It’s been a joy to read indie authors on my podcast Story Cuppings these past few weeks. The tasting began with Jason Savin, who reached out to me about his book Beyond the Elven Gate: A trilogy of works. Not only was it a joy to read his book, but it was a treat to interview Jason as well! My friends, it is an honor to introduce you to Jason Savin!
Thank you so much for taking time to chat here, Jason! Let’s start with your journey through literature. What is your favorite childhood book?
I only began reading Wind in the Willows and Peter Pan about 20 years ago, when I was in my early 30s, and really loved them. But from my own childhood I loved The Folk of the Faraway Tree by Enid Blyton. Those exciting tales of Moonface and his friends really transformed my dull childhood into a world where excitement could be found.
Ah, I didn’t read those classics as a child, either. Oddly enough I didn’t read as much fantasy in my child as I do now; back then it was all Nancy Drew, lol. I don’t recall any deep emotional connection to the characters–I just enjoyed a fun mystery! Did you ever feel yourself overwhelmed with emotion while reading?
It may have been To Kill a Mockingbird. The court scene was so unjust, knowing that an innocent man was going to jail for such a vicious crime that he clearly hadn’t committed. It is still a very powerful book today.
Indeed, Jason, it really is! I’m sure many other readers would agree with you, too. Is there a story you love that you feel is under-appreciated today?
Many years ago, I bought a book called Period Piece written by Gwen Raverat, who was a grand-daughter of Charles Darwin. It’s not really a novel, as it’s autobiographical, but it takes the reader to a different world of long ago. It’s filled with little artistic sketches drawn by Gwen herself and it is so beautifully written. I own almost a thousand books and this is one of my favourites.
Have you ever gotten reader’s block?
I regularly get this, when I’m reading a passage and my mind begins to wander. I then have to re-read sometimes a few times before I can get through the ‘block’ to find out what is actually happening in the story.
I’ve had that same experience! It usually happens when I have to read something about teaching philosophies….or when I’m reading final exams, but that should be a given. 🙂 What was an early experience where you learned that language had power?
I really don’t remember the first time, but I am acutely aware of many incidents when people have tried to vocally put me down. It’s probably because I’m quite quiet so I can sometimes appear to be an easy victim. And I have verbally ripped those people apart. Not noisily, just in a more intellectual way than they are prepared for, and anything that they say back to me, I can turn those words on their head and use it like a weapon against them. I sometimes find it a little annoying how much enjoyment I get when this happens. But I really can’t stand bullies.
You and me both, my friend. You and me both. I think that’s why I love words so much: Words Have Power. They have the power to amuse, to intrigue, to seduce, to inform, to enrage, to inspire, to…well, to do anything. I know my own spirit is always lifted whenever I have the chance to write. Does writing energize or exhaust you?
Mostly energize. Hours can pass very quickly when I’m writing. And when I’m finished, it is usually only because of some pressing chore that needs doing, and I feel a little peeved that I can’t continue with my creativity.
I feel that way every time I have to focus on school work than writing!Such time is so very precious; in fact, I’d have to say that one of the toughest pieces of my writing life is finding time to write. What would you say is the most difficult part of your own artistic process?
That’s an easy question. The most difficult part is trying to find the time to write, too. It is hard to empty your mind to fully concentrate on writing knowing that you’ve got housework to do, or a needy dog that needs some love and attention.
Let’s ignore that housework just a bit longer and discuss your book. Beyond the Elven Gate: A Trilogy of Works includes a history of the Elven race that you researched from “historical records.” I love the variety of sources you used to create this history–from burial records to newspapers and everything in between. What first spurred you to start this project, and how do you shift yourself from the researching process to the writing process? I know my research can overwhelm my own creativity, to be sure!
Thank you for that. That particular piece called A Treatise on the Evolution of the Fairy began when I was writing another book, called Kings of Munster. (I’m still writing this other book and have been working on it for over 10 years now). But this history of the Elven race was basically a lot of information that I had found whilst researching my other book. I was fascinated by what I was reading and thought that many other people might also be interested, so I tried to write the information in date order to see what this evolution of the fairy race would look like. I was quite astounded by my findings.
It was quite easy to shift from researching to writing, as I was keep trying to write whilst I was researching. Until finally I was doing mostly writing, and only researching the odd fact or detail. But I had to consciously stop researching really, as it is a subject that I could easily have spent years working on and would never get my Kings of Munster finished.
