.) How do you create an original story while also delivering the kind of story readers want in a Sherlock Holmes adventure?

Hmm. This is an interesting one, as obviously there are tons of books written about
Holmes, Watson and several of the other characters created by Conan Doyle. I think
if you’re going to be true to the characters and attempt stories that reflect ACD’s
style and character traits etc, then that’s great, but since the original books are perfect as they are, I wanted to do something different. Taking a bunch of well- known characters, moving them off into a parallel universe, having them swear and do battle with villains like Hannibal Lecter and Bill Sikes, I hoped readers would go along with it, recognising I’m not trying to copy the original, but to create something different, though with a generous nod to the originals. Of course, one or two readers have complained that Holmes doesn’t use the F word, and Watson would never urinate on a pair of ne’er-do-wells, but when you’re in a parallel universe, anything can happen!

Ha, eeeeexactly! One of the fun things about writing fiction is that you don’t HAVE to follow “how things work.” I recall Colin Dexter saying as much about his Inspector Morse mystery series. Still, writing historical fiction is going to require some sort of research. What kind of research do you do, and how long do you spend researching before beginning a book?

In general terms, I don’t do a lot of research for my books, as I believe it’s a writer’s
job to make stuff up. However, there are some things you just can’t make up and need information or detail to give the writing an authentic feel. Usually, I leave it until the point in the story when I need specific information before I’ll start looking for it. In the case of my middle grade series The Christie McKinnon Adventures, the first book begins in Edinburgh in 1897, so I used an old map of the city to work out Christie’s routes between one place and another. I did the same thing with The Maps of Time series which is set in 1630s London. In that instance I also wanted to use the old street names, like Cheap Syde and Fanchurch Streete.

For the Watson Letters books, which often use dates on letters and telegrams etc, there came a point when I confused myself and had to resort to using an online calendar to work out when things happened. This was particularly noticeable with The Curse of the Baskervilles adventure. The book starts in 1891, but the first story actually goes back to 1884, with the adventure following it beginning in 1889. For other books, there have been times when I’ve needed to know about air rifles, handguns, specific types of period clothing and how to use skeleton keys. Anything that requires lots of research is probably something I’ll avoid writing about.

That’s a great piece of advice. Would you like to close out on any other important writing tips for aspiring writers?

I think the advent of eBooks and the ease with which virtually anyone can become a published author, has also created its own set of problems. It’s not so much of an issue now, but a few years ago there were an awful lot of people churning out books that were nothing short of abysmal—packed with clichés, typos, poor sentence structure and a lot of really bad writing. I’ve had a few people approach me for advice on their own work and overall, they thank me profusely for pointing out their mistakes, realising no-one can produce a perfect novel all by themselves. Of course, there are those who think their immense talent should be obvious and the only motivation for asking my opinion is so I can tell them how wonderful they are. I know it’s hard for newbies to get started and forge relationships with other writers, editors, beta-readers etc, but I do think it’s essential, especially for indie authors, as we all need to know how other people see our work. As well as having two editors, I have several writer pals who proofread my books, while I do the same for them, so even if you can’t afford a professional editor, there are always people who can help out. It’s the same with book covers too—unless you happen to be Stephen King, a rubbishy cover will never sell your books. I have a reasonable ability with Photoshop, so I create my own covers (though I’m aware some of the early ones need updating). If you’re not gifted in that area, there are plenty of generic cover creators who can adapt a cover with your name/title etc for a reasonable price, so your book at least looks professional.

As Smashwords boss Mark Coker says, ‘…it’s the readers…who decide what’s worth buying. Bad books will sink.’

So, essentially, you need to write a good book, get it proofed, edited and pop on a good quality cover that tells us what the book is about, and off you go.

Thanks so much for sharing your thoughts and insights, Colin! Folks, you can find Colin all over the place–go, visit, see, read!

~STAY TUNED NEXT WEEK!~

Seeing the students I do, I think I’m ready to write about villainy. Dark, impulsive, whiny villainy.

But if my soul’s been sucked too dry by the American education system, then count on Blondie to come to my rescue with her awesome stories–and book reviews, too!

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

#seasonsgreetings! Let’s #celebrate #Christmas with the #Gift of #ChristmasStories, #Fantasy #FreeFiction, and Whatever #Storytelling You Love Because this #December, #LiteracyMatters.

Greetings, greetings, one and all! I hope you have your health this season, because right now that’s lacking in the Lee house. We did manage a trip to Watertown to visit Santa before a virus grabbed Bash, then Biff…

Bash (with hat), Santa Claus (with different hat), Biff (with hidden hat), and Blondie (with hat hair) in Santa’s house in Watertown.

…just in time for our Christmas church service, no less! At least Blondie’s ready and raring to recite Luke 2 and sing oodles of carols.

But enough whinging over fevers.

Firstly, I wanted to thank you for supporting me through what’s been a very bumpy year. My publisher discontinued my series, which meant I had to pull my free short stories Tales of the River Vine and overhaul my platform. You held me up when I felt like the game was over, and you encouraged me to write on and fight on.

So I did, and got a novella published in the process.

It seems so bloody easy to walk away. To give up the battle because the world says we’re just not good enough. I’ve seen these faces of defeat in many classrooms over the past few months: eight-year-olds who still cannot connect letters to sounds. Twelve-year-olds who’d rather throw books than read them out loud. Eighteen-year-olds who’ve never learned to use an index, let alone critically dissect a few textbook paragraphs. And the teachers? The teachers will move them onward and outward whether the students are ready or not.

We live in illiterate times, my friends. You may know proficiency rates are low where you live, but do you know how low? I learned last week that in the public schools of Wisconsin’s capital, only 36.6% tested proficient in reading.

Think about that for a second.

Only three in ten can read at grade level. And that’s just the basic stuff without all the critical thinking skills to go with it. These kids are graduating high school without the skills to read literature appropriate to any profession, let alone write a resumé. They’re simply dumped into the workforce and expected to survive.

Not for lack of trying, mind. Teachers in Madison, Wisconsin, and anywhere are in a terrible place. When I see what they’re up against, I can’t help but think of World War 1: embedded in trenches dug by faulty philosophy, living with almost no resources, struggling through the barbed wire that is parental criticism with little support from administration, their very livelihood determined by the results of tests created without their input.

But let’s save education for the new year.

Right now, we must step up. If you can’t turn the little ones’ screens off without a meltdown, then switch up games with storytelling apps. If they’re dyslexic or have difficulty focusing with their eyes, then turn their ears to audio books. According to the US Department of Education, Children who were read to at least three times a week by a family member were almost twice as likely to score in the top 25% in reading compared to children who were read to less than 3 times a week. If they’re seeking escape in games of adventure, mayhem, fantasy, or all of the above, then give them the authors who tell such stories. Thousands of stories of every genre are within our grasp thanks to e-book publishers like Kobo, Nook, and Kindle. It is our duty as readers and writers to give these stories to those too small to reach them on their own.

And what better time to give these stories than the winter holiday break?

This week, Night’s Tooth will be free on Amazon.

As for the novel Fallen Princeborn: Stolen, the e-book copy will be $2.99 until New Year’s Day.

This Christmas, let’s tell our kids stories by the light of the Christmas tree. Let’s enchant them, spook them, tickle them. Let’s engage them with characters and places realer than real. Whether it’s a story about Christmas or a story to love all year long, it is time to give the sweet gift of story…with cookies. Never forget the cookies!

Don’t Bo’s Christmas tree cookies look scrumptious?

From our sniffly house to yours, may you have a most blessed Christmas and an adventurous new year!

~STAY TUNED NEXT WEEK!~

It’s so exciting to see my author interviews fill up for 2020! I can’t wait to share these wonderful writers with you. I also got an early Christmas present of music I MUST share with you next month. First, however, we need to discuss a serious writer’s problem, one which has gotten lots, and lots, and LOTS of press lately.

Oh yes. Next week, we are going to a galaxy far, far away to discuss what went wrong with Disney’s sequel trilogy…and no, I’m not just going to bash Rian Johnson and/or JJ Abrams for a thousand words.

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

#AuthorInterview: #indie #writer @DanielKuhnley shares his #writinglife with #worldbuilding #darkfantasy and #mystery, then shares great #writingtips and #music for #NaNoWriMo #writinginspiration

Good morning, my friends! As promised, I have a lovely author interview to share with you while I run off into the snow to teach high school calculus (yes, you may giggle). Meet the amazing writer of mystery thriller and dark fantasy, Daniel Kuhnley!

First things first! Tell us a little about yourself please.