One tale in Beyond the Elven Gate is about a mother’s search for her adopted son at the time when the Fairy-Mounds are open. What’s the most difficult thing about writing characters from the opposite sex?
I began writing this tale, as normal, until I realised that I was writing from a Mother’s perspective. I tried to change it, but quickly realised that this was the voice that the story needed. Obviously writing characters from the opposite sex in some ways will always be impossible, because most people only live their life as one sex, but as I trained as an actor and have inhabited many different characters over the years, who are all very different to myself, some of them even being women, I find that I can somehow morph into different people when I’m writing. Whether or not I’m any good at it I really don’t know; I’ll leave that to the reader to decide.
Let’s wrap up looking at another talein Beyond the Elven Gate. “Good People” takes readers on a journey with an elderly gentleman as he deals with challenges put to him by the Good People. Such a variety of characters and character types in a single volume is so delightful for the reader! Do you feel yourself drawn to write a certain aged character? What process do you have to help you enter that older–or younger–mindset in order to make the language and mannerisms remain true?
When I was writing this character of Wilfred, I partly based him upon my own Grandad, who I was very close to. Due to this closeness, I was naturally drawn to writing this elderly character this way, probably in a bid to bring him back alive, in the only way that I can. To enter into the mindset of these different characters I tend to use an acting technique called ‘the Magic If’. Which is basically if I was that character how would I feel, how would I think, how would I react. This helps me to try to become that person whom I’m writing about.
Thank you so much, Jean, for asking me such thought provoking questions. It has been a joy to answer them.
And many thanks to you, Jason, for taking time to chat with us! I’ll be watching for Kings of Munster to appear at my virtual bookshop. If you, my friends, haven’t had a chance to hear a sample of Beyond the Elven Gate, you can listen to my podcast episode on Story Cuppings.
October is coming! We simply must get a bit spooky. I’m keen to share the roads diverging on that “Blue House Doll” snippet I shared with you in my last post. Perhaps we’ll uncover some music to inspire a fright, or perhaps visit a beloved tale from my childhood. Or shall we wander Wisconsin to find a haunted home both beautiful and lonely? Let us see. x
A landscape of danger and mystery, perhaps. A relic with power to change the world dropped in the rain while fleeing the enemy. A duel of ambitions, weapons poised to take life and light of all.
You see a brittle world, crushed and smoldering. You know how to save it.
We don’t always begin with the conflict or the setting. Sometimes, we begin with an identity, one which turns the wheels of the plot in ways we are not yet sure, but we know the workings are hidden there, beneath the face of this person.
“It gives me great pleasure, a good name. I always in writing start with a name. Give me a name and it produces a story, not the other way about normally.”
Now I’m sure this method worked wonderfully for Mr. Tolkien, as I believe he’s gotten himself published a few times. However, we other creatives just do not always have a name to go with and find ourselves going “the other way about” quite a bit. Let’s explore a few of those situations together.
When a key scene and its conflict are etched in my mind, the character names are but one detail in a sea of details–not to be fussed about until the rest of the moment is captured. That was my approach in “The Hungry Mother” (free to read in Mobius: The Journal of Social Change!) where I could see the con artist and the mark engage in a rundown park, but not hear their names. So, my first draft had nothing but alphabet letters for character names to keep them straight. Only after that first draft was completed did I consider the backgrounds of the characters and setting to discover Puritan-style names for the homely, rural Remembrace and her daughter, Tace. But what of my network marketing hustler? Social media loves to dub such people “Karens,” so there was that name…eh, too on the nose. So I looked back into my own memories of bullies and deceives to uncover the name of a girl who was a real jerk during our school days: Nicole.
The woman turns away from the old man and locks eyes with Nicole. For a moment, Nicole is a freshman on the bus all over again, snickering at the pathetic group of Old Sancs boarding to attend school at New Sanctuary thirteen miles away, and none was more pathetic than the hunched creature in patched rags named Remembrance Priest. That was the creature Nicole pictured when she messaged that name and a hundred others about Suzy Ray! and its wonders. That was the creature Nicole pictured when agreeing to meet in this town forgotten among the fields of corn and cow shit.
“Oh, my, gosh,” Nicole says. Normally she must count to three between each word so she sounds as wondrously pleased as possible, but Remembrance’s total lack of hunchback makes the greeting almost genuine. “Look at you, Mem! Has it really been ten years?” And a part of Nicole wriggles at how ten years has affected Mem. Her skin is smoother, firmer. Her braid of thick hair looks strong enough for a rope swing. Was Mem always this tall?Did another Ray of Sunshine beat me here?
Mem waves like the homecoming queen she never was. “Hiii!” She says and embraces Nicole so tightly Nicole almost spills her drink. Mem’s lips press through Nicole’s dark curly hair and onto her Suzy Ray! sunshine studs. “Sooo good to see you, Nicole. You look sooo pretty.”
Ten years clearly hadn’t taken the sliding whine out of her voice.
When the conflict shines so clearly before us, we must capture every line, every movement, as quickly as we can before that light dims. It is all too easy to allow our exploration of names get in the way of storytelling, so using the simplest identifier possible will keep characters straight until their true identities come to you.
I’ll be the first to admit I got lost in names for myFallen Princebornnovels. Nearly all the names went through multiple changes as I researched history and better understood my velidevour world. Only Charlotte’s name remain unchanged, for it was a choice close to my maternal heart. Bo and I had been considering the name for our daughter-to-be, but in the end we gave Blondie a different name and Charlotte remained bodiless, name of strength, fluidity, tenacity, beauty and…I just had to put that identity, that soul, to use. The different versions of “Charlotte” also allowed the girl to make her name a boundary in and of itself, which helped those around her–and readers–see when she had finally accepted the friendship and trust of another.
“Come now, Charlie, don’t leave.” Liam’s fingertips graze her hand.
“Don’t call me Charlie.” That’s for family. You are not my family.
“Cate’s the luckiest princeborn ever, having a brother like you,” Charlotte lets the thought out, surprising herself a little, but sorry for the slip? Nah.
Dorjan blushes. “Well then, here.” He pulls an extremely fast hat trick of hair tug, ear flick, nose tweak. “Consider yourself an Honorary Durant.”
And now Charlotte can’t help but hug them both, these two who were willing to fight alongside her before they had known her a single day. “Call me Charlie.”
The House of Artair holds many Gaelic names. I wanted this family to be rooted to the Isles, intelligent and fierce. “Artair” is a version of Artur, which is Gaelic for “Noble Bear.” Considering the vicious head of the House, Bearnard (“strong as a bear”), transforms into a bear, this was a perfect fit. Liam’s name was a tricky one; it needed to carry the weight of his parents’ aspirations as well as the truth of his inner spirit. Plus, as a writer, I wanted the name to carry a timeless feel to it. Discovering Liam means “resolute protector” was nothing short of a miracle. Liam’s parents are determined to see him lead all velidevour into a new age of dominance; Liam desires to protect Charlotte and those who have come to support him and fight alongside him. And it’s a timeless name. 🙂
Granted, we sometimes allow ourselves a name purely because it sounds cool. Disraeli is the name of a Celestine, offspring of stars and magic. Why did I pick the name Disraeli? Because I saw it in a magazine and thought, That’s a really cool name. It was originally the name I intended for Arlen, but when I realized the need for the princeborn names to carry meaning and history, I knew I had to change that name. Still, I had to find someone to hold that name, and a creature of the stars just happened to fly by…
The world can help us discover character names, too. As I worked out the history of River Vine and the velidevour trapped there, I could see the natural setting would mean everything to them. They were souls who used animal and human bodies to hunt their prey as dictated by wicked The Lady of the Pits. Nature above ground would be their peace, their refuge. This led to me using plant names for many of them, such as Nettle, Poppy, and Campion. Does your own story-world have ties to nature, the elements, or some other unique feature in the setting?
Or perhaps the very world in which you write must change. This happened to me a ways back with Middler’s Pride. The first version of the story was a co-collaboration of sorts with fantasy author Michael Dellert, but as our goals with the character changed, he continued on his world’s story arc and I continued on with the character. This meant renaming recreating the Shield Maidens’ world and practically everyone in it, starting with the protagonist Gwen.
Now here I had to keep in mind that I was not just renaming a protagonist, but a character within a group of protagonists. This meant I did not want the characters’ names to sound alike, have the same cadence, start with the same letter, etc. Now that may sound silly–why should those impact the name if the name MEANS something amazing?–but this is an important strategy for the readers’ sake. How on earth will readers keep a group of protagonists straight if their names blend together or are easily mistaken?