Sure. My name is Daniel Kuhnley, pronounced like “coon lee.” I’m a Christian and an author, but I don’t write Christian fiction. I enjoy all sorts of activities, including music, movies, disc golf, working out, programming, and writing. I’ve been married to my wife for 22 years. Wow, it doesn’t seem that long! Just this last weekend my parents celebrated their 50th anniversary. That’s quite remarkable in this day and age. There are no children or pets in our household (my wife is allergic to both!)  I have three siblings and six nieces and nephews.

What is your favorite childhood book, and how would you say it influenced your own passion for storytelling?

This is a tough question. How far do I go back? Perhaps a few examples would be good. I loved The Monster at the End of This BookThe Berenstain Bears and the Spooky Old Tree, and Where the Wild Things Are when I was young. All three of them have a fantastical and sorta scary story. I think those led me on to books like A Swiftly Tilting Planet. This book opened my eyes to a new world where I could escape from everyday life as I read it. The characters and world and adventure stole my heart and made me want to write stories of my own. There were many other books as well.

I see you enjoy writing in two different genres: mystery thrillers, and dark fantasy. What draws you into these different writing-worlds?

Passion for the genres. I absolutely love Dean Koontz and the thrilling and mysterious books he writes. Old Stephen King ones too, like Cujo and Firestarter. What really drew me into fantasy and wanting to write it was Terry Goodkind’s series, The Sword of Truth. The first book, Wizard’s first Rule blew me away with the characters and depth of story. I’d never really read anything like it before. I knew I had to write character-driven stories like his. So, each genre is a different challenge. With fantasy, you get to create anything you can imagine. Worlds full of unique characters and places. No one can tell you it’s unrealistic. However, mystery thrillers allows me to delve into the human psyche and tell tales of sick and psychotic characters that fill nightmares. It’s fun to imagine how people like that think and what drives them. It’s even more fun to write about flawed heroes and heroines who are trying to stop them.

World-building is often one of the most difficult elements of fantasy writing: how far back should a writer go in creation? How much should be shared with readers, and what can be left in the notebook? What’s safe to rework from reality, and what’s got to be built from scratch? (You don’t have to answer my rambly rhetorical questions , but I am curious about your world-building process in creating Centauria for your Dark Heart Chronicles.)

World-building is a tricky thing. There are so many factors that go into it, and it can be the crowning achievement of a series or its downfall. A robust magic system is a must. It doesn’t need to be overtly complicated, but it should be a reflection and a driving factor of your world and its characters. Whether or not to include a language of your own is also another question to solve. I’ve read many books without one and it takes nothing away from it. I chose to create one for my world just for uniqueness. As far as creation of the world, you can go back as far as you want for its history or treat the moments your characters are living in as its beginning. I know many fantasy authors with tomes of history and backstory on their world and characters and others who have little to none. Personally, I find it far more interesting to understand the history of a world, its cultures, creatures, landscapes, and everything else that is part of its make up. I think if you’ve got some history to your world it creates a depth to it and your characters that you might not otherwise have. The readers will never know and understand everything about the world and its characters. The reason for this is that you never know when you might want to create another series based on some of that information. It could also spoil the mystery of the stories if the reader knows everything about your world and the characters. I’d say 70% of the information gets left in the “notebook.” It can cause issues though, too. Often I’ll be talking to my wife about something that happens to a character in my story and she’ll stop me and ask where that information was relayed to the reader and I’m sitting there thinking it’s somewhere but quickly find out those details are only in my head or “notebook.” As far as what can be reworked from reality vs. what should be built from scratch, that’s entirely up to the author. You want authentic, fresh worlds but readers also expect familiarity. If there’s no familiarity, it can cause the reader to have trouble picturing your world. There are obvious things that cannot be drawn from reality like unicorns, dragons, and other fantastical creatures. The hardest part for me in my world is describing the flora and fauna of the landscapes. I see them in my head, but I’m no expert in what those types of trees and plants are.

So I’m a HUGE fan of writing with music. I’ll even build up playlists to match up with major plot points as I write. What scores/composers would you like to recommend and why?

For me, I MUST listen to music while writing. It keeps my mind focused. However, I cannot write to music with words. I’ve tried and find myself singing along and not writing.  As far as recommendations, my absolute favorites are Epic North, Audiomachine, and Brand X Music.

All three of the produce movie trailer and movie score music. Epic North has some great music for writing battle and physical conflict scenes. I’ve got a little over 500 of their songs in a playlist that I keep on repeat. I never get tired of listening to them. I love some of the music from Two Steps from Hell, but it’s difficult sifting through their music because they do have quite a few songs with lyrics. Some of the music I listen to does have chorus chanting but its in Latin, Italian, and other languages I don’t know, so it doesn’t bother me.

What is your writing Kryptonite?

Outlining. I pantsed my first book and it took me 12 years from start to publication. With the second book, I pantsed the first half of it and outlined the second half. It took about 14 months from start to publication. Those time frames may seem quite drastic, but I had lots of time where I didn’t write anything. I put the first book away for 7 years after writing the first 70 pages. I loathe outlining, and I’m sure my wife loathes helping me with the process as well, but it’s a necessary evil. After outlining my third book, The Braille Killer, I wrote it in 2 months. That book went from start to publication in 6 months. So, outlining is both my kryptonite and my timeline shortcut.

Your Dark Heart Chronicles tell the tale of three unique characters: a family man, and twins bonded in magic. Do you find it difficult to shift between their points of view? What advice can you share with writers who struggle with writing multiple points of view?

I’ve gone back and forth through many ways of dealing with the character perspective changing over the years. Honestly, it just depends on the day. Sometimes it’s nice to switch between characters when I’m feeling blocked with one character. Other times, when I’m really in the flow of one character, I might just write multiple scenes from their perspective across the entire book. If a writer is struggling with multiple points of view, I suggest they take each character who has a unique POV from their novel and just write their story. Once they do that, weave those stories back together in editing. It sounds daunting, but it’s really not that bad. The most important thing is to get the story down, whatever the means. Piecing it together is far easier (at least for me).

Your mystery thriller The Braille Killer also carries a unique writing challenge: writing from the perspective of another gender. What was the writing logic that led you to share this story in first person from the perspective of Detective Alice instead of, say, Detective Alan?

Well, all of my novels have female POVs, so it wasn’t too difficult writing a novel strictly from a female POV. Stories come to me in a unique way. It always starts with a character’s name, like Alice Bergman. As I thought about her more, what she looked like, how old she was, etc., I began to get an idea of what her story might be. Initially, I never thought she’d be a homicide detective or have the challenges that she did, but it just felt right. Alice could never be an Alan. I have a friend who is blind, so I often talk to her about her challenges and fears, and that led me to Alice’s story.

What would you say has been the most difficult scene to write in your novels and novellas, and how did you overcome that challenge?

For me, there are two things that are difficult. The first is fighting/war scenes. I never served in the military, nor have I studied wars, so writing about them can be challenging. That’s what I’m working through in my current WIP, Rended Souls (Book 3 of The DarkHeart Chronicles). I’m also no fighter, so blocking fight scenes can be tricky. It’s best to literally act them out to get a feel for what makes sense and is physically possible for a given character. The other issue I struggle with, especially as a Christian, is how far to go with language, violence, and sexual encounters. I’ve learned to just write it all out in the first draft, no matter how vulgar, sexual, or violent,  and then tone it down (if needed) in the editing phase. Because I’m writing dark fantasy and mystery thrillers about serial killers, my books can be quite violent and bloody at times. There is mild cussing in all of my books as well (depending on the reader’s view of what that means). Although not vulgar and explicit, there is also scenes of sexuality in all my books as well. Humans are…human. It’s difficult to have compelling characters without exposing their flaws as well. No one is perfect, and I hate reading books where all the characters are wooden and sinless.

Does writing energize or exhaust you?

To be honest, it goes both ways. There are times where the writing is flowing really well, and I’m excited to get the story down and discover what’s happening with my characters. But then there are the times where I feel writing constipated. The words are in my head, but I can’t seem to push them out no matter how hard I try. This third dark fantasy novel has been that way. I know the story and all the events that must take place, but I’m struggling to get the words out at a decent pace. Sometimes you just have to take a step back and focus on something else for awhile. I’ve done that, and I’ve finally started making progress again.

That’s wonderful news to hear, Daniel, and congratulations on the release of your latest!

An evil dragon. A powerful mage. An ancient realm on the verge of a devastating nightmare…

Nardus is terrified he may have doomed his kingdom. Instead of resurrecting his beloved wife and children, he brought forth a malevolent winged-monster who is advancing on his people with a mind-controlled army. And now his last hope of redemption lies in discovering an age-old magical secret.