So I first had to look at my own Shield Maidens whose names did not need to change: Wynne, Tegan, and Ellylw. I had chosen all these Welsh names loving how the names bounced so dramatically between simple and complex. Each starts with a unique sound and phonetically differs enough that one shouldn’t confuse them when reading aloud. But they were also all rather short, so Gwen’s new name could not be that simple. Oh, it could have the potential for a nickname–Ellylw becomes “Elle” pretty quickly–but it still needed to be longer than a couple syllables. So, I focused my search on longer Welsh names, and came across Meredydd, “Protector of the sea.” Considering Middler’s Pride is the tale of Meredydd and the other Shield Maidens rescuing the River Goddess from a cursed beast, this name felt right.
Mer watched the sunlight caress the blade. She heard footsteps, and knew the others had pulled in around her to form a half-circle. Hauling lumber would surely take them until dawn, but by dawn she’ll have this worthless batch of—
“Wynne, stand here. Tegan, right? How’s your balance?”
“Hey, what?” That circus freak, walking about like she was next in command. The bloody nerve. “You heard the captain. The best way to get that dagger down will be a ramp, and that’s going to take lumber. All we need is an axe and—”
“No we don’t.”
And I’M the upstart? “Captain Vala said—“
“She said to get the dagger.” The circus freak pressed down on each of Wynne’s shoulders. The pretty face winced, but didn’t complain. “We don’t need lumber. Just a couple good backs. Wynne, I think you can do it.”
She shriveled at the compliment. “I-I’m afraid I’m not as strong as you. I don’t want anyone getting hurt.”
“All the more reason to train up,” Meredydd tugged her arm towards the gate. Ye gods, it was soft as dough. This girl wasn’t lying. “You can’t be a Shield Maiden without power in your limbs.”
“And she’ll get there.” The circus freak grabbed Wynne’s other arm. “But not because you make her do something stupid.”
If Mer could just get Wynne behind her and away from this twit—“Would the king bestow a weapon upon an idiot?”
The circus freak’s scar across her gross face went all squiggly. “Sure, if he’s desperate.”
Wynne yowled. Tegan’s fists tightened around her hips and she screamed:
“STOP YOU’RE RIPPING WYNNE’S ARMS OFF!”
Three loud THUDS and the girls fell in a heap against the gate. Tegan coughed, shook, and ended up plopping down herself. “Look, this”—she waved at the three of them—“is stupid. Mer, you want to follow orders the idiot way? Fine. I’ll go with you. Wynne, you want to work with…”
“Sounds like a pig call.” Mer ignored Tegan’s glare. It seemed to keep her magick at bay, for one thing. And for another, the circus freak’s name did sound like a stupid pig call.
Wynne fixed her hair. Gods help her when a twig undoes her braids. “I think it’s pretty.”
The circus freak rolled her eyes as she finished catching her breath. “Just call me Elle, it’s easier.”
We are blessed to live in a world of countless tongues and histories. A single name can be the seed to a hundred variations, each unique with potential for an identity across the oceans. Whether you begin with that seed or uncover it as you dig through a story-world’s soil, be mindful of that name’s beginnings, the culture in which it is rooted. Nurture that name with the respect it deserves, and you will find a character as strong and perfect as the imaginary world you cultivate.
Welcome back, my fellow creatives! As my children’s school year comes to an end–and my students bombard me with finals to grade–the online celebration of fantasy fiction continues with Wyrd and Wonder.
This month’s interview is unique. Rather than interviewing an indie author, I have interviewed an indie publisher. My friends, welcome to the world of Wyldblood Press!
Let’s start with the niceties. Introduce yourself, please!
I’m Mark Bilsborough, publisher and main editor at Wyldblood Press. We publish short and long fiction on our website, in our bi-monthly speculative fiction magazine and novels. We publish digitally and in print.
Before we dive into the Wyldblood, let’s first here about your journey as a reader. What authors did you dislike at first but grew into?
Tough question. I can think of a few I liked when I was younger but dislike now – Tolkein, for instance (and I know this might sound sacrilegious). I loved Lord of the Rings when I was twelve but when I tried to reread it a few years ago I found myself bogged by the meandering narrative, irritated by the burst into song and puzzled by the lack of female characters. Plus I hold him responsible for the glut of high fantasy names and by-the-numbers epic fantasy plotlines that make many doorstop-sized fantasy books so inaccessible. But without Tolkein would we have had Game of Thrones? So I’m still in awe of his influence and legacy even though I won’t be digging into The Silmarillion any time soon.
Tolkein aside, I’ve grown into fantasy more generally and I can appreciate the flexibility of the form more now. And I like poetry now. I’d always hated it (thanks, education, for making me read it), but Simon Armitage, Carol Anne Duffy, Seamus Heaney, Percy Shelley and John Keats (and a whole bunch of others) are definitely on my reading list now.
I took a while to come around to Becky Chambers and Emily St John Mandell but I’m glad I did.
What inspired you to found Wyldblood Press? Did you see something unethical in the publishing industry that you felt could be righted with Wyldblood?
I launched Wyldblood Press deep in lockdown last year. I’d just self-published a collection of my own short stories through Amazon’s Kindle Direct Publishing service and I thought “well, that was easy!” I then thought, “wouldn’t it be better to publish through an imprint?” So I set up Wyldblood and invited submissions.
But then I thought (and this is where the ethics come in) that it would be wrong to publish my own stories if I’m publishing other people – why should I get a free pass to publication when other people have to go through a rigorous and competitive selection process? So I send my own stories to other places and keep my fingers crossed.
I’m not new to editing though: I used to run a sword and sorcery fanzine called ‘Crom’ and for many years I’ve been producing journals for British Mensa – first on creative writing and latterly on speculative fiction.
Sounds like experience abounds in your writing life! Does writing energize or exhaust you?
TRUTH. I love to write, but finding time to do so is an eternal battle. What is the most difficult part of your artistic process?
Planting my behind on the seat. I’m easily distracted – I guess most writers are – so firm discipline is important. And it would help if Twitter could close down for a few house every day too.
In writing short fiction, you have to hook readers to care about characters, ground them in your story’s setting, and leave them pondering about your story’s end all within a few hundred to a thousand words. Can you walk us through the process of crafting your fiction’s pacing and language to accomplish so much so quickly?
I’ve got a big whiteboard and a multicolored clutch of marker pens. I then plan it out in big, sweeping curves making sure the story beats are all there and in the right place. Seeing the whole thing visually makes it easier to see whether the story is paced well – this works better for novels, because there’s more to think about – but it works for short fiction too.
Language is important. With flash fiction there’s no meat on the bones and every word must count. So draft revise, draft, revise, draft, revise is my advice, always asking ‘does the story need me to say that, in that way?
Many writers, and not just beginning writers, fall in love with their own words (I know I do) and sometimes it’s hard to cut out those perfect metaphors – but it’s not about the author – it’s about the story.
Oh, I fall in love with my own words far, far too often, lol. What would you say are common traps for aspiring writers?
Thinking they know how to write when they don’t. Thinking it’s easy to get published. Thinking their great original idea hasn’t been seen before, many times. Thinking they don’t need to get critiqued and seek out the opinions of others. Feeling down when they get rejected (we all get rejected – dust off and resubmit!).
How did publishing your first story change your process of writing?
My first published story was a competition win in a UK print magazine: Writing Magazine. They paid me a nice professional fee and all my friends and family could pick it up in their local supermarket. I thought “hey, this is easy.” How wrong I was! I think I learned more from the subsequent rejections, kind editor comments and networking.. The competition win gave me confidence and probably an impetus to push my writing – but the process? Trial and error, and a willingness to take and work on feedback.
How long on average does it take you to write a short story? I’d love to hear more about your process, as I’m always working on that balance of writing, teaching, and parenting.
I’m pretty quick and I tend to write my first drafts in long sprints. I learned that on Odyssey, where we had to produce a new short story every week. We had a 6,000 word upper limit and I always like to get my money’s worth. I’m also a deadline-chaser – if you give me months to do something I’ll start writing a day before it’s due and deliver it at five to midnight. So I had to write fast.
I write best late at night after everyone’s gone to bed. But that’s just me.
Redrafting (and you have to redraft) takes longer and I set time aside for that. I’ll usually show the first draft around other writers for feedback then, if I agree, I might make some changes. Then I do a proofing edit. Sometimes that’s enough, but more often than not it’s rinse and repeat.