Twins Alderan and Aria’s hostile history delivered them to opposite sides of a brewing war. And as Alderan struggles to master his abilities while torn between loyalties, Aria’s growing powers could hold the key to the kingdom’s fate. But faced with an enemy that controls his sister, Alderan has no choice but to outsmart a manipulative wizard and a centuries-old dragon.

As the battle lines are drawn, can Nardus and Alderan claim their rightful place to rescue their world and save Aria from herself?

Rended Souls is the third book in the riveting The Dark Heart Chronicles epic dark fantasy series. If you like dangerous magic, page-turning adventures, and headstrong characters, then you’ll love Daniel Kuhnley’s spellbinding tale.

Buy Rended Souls to enter a clash of conjuring today!

How about we close this chat with some encouragement for those who are participating in National Novel Writing Month? I know I could use all the support I can get. 🙂

I’ve participated in NaNoWriMo three different years and have yet to “win” it. However, I encourage everyone to think of it as more of a launching point than a “gotta get it all done this month!” panic. Not winning hasn’t stopped me from finishing novels and getting them out to the world. In the last two years, I’ve released 4 novels and two novellas. The key to success is to keep going and finish the job, no matter how long it takes. So many people give up right in the middle. Don’t do that to yourself. Keep pushing forward, and best of luck with NaNoWriMo!

Thanks again for sharing your writing life with us, Daniel! Folks, you can connect with Daniel in all sorts of places. Why not stop by and say hello?

As for me, I must endeavor to survive teenagers and their crazy math so that I may hopefully return tomorrow to the Crow’s Nest and the mysterious Perdido family.

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

#NaNoWriMo2019 #WritingLog: #WitchWeek & #writing a #firstchapter, part 3

Hello, all! Since my typical blogging schedule is out the door this month, I thought I’d do brief updates every 5 days as well as write. This’ll give me a chance to share neato updates and finds. For instance, I’ve FINALLY gathered all the NaNo posts so far onto my Free Fiction page for your convenience. 🙂 Next, I’d like to highlight the amazing Witch Week series on Calmgrove.

From White Witches to innocent-looking aunties, you’ll find a wealth of discussion on villains in books, graphic novels, and more. I was honored to contribute this year with an analysis of Black Maria. Do check out the series–every article’s a feast for the mind and imagination!

Now, back to that first chapter. The plowman’s ushering Chloe Watchman and her family out of their car and into the Crow’s Nest. We’ve some other family to look out for besides this frightening “mother” figure: two brothers, Sal and Reg. Let’s see if we meet them today.

Writing Music: Philip Glass, Notes on a Scandal

Harsh white light from somewhere overhead switched on, turning the plowman’s skin the color of bone. “I’ll help you unload, get us all in faster….unless you’d rather stay here.” 

Chloe’s mother exhaled an icy breath onto her window, erasing the outside–and the plowman– from her sight. “I’d prefer it,” she said flatly.

“Ang.” Chloe’s father shook his head as he stepped out of the car. He held a hand out to the plowman over the windshield. “Sorry, it’s been a long road. Thomas Watchman, Angela’s husband.”

The plowman removed his cowboy hat and held it to his chest. “Sumac, Sir, at your service,” he said with a little bow and a strong handshake. Very strong. Her father had the biggest hands Chloe ever knew, but this plowman’s were just as big, with hairy blonde knuckles that practicallyl turned his hands into paws. No wonder he had no gloves on.

Chloe slid out of the backseat into the snow, quietly watching as the two men gripped hands over the station wagon, smiling fine while also tugging like they wanted to pull the other over the car. Snow was spilling over the tops of her boots and melting down to her heels. Her black pantyhose should have been wool and denim jeans, but she just had to look professional like her momma by wearing a skirt. Not that her momma was any sort of professional right now, her dad acting like he’s got to prove himself to some white man again

“Help would be great.” Chloe wraps up her books in the blanket and presses the bundle close to her chest. “Thanks.” She turns around.

And finds another Chloe staring right back at her: a black girl tall enough to make small white boys nervous. Hair speckled white with snow like her Aunt Tic’s. Headband’s askew. Hat made in home ec. Navy wool coat rescued from a Sear’s discard bin by her father, carefully repaired by her mother. Her classmates didn’t act like they knew, but Chloe could feel her mother’s stitches itch on her skin, scraping her up, marking her as cheap, unworthy

Get outta our school

You don’t belong here

Nothing but a low-life n—

“Still can’t get over these windows.” Sumac towered over Chloe, the frozen locks of his hair brushing snow off his own shoulders and onto hers. He had their only two suitcases–Chloe’s dad must be working on getting her mom out of the car.  “Every time I drive here, I think another car’s playing chicken with me.”

“Are all the windows like this?” Chloe took a step back to take in the Crow’s Nest.

Two bright lamps stood upon either side of a massive door etched with…something. The snow stuck to much of it, but Chloe could see curves and grooves in the way the snow was shaded by the lamps. No light could be seen in any of the dozen windows staring down at her: not on the first floor, second floor, or attic. Only the flickering reflections of the door’s lamps and snow, like muted static on a television. 

The roof itself was steep and lined with little spears–all but the center, where a circular shape remained blurred and secret in the night snow. The house itself was all large red bricks and cement, complete with cement scrolling rails up the wide, icy stairs to the front door.

The opening front door.

Even from the bottom of the stairs, Chloe could feel a wave of warmth spilling down the stairs. There was light, normal light inside, and what looked like carpets, and a staircase, and then a man’s shape. A man with combed black hair, narrow eyes, glasses, sweater. He staggered onto the front step, gaping at Chloe. “Angela?”  With a jump he was off the stairs and in the snow, arms so tight around Chloe she lost her breath.

Word Count: 643 Total Count: 3270

Hmmm. I’m feeling like Chloe’s a bit too passive for own good these past few scenes, but then again, the current circumstances are out of her control. I’ll try to make her more active in the scenes ahead.

Like what you see so far? I’ve got books to share with you, too! Click here to learn more about my YA Fantasy novel, my serial fantasy on Channillo, and my fantasy western novella.

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

#AuthorInterview: #indie #writer @julidrevezzo discusses #historicalromance, #steampunk, and other #magic delights in #writing #standalones and #novelseries

Good morning, fellow creatives! While I frantically put together my analysis of Aunt Maria for Witch Week, please welcome the magical Juli D. Revezzo, author of over a dozen novels of magic and love. Tell us a bit about yourself, please!

Hello, I’m Juli D. Revezzo. I write fantasy, fantasy romance, and historical romance. I’ve written The Antique Magic series, including its latest release, The Dragon’s Seamstress, the Celtic Stewards Chronicles, and several historical romances.

Your historical romances, like House of Dark Envy and Courting the Stationmaster’s Daughter, are set in the 18th and 19th centuries. What draws you to the Victorian and Gothic periods? What kind of research do you do to help you prepare for storytelling in the past?

Well, House of Dark Envy and Courting the Stationmaster’s Daughter are both set in the 19th century. My Gothic paranormal romance Lady of the Tarot is set in the 18th century and Fifty Measly Bucks, the 17th. I’ve also written in the Medieval periods–and one in World War II. 🙂 What draws me to the Victorian era, though, is… well, actually, I have a degree in Literature and from my early 20s have been reading Victorian lit through the lit of the mid-to-late 20th century ever since. And most of my biggest influences (sans Moorcock) are the writers of that era. I find the 19th century sense of wonder and drive for exploration particularly inspiring, they let their imaginations run wild (whoever thought we might travel faster than a horse?? Our 19th century ancestors, of course!), and that was for the most part, the birth of the fantasy genre, as well as the birth of women’s rights. So it’s a ready made hotbed of conflict.

Your time-travel novella Fifty Measly Bucks features protagonist Denver being caught up in the Salem Witch Trials. What would you consider to be the ethics of writing about historical figures?

There are none in my novels. Well, no. Not often, I should say. I’ll mention them, but I have a particular aversion to putting words in a real figure’s mouth. I don’t know why; I just always have. So, I write around them. I change names and invent characters to stand in for them. There might be gossip a figure overhears about such and such a real life character, but I always try to corroborate the gossip. If I can’t I don’t use it. The only time I ever have was in House of Dark Envy. My hero corresponds with Tesla (yes, the Tesla) and I struggled with that, until I found the tidbit that said “Tesla wrote hundreds of letters” so….why couldn’t he have correspondence with Felix? 🙂 Fifty Measly Bucks, though, I mentioned the judges and the girls (Betty Parris, Abigail Williams, and Ann Putnam, Jr.), but extended the period deliberately to push out having to involve the three girls–and made one character a friend of the girls…. I can’t explain much more than that without spoiling it. Everything in the book, though, happens because of that extension.