Marketing is often the bane of many indie authors. Do you have any tips on marketing and/or platform building that you’ve found effective with your own writing or publications?
Get social. Twitter etc don’t come naturally to me but they’re really important. Network. Go to places (real or virtual). Be seen. Be noisy (put pleasant). Build a website, a brand, a reputation. Sell to places. Network. And advertise there’s a way to do this profitably – but it takes patience, perseverance and a steep learning curve).
The most important thing, though is clarity. Knowing what the objective is (sales? Profit? Exposure?) then being clear about the methods and the message.
The werewolf anthology was pretty much unplanned. We emphasised wolves in our early marketing and branding because Wyldblood seemed to suggest wolves. And so, without specifically asking, people were sending a lot of werewolf stories our way. So many, that we had enough good ones for an anthology. So we did one.
It’s obvious in hindsight that calling our press Wyldblood and using a wolf head as a logo would have that effect. But at the time all I thought was that my grandfather’s middle name – Wydblood – would make a great name for a publisher.
Your announcement for your werewolf anthology Call of the Wyld got me thinking of those iconic pieces of folklore that haunt us through the centuries. One of my favorite fantasy authors, Diana Wynne Jones, had this to say about writing:
If you take myth and folklore, and these things that speak in symbols, they can be interpreted in so many ways that although the actual image is clear enough, the interpretation is infinitely blurred, a sort of enormous rainbow of every possible colour you can imagine.
I’d love to hear your thoughts about this quote.
Great quote. Most folklore is metaphor and speaks to our hopes and (usually) our fears. Werewolves – loss of control, release into savagery. Vampires – identity crisis (coming of age, embracing sexuality, the lure of danger). Fairy tales are usually about innocence lost (Hansel and Gretel. The Pied Piper. Pinocchio). Myths and legends are about making sense of a confusing world (thunder and lightning? Must be the gods fighting). The myths shift and adapt because we shift and adapt – we don’t (I hope) believe in the thunder god now but we’re happy to buy into the Marvel reimaging of, say, Thor. The image still speaks of power, and of beings more might than us, of hard choices and titanic struggles.
And Vampires have come a long way since Bram Stoker (and before – vampire folklore stretches back through time). Today’s vampires have their affliction under control and are presented as attractive love interests (Twilight, The Vampire Diaries), or are footsolders in the war against the Lycan (Twilight). Or are substitute zombies, laying waste to humanity (The Passage). But in all iterations they represent a dark and sensuous alternative to the mundanity of our own lives. They’re attractive immortal, seductive – our forbidden fruit. Just one sip…
Are there particular authors you friends with, or authors that have inspired you to become a better writer?
I’m in a writer’s group with Jaine Fenn, who’s been published many times by Gollancz and Angry Robot, and I hang out from time to time with Tiffani Angus (who’s just been shortlisted for the British Science Fiction Award for best novel – Threading the Labyrinth) and Jacey Bedford, who’s probably lost count of the number of her books DAW has published. Vaughan Stanger’s a good friend (and one of our first readers) and dozens of his short stories have appeared seemingly everywhere, often multiple times.
I’m part of the Milford Writer’s network – a loose collection of writers who have attended the annual Milford writing workshop in Wales. That’s a networking and critiquing group – that keeps me sane and grounded. They push me, gently point out my writing’s flaws and praise its good points.
I came across a lot of famous ‘name’ writers both on my Creative Writing Master’s course and Jeanne Cavelos’ excellent Odyssey writing workshop. I tried to learn from them all. My biggest early influence, though, was Hugo-winner Kij Johnson. I went on one of her novel writing workshops at the University of Kansas and she was inspiring, guiding with enthusiasm, openness and insight. She’s also one of the best writers I’ve ever come across.
Have you ever gotten reader’s block?
Yes – usually when I have to read something. As an English major at University endless great works were required reading – in my defence I read some of them, but I kept being distracted by all the great science fiction books in the library.
I also get intimidated by our massive submissions pile. I love seeing great stories, but sometimes I don’t have the head space (or time) to work through them. Thank God for first readers (I’d be lost without them).
I review books for an SF newssite ( www.concatenation.org ) and I get real reader’s block if I come across something I can’t get into. The normal way round that would be to read something else but if I’m reviewing I feel obliged to finish – and that can block me for weeks.