You recently published the fifth installment to your Antique Magic series, The Dragon’s Seamstress. Congratulations!

Thank you. I hope your readers will love The Dragon’s Seamstress. It was a different assignment for Caitlin and Trevor but I couldn’t resist? Who wouldn’t love having a dragon drop in for help? Its synopsis (because, why not? ;)) is as follows:

Since Caitlin and Trevor vowed to assist the Otherworld and opened their enchanted antique shop, they’ve seen many strange things. But now, someone comes in asking for a mundane item: kitschy “witches” brooms. Has their magical life returned to normal? 

As the couple prepares to host a family gathering, fate intervenes and something they’ve never seen before roars into their life: A creature out of Welsh legend and fantasy: A blundering, somewhat underdeveloped dragon—not at all the type of dragon they ever expected to meet.

Forced to undertake his unique challenge, Caitlin and Trevor are perplexed by his demands, but the magical beast is certain they are the only witches who can help him.  Doing so might unlock an ancient hidden secret. Refusing might destroy them.

This series has a unique episodic feel thanks to the profession of your protagonists Trevor and Caitlin, married owners of an antique shop that attracts gods, ghosts, and more. Earlier this year I discussed the writer’s problem of writing cliffhangers vs. standalones; do you feel having an episodic series is a strong compromise of giving readers more of the heroes they want without leaving them hanging when a book ends? (Gosh, I hope this question makes sense)

If I understand the question correctly, yes. Maybe? I do try to tie up the end of each tale. Caitlin always finds the answer to each client/sellers’ problem/mystery, book to book, but where the “episode” comes in is that their year progresses–or by this point, it’s been five years. 🙂 There’s a progression book to book of Trevor and Caitlin’s ages, their anniversary, the holidays. While there’s also two characters in school and their education advances, the biggest hold over is the Curse that hangs over the heads of Trevor’s family. So the question of why did that thing happen to his brother, sister, and mother casts a long shadow over the series, despite each wrapped-up happy ending. To my longtime readers, I know the answer to that question, and yes, you will be getting it soon.

That’s just a long way of saying, yes having an episodic series is a compromise, but more, I’ve done it because it felt right to continue following Caitlin’s life, in a linear progression. But finding where to cut without a cliffhanger is too much of a nuisance, so I’d rather have a clear end to the manuscript. Otherwise, the five books would still be in my computer, and we wouldn’t be having this conversation.

You write fantasy and steampunk as well, such as Watchmaker’s Heart. Do you find yourself doing the same kind of research as you do for historical romances, or do you toss history out the window and write the world as you wish? 🙂

A little bit of both. The thing about Steampunk is that it’s the aesthetics of our 19th century with the technology of…well? Star Trek but run on steam. So, as much as you get to have fun coming up with airships, gaslamps, and steampowered cars and weird robotic things, Queen Victoria is always in charge (unless there’s been some coup by we pesky Americans! ;)) and there’s always some 19th century cultural something or ‘nother going on. So, depending on what that cultural something is I want to noodle with, I’ll have to delve into the research lake. In Watchmaker’s Heart it was the mechanics of the underworld, as my hero is an ex-gang member trying to go straight, and I also had to do a little bit into the workings of the House of Commons for another character. With House of Dark Envy, again, that was such a time of technological exploration, and I had a readymade Steampunk feel in the work my hero (and in real life history of the time Tesla) were doing concerning DC and AC power, it was easy to just throw in some goggles and arcing magic Tesla beams. With a book like my faery tale-based/faery godmother story Changeling’s Crown…well, it was a mixture of faery tale setting and real world setting so that was fun to play with. Having castles on one hand, and cars and modern ranches and cell phones on the other. J And Caitlin even dips into the historical through the Antique Magic series, with the psychic trips the things in her antique shop sometimes spring on her. So far, she’s been hit with the prohibition era, the ‘60s,  Civil War battles, (due to a Civil War fort she lives near, and the ghost of Trevor’s ancestor from the 19th century who lives in their house and *cough* helps out more often than not), and the most recently, a glimpse of Medieval Wales.

Thank you so much for sharing your stories with us, Juli! Let’s wrap up with one last craft question. How do you balance making demands on the reader with taking care of the reader?

Critique Partners! In series (like Antique Magic), it gets particularly sticky, as I try to explain as much as I think necessary, but I have to leave it up to my critique partners to let me know if more is needed. And even then, sometimes, we miss. Personally, I see no need to regurgitate the entire story in all books throughout a series; in fact, that bugs me to no end when I read other writers doing it. I’ve skipped more pages, and put more books I read down for that than I have for not understanding something in a series of which I neglected to read from the beginning.

But editors and cps seem to think differently, so I sometimes have to overcompensate to bring them up to speed. I hope I don’t bore the heck out of my longtime readers when they pick up a #x story, doing a recap, but if so, I hope they’ll forgive me. So, how do I balance it? Very carefully and not without pulling my hair out. 😉 So, The Dragon Seamstress, while it can stand alone, being the fifth time I’ve revisited the couple, is very much part of the series. I hope your readers will enjoy them all.

I’m sure they will, Juli, especially when you share of your novellas for FREE! That’s right, folks–you can get the ebook Caitlin’s Book of Shadows for free right now, at this very moment, instantly, today.

Though their fame became legend, a rumor cropped up about the Fulmer family: Something terrifying stalked Caitlin and her beloved Trevor. Something the bits and pieces she left claimed she had to make sense of. When the curator of their collection finds Caitlin’s long forgotten diary, she wonders will it tell the whole tale? Will it tell why Caitlin seemed so determined to tell the difference between reality and nightmare? Why she thought herself a witch?

What will the holidays hold for Caitlin? Perhaps the answer lies between the lines of her story, one of lessons, struggles, and hopes for each new year.

*

For more on Juli and her work, check out her website and Amazon page. You can also sign up for her newsletter here.

~STAY TUNED NEXT WEEK!~

We are diving deep into a world of witchcraft and waltzes, haunting melodies and dissonant sexes.

Blondie is also super excited to share a project she’s working on, and I might just have a spooky surprise or two in store for you before All Hallows’ Eve.

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

#Indie #AuthorInterview: Mansu Edwards talks #storytelling in different #genres, #worldbuilding in his #YA #series, & the joy of #writing

Greetings, lovely readers! An unexpected flood of school work’s swamped my desk, and there’s a threat of storms severe enough to send animals hunting for an Ark. While I float upon the course prep and stare at our sump pump for the next 36 hours, please welcome the amazing indie author and filmmaker Mansu Edwards!

You are a creator in many forms: I love seeing how you weave in and out of genres like science fiction, young adult, and suspense. Do you feel the genre definitions in today’s market limit writers or help them?

Thank you Jean. I never focused on genre definitions. I use my instincts. I think Writers should create their own definitions. Genre definitions can limit Writers because it can prevent the Creator from producing a unique story. Readers don’t care about definitions. They care about good storytelling. Then again, not having a specific genre definition can hurt Author sales. People want to know what their reading and won’t spend money on surprises. However, there have been many instances where my story didn’t fit a specific genre or the genre didn’t reveal itself until midway in the story.

Your bio also mentions you recently created a short film, Texting in New York City. What challenges did you face as a storytelling in a visual medium? Does your experience as a filmmaker help inform your craft choices as a writer?  

Texting In New York City is based on my book under the same name. The book consisted of random text conversations between New Yorkers. When creating the short film, I developed an idea and wrote a script. I understood the significance of brevity and pacing in film due to my Screenwriting background. I showed the 1st draft to an Exhibitor at a Trade Show. She explained the parts of the story that were unclear. I rewrote it and began hiring actors, actresses and a production team. The cinematographer, John Morgan pitched a couple of ideas; I watched a ton of short films and a popular webseries: Money And Violence to improve pacing and storytelling. The series made me retool the script. I eliminated and shortened certain scenes. It was a huge mental shift working on the visual version of Texting In New York City because I normally work alone when writing a book. Of course, I outsource certain parts of the process. Since, I have a Screenwriter’s mindset, I do my best to get to the point as quickly as possible. I don’t want to lose my audience. 

You’ve been publishing works since 2009. With ten years of experience as an author, what would you say is the most unethical practice in the publishing industry, and how can we as the writing community overcome it?

Unscrupulous companies charging writers exorbitant fees to produce a book. I think its unnecessary and a terrible experience for novice authors. We can overcome it by offering writers a discount or providing advertisement for a reduced cost.

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

Yes, I read Fates and Furies by Lauren Groff. It interweaves the present and the past between two lovers. How their personal strengths and weaknesses affect their relationship. Also, the importance of making the correct decisions in life.

Let’s talk about your YA series, Emojis vs. Punctuation Marks. What a great concept of a story to share with young adult readers—especially those who forget punctuation even exists! (I teach writing, so I notice this problem. A LOT.) What first inspired you to write this series?

Thank you Jean. The Most High (God) inspired me. I’m sitting at the counter and an idea flashes in my mind. I hear the title Emojis Vs. Punctuation Marks: Battle Of The Keyboard . I’m thinking this is a cool and unusual concept. Also, I noticed the change in online communication over the years. Senders and receivers using Emoticons to express feelings and emotions. And the story sounded fun, so I knew I had to write it.

Book 2 of the series, Land of Refrigeration, expands the universe of these wee characters to include insects and produce. I would love to hear you breakdown the worldbuilding process you went through to create this new level of the EPM universe!

I had an incomplete version of Emojis Vs. Punctuation Marks: Land Of Refrigeration. I decided to have the Emojis battle the fruits and vegetables for territorial positioning while trying to find a way back to their unique world. I rewrote the story a few times. I wanted to show the survivors of Emojis Vs. Punctuation Marks: Battle Of The Keyboard attempting to adjust on Planet Earth. But, their ultimate goal is to return to their digital world. Also, I provided a backstory on the relationship between the Punctuation Marks and Danna’s father, Menelik which began during his adolescent years. Then, I began  reread another story I wrote, but didn’t quite finish. It was completely different concept. The story didn’t have a title. I decided to incorporate it with the Emojis story. The tale takes place in Outer Space. So, I thought why not have the Insect, Centipede McGhee design a portal for the Emojis and Punctuation Marks to travel to a exciting, unfamiliar, digital world.

Where do you see the third entry of this series taking you—and readers? Any other projects you’d like to highlight for us?

Very good question. The third entry is a work in progress. I may change the story’s trajectory. I haven’t decided yet. Nevertheless, I have a new Ebook entitled Plush Couches. It’s about a young man who has a serious gas attack on his way to a job interview. I’m currently working on an untitled piece about a Superhero.  

Lastly, please expand upon the age-old storyteller conundrum: Does writing energize or exhaust you, and why?

Writing is both energizing and exhausting. It uses mental, emotional and spiritual faculties. It’s a relationship that has its ups and downs. You never know what to expect. Sometimes your pen is sailing on calm seas and other times it’s swimming in turbulent waters. It’s a gift from God. People’s positive responses to my story energizes me. Of course, all the responses aren’t positive, but, I can’t let it demotivate me. I write the story. Finish it. Then work on the next book.    

Thank you so much for your time and thoughts, Mansu! Godspeed to you on your upcoming writing adventures.

~STAY TUNED NEXT WEEK!~

Would you believe there’s an important lesson to be learned in TV theme songs? Yes, I’m serious. Then we’re going to ponder the structure of the fairy tale and how it can help add a darkly magical chapter to a story-world’s history.

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

My #western #fantasy #novella is #onsalenow for #99cents! Plus, #lessons learned in #worldbuilding for #writing #fiction: #AnEasyDeath by @RealCharlaine.

Hello, everyone! At long, long, loooooong last, my novella “Night’s Tooth” is alive and kicking on Amazon!

Mississippi River Valley, 1870s. The white man wields rails and guns to bring law to the land. But there are more than wild animals hiding in the territories, and it will take more than guns to bring them down.

Sumac the bounty hunter needs no guns to hunt any bandit with a price on his head, even one as legendary and mysterious as Night’s Tooth. But Sumac didn’t count on other bounty hunters coming along as competition, nor did he expect hunters sharing his own magical gifts.

It’s one man against a gang and a mystery, all to protect a train that must cross the territories at all costs…

Inspired by classics like For a Few Dollars More and fantasy cult favorites like Highlander, “Night’s Tooth” is a western with a fantasy edge set in the Fallen Princeborn universe.

Once Biff, Bash, and Blondie are all in school, I hope to get “Night’s Tooth” on Draft 2 Digital so it’ll be available on other markets. Click here for an excerpt of the novella. The whole thing’s just 99 cents–easy on the wallet. 😉 Don’t forget to leave a review, too!

Like “Night’s Tooth,” Charlaine Harris’ An Easy Death is a mix of fantasy and western, but while my novella takes place during the “official” time period of the Wild West, Harris’ story is set in an altered, no-longer-United States. I picked up An Easy Death after reading SJ Higbee’s glowing recommendation, and after reading it I can see why Time magazine lists An Easy Death as one of its top 10 fantasy novels of 2018.

Let’s take a walk through the first two chapters and see how Harris builds this broken world.

In the morning I got Chrissie to cut off all my hair. Tarken and Martin would be tinkering with the truck, which was our livelihood….My neighbor Chrissie was not too bright, but I’d watched her trim her husband’s hair and beard as he sat on a stool outside their cabin. She’d done a good job. She sang as she worked, in her sweet, high voice, and she told me about her youngest one’s adventures with a frog in the creek.

I see a few key words in here that can make the imagination fill in some mighty big blanks. “Cabin,” for instance, isn’t a term for a home in an urban setting; therefore, we picture the two characters someplace rustic. A child playing with a frog in a nearby creek emphasizes the country-type of location here.

A truck tying to livelihood tells us we’re dealing with transporters of a sort–a cross-country kind of job. We should expect to see a lot of the story’s landscape with this narrator.

Chrissie and the narrator, Lizbeth, have a conversation on the second page. I’ve copied nearly the whole page here because, like Agatha Christie, Harris packs a lot of information in dialogue that only takes a few minutes to read. (Still, it’s a long passage to blog, so I’ll break it up a bit.)

“You heading out soon? I saw them farmers at Martin’s place, when I was coming back from the store.” Chrissie’s trousers had long tendrils of dark hair all over’em now. She’d have to brush’em.

“Yeah, we’re leaving as soon as it’s near dark.”

“Ain’t you scared?”

Sure, I was. “Of course not, the only ones should be scared are anyone who tries to get in our way.” I smiled.

“You’ll kill’em dead, bang, bang,” Chrissie said in a singsong voice.

“Yep. Bang, bang,” I agreed.

What have we learned? Lizbeth is leaving with some farmers, who must be riding in that truck, her livelihood. It’s Lizbeth’s job to kill anyone who tries to hinder them. Considering Chrissie’s innocent tone in describing this, killing people has become a mainstream profession, and by Lizbeth’s tone, we get the sense she knows what she’s doing…even if the job still scares her.

“Why are they going to New America?”

“The farmers? The part of Texas they live in got swallowed up by Mexico a few years ago. You remember?”

Chrissie looked dim. She shook her head.

“Anyway, the government down there has been telling the Texans that they’re not real Mexicans, and their land is forfeit.”

Chrissie looked even dimmer.

Their land is getting taken. So if they’ve got kin up north or anywhere, even in Dixie, they got to leave Mexico to have a chance.”

Dixie was so poor and so dangerous you’d have to be desperate to flee there.

What have we learned? America is weak enough that other countries like Mexico have taken control of its land. Notice Lizbeth doesn’t say “North America” or “United States,” but “New America” and “Dixie.” This isn’t the traditional 50 states of our reality.

Chrissie ran her fingers through the short hair on the left side of my head, and shook her head. “Anyone ever go to the HRE?” she asked.

“Chrissie,” I said. She bent around to meet my eyes.

“Oh, sorry, Lizbeth.” She began to work on the right side, following her own whim. I tried to remember if I’d ever seen her cut anyone’s hair besides Norton’s. “I forgot you don’t like them grigoris.”

No. I did not like magicians.

What have we learned? The HRE is not someplace you want to find yourself because–and this is the part that hooked me to the story–there’s magic in this world. Magicians are part of the normal fabric of society; not liked, maybe, but still, they are as normal as killing people to protect others fleeing the country.

So, over the course of two pages, we have a sense of narrator Lizbeth’s no-nonsense attitude thanks to her clipped prose and dialogue. We know her profession. We know she has some prejudices, and some inner conflicts. We know something of the world, though we don’t know why it is the way it is. All we know is that it’s dangerous, and people are desperate to flee from that danger. Harris successfully builds the world just enough that we can move forward without tripping on any exposition dumps.

A couple pages later we learn the term for Lizbeth’s profession.

I passed Rex Santino. “Easy death,” he said in his gruff way.

That’s what people wished gunnies. It made me feel good. I nodded back at him.

Not quite “gunslinger,” but it’s close enough to familiar terminology that readers get what Harris is going for. On this version of the North American continent, hired guns are a must for safe passage from one country to another. Connections like roads and rails, amenities like electricity and plumbing, they’re all as fickle as the law one finds from town to town.

We were on a good part of the road, one that hadn’t been broken. There were still stretches around like that. My mother had told me that once almost all the roads were smooth, and that when they cracked, they got repaired. It sounded like a fancy dream.
….

If the New America patrols stopped us, we’d be fine. People were legal cargo, and respectable people like this were even welcome in New America. But if bandits caught us, well, that was why Galilee and I were on duty. That was why the oldest brother had hired us to get the two families through the lawless land along the border between Texoma and New America.

What have we learned? When we consider how the roads were built to help unite a country, is it any surprise the roads are among the first things to rot in this fractured land? It’s also clear that the new countries don’t much care for watching each other’s borders, but will instead keep to their own; hence, the “lawless land.”

Chapter 1 ends with an ambush. All the gunnies but Lizbeth are killed, the truck destroyed. In Chapter 2, an injured Lizbeth tracks the bandits and farmers. She discovers the body of a teen girl along the way.

There must have been more gunfire after I’d been hit. She’d tried to run. Lots of families taught their girls to run, figuring that a bullet in the back was quicker than what waited for them after capture. My opinion, sometimes they were right.

What have we learned? The violence of the bandits tells us just how much human life is worth between the countries: absolutely nothing.

Lizbeth kills the bandits, rescues the remaining family members, and successfully escorts them to New America on foot. During this trek the farmers get to talking, which allows Lizbeth to think about historical context for the reader’s sake. (Last excerpt, promise)

“Since the president died, the world has gone to hell. God help us all,” Jeremiah said, and his brother nodded.

When people said “the president,” they meant the last elected president of the United States, Franklin Roosevelt. When he’d been assassinated in some city in Florida, before he could be sworn into office, the government had started down a slope that had gotten slicker and slicker…..After the white government had collapsed, the Indian tribes who could muster up a group of warriors had taken back the land that had been theirs….And bandits were everywhere, especially in Texoma, New America, and Dixie. I had heard that in Britannia, the area that had knelt to England, there was so much law that bandits were caught and hung quickly. The same for Canada, which had expanded to take in a lot of northern America. Canada had its horseback police, who were supposed to be crackerjack at their jobs. The Holy Russian Empire had a squad of grigoris and militia whose job it was to track highway robbers and kill them on the spot.

But in Texoma and New America, formal justice was scarce on the ground.

What have we learned? Ah, now we get the mother-load, for now we have a time frame to work with. FDR was indeed fired upon by Giuseppe Zangara in 1933. For those who don’t know, Franklin Delano Roosevelt took the helm of the United States during The Great Depression and remained in the presidency through much of World War Two. He’s the only president to have served more than two terms; in fact, the man had been voted to serve a fourth term when he died in 1945.

All the world was in flux in the 1930s. The aftermath of World War I, the rise of fascism and communism, the transformation of media and transportation….Life. Was. Changing. Just as a single assassination tipped Europe’s political scales into warfare in 1914, Harris shows us how the United States could have been broken by assassination in 1933. And when one considers the political climate of that time, are we really so surprised?

Now Harris doesn’t clearly state how much time has passed since FDR’s assassination, but when Lizbeth does meet two grigoris who want to hire her for a job, we learn a bit more about the Russian monarchy that escaped the communist uprising as well as magic’s role in this new world.

But that’s for you to discover in An Easy Death.

When a writer sets out to cut history’s timeline and paste it somewhere new, she has the advantage of using some common history to give the reader context before guiding the reader into unfamiliar territory. It’s a tried and true method used by many to their advantage, and there’s no reason you shouldn’t, either. It all comes down to pacing–rather like helping a rambunctious kindergartner glue string on top of his fish picture. Sure, you can just squirt a HUGE glop of glue on the page and just slather it everywhere; it gets the job done, but then all you both see is the glue smears over his nice fish. If you carefully squirt teeny dots all along the string, the string will remain in its place, and the fish is no longer smeary.

…sorry, that’s quite a mom-metaphor there. Point is, you don’t want readers to see nothing but the exposition. You want it to blend into the story, right? So don’t slather that world-building everywhere, blurring what could be an amazing story. Bead it along, letting it glue together scenes of conversation, conflict, and discovery.

Thanks so much for reading! I do hope you enjoy “Night’s Tooth.”

~STAY TUNED NEXT WEEK!~

The kids will be in school!

I mean….

The kids will be in school.

(Honestly, it’s a mix of both.)

Anyway, September and the fall season await with more delightful author interviews, some studies of scary tales, a hunt for fun’n’freaky music, and hopefully some updates on my current WIPS–both novellas, both dark fantasy, and both spooooooookily inspired by Wisconsin’s North Woods.

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

#Author #Interview: #indie #writer @jdstanleywrites talks #writing #scripts, #reading #magic, and the power of a #storyteller’s #imagination

Happy Thursday, everyone! I’m please to introduce you to J.D. Stanley. He’s an award-winning fantasy writer of novel and script as well as a Bardic Druid of the OBOD. It’s an honor to share his thoughts with you today on this, the writing life.

First, let’s talk a little about your background. I see you’ve done some work on radio and studio engineering. That’s so neat! It reminds me of Celine Kiernan, who spent years as an animator for Don Bluth before beginning her own writing career. How would you say your time with language-aloud influences your language-written?

It really was a neat experience. What a blast for a day job! Studio engineering and writing were the reasons I went into radio broadcasting in 1986. For a creative, nerdy introvert, all the behind-the-scenes stuff was super appealing. Audio engineering is a singular, unique avenue of creation – all you have are the sounds to build a world. I still love it. Without solid writing, though, no matter how good the production, it won’t sound realistic. Writing for that still makes me hyper-critical of my dialogue and narration today.

When I studied Radio in college, there was a great deal of focus on learning to write words meant to be spoken – so commercial copy, radio plays and show scripts. And the flip-side, how to speak that writing, too. The point was, to craft something that didn’t sound scripted even when it was. I was lucky enough to get picked up by a program director who heard some of my freelance work and jobbed-out halfway through. Getting thrown into the deep end like that really hammered it home. Knowing listeners would hear my writing live shortly after I put the words down or a sponsor would pay more than tens of thousands of dollars as soon as I produced or voiced a spot was… terrifying. Nothing like having your feet to the fire to hone skills. Those lessons will never leave me and my continued voiceover work as well as coaching written and spoken communication keeps it fresh in my head.

I would say, all that time with language-aloud makes me remember to read my writing outloud to check with my ears for believability. The human ear is extremely sensitive to the naturalness of speech, the nuance of humans speaking, and it strikes you when it’s fake. In my opinion, it’s the best gauge a writer can use to check not only the flow, but human believability of what’s written. I think it can help us make better connections with our readers. If we can reach them as another human, be accepted as a companion on a journey with them, we can connect. And when we can connect, then what we write can mean something to them. But if we sound like their Lit teacher? Dude, that’s just not gonna happen.

I once attempted a bit of screenplay writing some time ago, and…okay, not going to lie. I stunk at it. What challenges do you feel are unique to screenwriting as opposed to novel writing? What advantages? Do you have a preference between the two?

I really don’t have a burning desire to write screenplays daily and do prefer novel writing. I actually prefer fixing other people’s work, being a script doctor, over writing them if I’m being totally honest. I enjoy helping other people’s words work better. A script doctor gets no credit and most people don’t even know that’s a job.

There’s a specific pattern to the storytelling in screenplays aspiring screenwriters need to learn. If you want to be a rebel and not do it that way, that’s cool. But understand, that may be the reason you’re not selling anything. It may be an interesting concept, for instance, so someone takes a peak. And then they’re judged on a single page where there’s supposed to be a predictable beat and it’s missing, so their work gets round-filed. Or they don’t know the first thing about proper format and think their story is so extraordinary everyone will look past that and give them gobs of money anyway. Or they can’t write a logline to save their life, so no one ever goes past the logline to read the script. Or they’re actually bad writers operating under the delusion it doesn’t take good writing skills to write a screenplay.

I’d tell anyone thinking that screenwriting is a cool career choice… First? Understand the chances of selling one are slim to none. Once you get over that, you can move on. Practice the shit out of your writing and, especially, educate yourself from film industry professionals. Study books like Blake Snyder’s Save The Cat, read their blogs and absorb a crap-tonne of successfully produced screenplays – there’s a million available online – so you can see what it takes. And forget all those no-name Internet screenwriting contests held by genre enthusiasts who aren’t writers and don’t know what goes into a decent script. Sure, you’ll get something to put in your credits. But winning a contest not hosted by industry professionals isn’t validation of your talent as a screenwriter. If you thought it was? That’s probably why you aren’t selling any scripts after the contest is over. Pick contests held by actual screenwriters, directors and producers. They know what they’re looking at. And a lot of them include feedback in reply for free even if you don’t place. They’ll be harsh, you’ll hate everything they tell you and will probably make you cry, BUT they’ll tell you exactly what to do to your script to turn it into a saleable product. Use them as your university.

You’ve quite a rich variety of favorite authors shared on your website. Do you think you can pinpoint which author and story first sparked the passion for storytelling inside you, and why you think it was that story more than any other?

No, I can’t say there was any single author or story that sparked it for me. I could read and write before I started kindergarten, so was a bit ahead in that area and when I started writing my stories down consistently from when I was about nine, I hadn’t read any of those authors yet. My first love was sci-fi and that’s where I started writing, so maybe Gene Roddenberry was probably my earliest influence? I grew up on Star Trek in the ’60s, though didn’t know him as a writer at the time.

When I was about twelve, I’d read everything I was allowed by that point and got special permission from the local library to have an adult library card, so I could read more books. Real books. Normally, you had to be eighteen to have one of those puppies. Then I read everything in the adult fiction section. And all the poetry books. And then went through all the reference books. You want to know the depths of my nerdiness? I do, in fact, still relish the secret thrill of reading encyclopaedias and the dictionary for fun. Not even kidding. Back then, I read so fast, I started at one end of the adult section and used to take out thirty books at a time. Just clear them off the shelf all in a row, any genre, any author, and bring them home. I read one a day, sometimes two, and read every book from one end of the library to the other. Hence the massive list of authors.

Sad as it is, I couldn’t even tell you who the rest of those fiction authors were, but I remember the stories. When I was thirteen, I read the John Jakes saga The Kent Family Chronicles and I think I can say around there was when I realised I had an affinity for historical stories. And then after ingesting more books, I fine-tuned that down to historical fantasy for what I most often prefer to write. Reading for pleasure, though? Just about every genre as long as the story is good. I wish there were more gunslinger books. What an under-represented genre.

Out of that ocean of stories, three will resonate with me until I’m dead – Robin Hood, The Three Musketeers and Don Quixote. And overarching all of them is The Crystal Cave by Mary Stewart and all Arthurian legend. I’m a total junky. And, of course, Lord of the Rings. Definitely a common theme. I’d like to think that says something about my character, but probably more what I would hope to aspire to and will never achieve. I think I was born in the wrong century. New things, like technology and science, fascinate the hell out of me and I continue to love sci-fi. But old things and old centuries make me feel at home.

If I understand your writing process correctly, I get the impression you’re something of a “pantser”—one who doesn’t plan out a story, but runs with the story as it comes.  How on earth do you balance the madcap writing this method requires while also having kids? I got three, and there’s no way in Hades I can focus on my own story when they’re crashing Transformers and Enterprises into the land of Care-A-Lot.

Well, nowadays, my four kids aren’t little, so I’m at a different stage. Though every stage comes with its own unique challenges. I also no longer drive due to my cataract, so have built-in writing time while commuting everywhere which I use to my advantage.

The ability of life to persistently work to steal our focus never ends, though. I just got the kids all self-sufficient and almost out of the house (two down, two to go!), but now have different roadblocks. My dad has declining dementia from a brain injury sustained from a fall, so now? Two of the kids still need me for some things, and alternating between being with my dad at long term care after work until about midnight, and travelling an hour-and-a-half across the city to look after my mom and helping maintain their house. I’m basically writing long-hand wherever I can get it in and it’s weeks before I get to sit down to transcribe it. Or I’m doing everything on my phone and tablet on the go. It’s not the way I prefer to work and it’s slow, but it still lets me get it in there. Because I have to do it or my brain will explode!

When the kids were small, though? Honestly, if I was a different person and they were different kids, it probably wouldn’t have worked. I’m a super analytical control freak with troop movement-level organisation skills, so there’s that. Okay, and a life-long insomniac, so have more awake hours at my disposal than normal people. My most productive writing time is midnight onward, so it actually worked in my favour when they were little. I used to go to bed at 7:30 or 8:00pm when they did and woke up at 12:30 or 1:00am to write. I also got the laundry and cleaning done then to leave me free time to focus on the kids in the day – every time I got up to make a coffee, I did one task. Once a month I planned all the meals and snacks on a chart that I made shopping lists from so I wouldn’t waste time or money. Sundays I cooked five full dinners and parcelled them up in the fridge with labels on them to save time in the week. I wrote a lot long-hand sitting on benches waiting for them to finish swimming lessons or martial arts or whatever else I had them signed up for. Somewhere in there, I cranked out five full first draft novels. I didn’t go on trips. I didn’t go out. My entire life was kids and writing or consignment art. And I was totally okay with that. Someone else? Maybe wouldn’t be.

I have very clear priorities. I’m also very clear on what I’m willing to sacrifice. My mother wasn’t ever a well person, so I learned early how to squeeze in things I really wanted to do between looking after her, raising my two sisters and working part-time to help my dad. I already had the experience when I found myself in the position of being the only parent of my own four kids.

Okay, so the “pantster” thing… I can say, with all honesty, I’ve never “pantsted” anything in my life. Being this consistently, incredibly busy, most times? There’s no opportunity to write plans down. But let’s be honest, a lot of the kid stuff wasn’t rocket science and it left my brain free. So I trained myself to do it in my head. All of it. All the figuring out, all the plotting. By the time I had a block of time to sit down in front of a keyboard or with a pen and paper, I could just write my ass off. All my “outlines” start the same way – with a super-descriptive hinging scene, usually the story conflict or premise, with an important exposition of the main character. It’s my brain shorthand for the whole story, a memory trick. Then I start telling myself the story – the who, what, where, when, why – and it morphs into the opening lines and I just keep going. The story is already done in my head and I’m basically transcribing by that point. I do it that way now, because that’s how it needed to happen then or it wasn’t getting done. And it not getting done is unacceptable to me. Since I still don’t have a lot of time, I’m still outlining in my head. At least when I have stolen moments, I can write like a demon and not have to waste time plotting.

Wisconsin’s landscape has a been a HUGE source of inspiration for my fantasy fiction. Your first novel, Blood Runner, is set in Canada—just like you! Do you find yourself utilizing special places from your life for settings in your stories, or is the landscape itself a muse?

I’d say it’s more the landscape that’s the muse. There’s a few countries I have a huge affinity for, for no particular reason, though more in the historical sense – ancient Ireland, Britain, Rome, Egypt, Sumer, Japan. I’ve studied a lot about them over time, so have a lot of fodder in my head for inspiration. I can’t go to those places, because the ancient versions I want to visit no longer exist. So instead, I use them to write from. Being immersed in one of those places is like taking a visit back in time to me. It’s cool, like owning your own time machine, y’know?

In the grand scheme of things, Canada isn’t that old and doesn’t fit in with the affinity I have for some of those other ancient places. But the forests here are old and I do love that. The trees and rocks have been around a very long while. There’s forest here with trees hundreds of years old and the Canadian Shield is right underneath us and that’s been there since the last ice age. How cool is that? I’ve spent a lot of time in the forests, so love to write about them. Thinking about them is uplifting to me. I’m big on nature overall and love to write longhand outdoors when that’s possible. I find that very inspirational, sitting outside under a tree scratching words out.

What kind of research do you do, and how long do you spend researching before beginning a book?

Well, I’m a research junkie, so I’m doing research all the time, often not even toward a purpose, but because I love it. I have so much useless information in my head. So, the length of time I study is moot. With that much constant input, my subconscious has a tendency to make connections between seemingly unrelated things while I’m busy with life. When one of those connected circumstances bubbles up, that’s when I sometimes do extra research to fill in the holes. I can’t write about anything until I can speak about it with authority and I need to have it all in my head before I start. It’s what we do as writers, isn’t it? Become forty-eight hour experts on anything from rocket science to earth worms. When I know enough, then I write. To get to that point could be a few weeks, but could also be years. Since I don’t work on only one story at once, it’s always in rotation.

I do a lot of book studying, but depending on what I need, also do practical study. Fight scenes or any hand combat, for instance, I do, in fact, act out to make sure they’re plausible. I’m lucky, because my eldest son does stunt work and is a multi-disciplined martial artist, swordsman, archer and edge weapon aficionado. He helps me physically block out my fight scenes for authenticity. I’ve done an extreme conditions survival course where they drop you in the forest in the middle of winter and you need to build a shelter, fire, find food and the like. I love camping and living off the land and know how to fish and clean animals and find edible forage. I had an organic garden when the kids were growing up, but it wasn’t only that – it was major practical study. I read up on everything about crop rotation, pioneer techniques for vegetable gardening, organic pest control and composting, practiced it everyday, became a Master Composter, and tracked the results and weather patterns complete with sketches in a large binder over all the years I had it and still have that research data for reference. I also study, make and use herbal remedies myself, so that’s ongoing, and have a great interest in living off the grid, so currently practicing those behaviours as I work in that direction. Over time, anything I needed to know about, I taught myself and picked up that skill from jewellery-making to calligraphy to hand quilting to home renovation to ceramics to building a hydro generator in a stream.

When the zombie apocalypse happens and it’s end of times? You can come with. I plan on building a town. Only people I like get to live there. 😉

I also find it interesting that you created a fresh take on vampires. How much research did you do on vampires before choosing the path you took for Blood Runner?

I’ve been a big Anne Rice fan for a long time and loved Bram Stoker’s Dracula, but actual vampire research for that story? Zero. Is that bad? I had actually been stuffing my head full of Ancient history and mythology from Egypt and Babylon for another story. And me being me, kept going backward in time, because for whatever reason, it became important I got to the root mythology and first organisation of city-states and society. That history fascinated the holy crap out of me and still does. When I studied the bits of translated mythology available at the time (there’s more now), I couldn’t stop. For whatever reason, I couldn’t leave it alone.

There’s a myth about a man who cannot eat or drink. And in their mythology, a dead body can be reanimated by the Water of Life – blood. To me, that sounded like some kind of proto-vampire. I stitched elements of a few myths together to create the premise. Gave him a nemesis, a real historical figure in the invading Akkadian king Naram-Sin who was painted in myth as pure evil and cursed by the head of the pantheon. The Great God Enlil’s disdain for humanity was so well-documented as was a whole soap opera of inter-family pantheon conflict, the story told itself. It turned into a tale of mistaken vampire identity.

I still have so much story left that never made it into Blood Runner, a whole universe. I think once I’m done getting it out, it’ll lose its association with vampires and people will see what it really is. Vampires are cool and I love them, but that’s not the story focus, so I really didn’t need the depth of research in that area I might have otherwise. It was only a device.

Your latest book, The Seer, is about a Druid named Bronan, and I see you yourself are a Bardic Druid. I would love to hear how your spiritual nature influences your writing; or, would you consider your storytelling to be its own “faith,” as it were? I can’t help but ask because I myself am a Christian, but I rarely include elements related to faith in my fiction. Severed Selves, you could say.

I don’t think I can separate those things, because it’s both – inspiration as well as the storytelling being its own brand of sacredness, since words come from the soul. I’m lucky, from the fantasy writer side of things, because Druids and magic are popular story topics with readers. I know a lot about modern Druids and history and mythology, so can speak with some authority in that space. Besides, people love that stuff. And why not? I’m just like everyone else – the ancient Druids are just as mysterious and fascinating to me, because there’s really so little known about them. And magic is, well, magical!

I write foremost to amuse myself and being immersed in those magical worlds is escapism. Right up there with dreaming of flying and imagining we’re superheroes when we’re kids, right? I mean, it’s a sad fact that the more life imposes arbitrary boundaries and traps us in expectations and responsibilities, we lose those dreams. It’s limiting. I think we need to escape into times of unfettered brainspace to balance off all the other crap. Druidry is the continuous responsibility to keep balance on a cosmic level and this is exactly the same thing to me. When we can immerse ourselves in a world where those boundaries aren’t grinding us down, even for only the length of time it takes to finish reading a story, we can regain some inner balance and perspective. As a reader, I love that. And as an author? I consider it a public service. lol

Words are my medium as a Bardic Druid, my divination, and how I connect with universal consciousness. I walk the path of knowledge, so seek out universal truths, those things that are real and true for everyone. That’s where we all connect, so goes hand-in-hand with taking a reader on a journey. A lot of my writing to amuse myself is speculative, where I’m figuring these things out and pushing down my own thought barriers. As a Druid, I embrace the responsibility to maintain balance, speak the truth and especially to oppose injustice and be an agent of fairness for everyone around me. I’ve been told that makes me some kind of throwback, dying on a hill of my own moral code, and they may be right. But to me, treating people right and standing up against wrong is simply the right thing to do and not because of a prize at the end. I know all this stuff influences my writing and you can see it leaking out. In the sense of all that, being a writer is more than a job to me. It’s rolled into my spiritual path and there’s no way to tell where one ends and one begins.

I think the biggest influence on my writing is probably hyper-awareness about what I’m capturing in words. To me, words are so much more than only letters arranged on a page. The writing should be real and true, should be honest, and should allow us, as human beings, to meet there on common ground. We can laugh together, get riled-up together, cry together, I can lift people up and that’s all about keeping balance. Speaking about injustice within the confines of a fictional story is giving voice to it, but in a way less uncomfortable to explore. I can write about universal truth. Or that, in fact, we’re all the reluctant hero, working through our own myriad life crap and evolving as we go while learning to step up about bad things even when we don’t want to. It’s easy to relate to, because we’re all on that same journey. In that way, we can connect with people we’ll never know on a very deep, emotional level. That’s so powerful, y’know?

Magic is simply intention charged with our own energy and that’s carried into writing for a writer. From our perspective, there’s an element of sacredness to it, because we do, in fact, tear those words out of our soul to get them on the page. Whether we know it consciously or not, that ability through writing is the greatest magic there is. If you want to get super existential about it… From that perspective?

Lastly, do you have any tips or encouragement for your fellow writers?

No, nothing.

Wait, yes. If you’re not already lost down that road, take an ice cream scoop and dig out that part of your brain telling you it’s a good idea and go get a real job. You’ll thank me later.

Seriously, though, remember you’re playing a long game. If you’re doing it to become rich next week and can’t understand why you’re not famous after your first six months? Take your ball and go home. While that would be lovely, that’s not the reality for most writers. You really do have to do it, because you get something out of it, out of the creation. You have to do it, because it makes you sacrifice for it and you don’t care about that. You have to do it, because you can’t think about not doing it or you’ll go insane or die. If that’s not where you live? Adjust your sails and get that ship on course. And newsflash, you have to actually love writing or you won’t stick with it through the length of time it takes. I’ve seen some “writers” who apparently woke up one day and thought they’d become famous and make millions of dollars at writing after having never written a day in their life previous to that. They thought it looked like an easy gig. *Cue massive eyeroll.*

I’ve been a working writer, writing every day, mostly for others and getting paid for it, for over thirty-five years. Did it make me famous? Nope. It kept the lights on and bought groceries and clothes for the kids. And yet? It’s fantastic to me, because I made money doing the thing I love the most. How many people can say that? With the kids now grown, recently I shifted to focus on only my writing and that new reality takes time to build. No matter how much previous experience I have, it doesn’t matter. I’m fully prepared for the length of time that comes with creating a new reality. You’re no different coming in thirty-five-odd years behind me. Creating any new reality takes time and that’s where you have to live in your head every day. My goal now is the same as when I started back in college – do the thing I love every day and aspire to make that my entire supporting income. If you don’t, you’re going to have a lot of heartache and frustration. I think that’s a solid, realistic and attainable goal adjustment for new writers to make.

Ask yourself if you want to be famous or successful – they’re two very different things. Thinking about becoming famous is setting yourself up for disappointment. Think about becoming successful instead. Don’t waste energy on whether anyone else is getting famous or rich before you and put all your focus and energy into honing your craft. Other writers aren’t your competition, dude, they’re your compatriots. Stop worrying about their pay check and worry about your own. Good writing means you can get paid, so never think you’re a good enough writer. That self-doubt can be your continued catalyst – it makes you extra careful about what you’re putting down there on the page and prevents you wasting time churning out garbage no one’s ever going to give you money for. I live in a constant state of terror myself. LOL If you keep your head down that way, you’ll end up becoming a polished, hard-working, consistent producer which is exactly where you want to be even if that magical fame unicorn never makes a stop at your house. Plain and simple, success takes hard work and hard work produces better writing.

It does indeed, JD. Thanks so much for chatting with me!

To find out more about JD, check out his website http://jdstanley.com/.

~STAY TUNED NEXT WEEK~

I’m goin’ back to The Boys. Yup. THE Boys.

It’s time to talk about what makes–and breaks–a hero.

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