I get writer’s block too – I have it now. I’m putting off edits for some short fiction because I hate the redrafting process. The first draft is a massive creativity burst but after that the process becomes more mundane and I worry that it sucks the joy out. But I have a deadline and deadlines are a great motivator.
A massive submissions pile sounds like writers love submitting for Wyldblood! You published the first edition of Wyldblood Magazine this past January—congratulations! Are you currently accepting submissions? What does it take for a piece of writing to be featured in your magazine?
We’re usually open in some submission category or other so it’s always worth checking out the website. At the moment (mid April) we’re open for flash fiction (we publish a story once a week on the website and we’re always hungry for material), open for novel pitches (synopsis and first 10,000 words) and open for steampunk stories (up to 10,000 words for an upcoming anthology: Runs like Clockwork. We’ll reopen for short stories on July 14th.
To get published means beating off some very fine competition. The stories we take have strong, clear narratives, are cleverly written and have engaging characters. It goes without saying they need to have got the basics right – structure, theme, conflict, resolution – and give us confidence in the author’s writing ability (there are only so many comma splices I can overlook).
Thank you so much for your time and tips, Mark! I look forward to seeing the new worlds gathered for Runs like Clockwork. Folks, I hope you check out Wyldblood Press soon…and perhaps my new podcast when you have a few quiet minutes, hint hint. 🙂
I think we’re about ready to talk about names…or the power of familial storytelling. One of these University projects will come up, to be sure, lol. I’ll continue reading fantasy fiction for my podcast, and Blondie is working on ANOTHER story to share with you! Be still, my writing heart! xxxxxxx
A good morrow to you, my fellow creatives! The cold clouds of April blanket my Wisconsin skies these days. The world is a palette of tans and browns, the wee specks of new green, new life, just barely peeking.
There is, however, always new life to be found in our words. I’m excited to share an indie author who has planted a number of stories across multiple publications. My friends, please welcome Rob D. Scott!
Let’s work through the niceties first. Tell us a bit about yourself, please!
I live in Edinburgh and work in a community college. I only started creative writing three years ago, which is crazy. I should have started years ago. That’s life.
It was winter and a period of really awful weather. I started writing a novel for something to do and out of curiosity. I enjoyed it, so kept going. I read books about writing, did a short on-line course, and started submitting short stories to on-line magazines and competitions while I worked on my first novel (which is now hiding in a cupboard). I’ve started a second one, which will hopefully turn out much better.
I find a lot of writing inspiration in the rural landscape of my state, Wisconsin. How would you say the urban setting of Edinburgh—or the countryside of Scotland—inspire your storytelling?
Edinburgh is a beautiful, amazing city and so many writers have used it. I haven’t that much yet. The countryside is more likely to find their way into my stories.
I usually start a new piece of writing using a memory (recent or distant) of a place or moment; that might be in the city or countryside. I write it almost as a factual description and the story develops from there. Stephen King in his book ‘On Writing’ talks about fossils that writers dig up and that’s what I feel I do. Once I find the right fossil, it soon turns into fiction; (to mix my metaphors) it’s like a paper ship floating down a stream. I just go with it and see where it goes. I might have an idea where it’ll end up, but not always.
What literary pilgrimages have you gone on?
When I was twenty-one, I went for a job interview in a town at the other end of the country just so I could visit the Thomas Hardy museum there. That’s not very ethical – especially as they paid for my travel and a hotel! I was first in the museum in my horrible new interview suit and I lingered there too long and was late for the interview. I didn’t get the job, but the museum was great and the countryside from the train ride was amazing. I had forgotten all about that. I should write that up as a story!
Someday, I’ll visit the USA and go to lots of writers’ houses and museums. Carson McCullers is a big favourite, so I would maybe head down there first.
As you should! 🙂 Nothing saps my creativity like a telephone call from my children’s school principal. What is your writing Kryptonite, and how do you overcome it?
I really have no excuses not to produce thousands of words every day. I work but I have free time; especially in lockdown. I am amazed how people with busy lives and family responsibilities (like yourself) manage to write.
Although I don’t think I could live without it now, writing is not the top of my priorities. Work, other people, a day in the countryside, a trip to the cinema, etc make me put down my pen. Life comes first, writing second.
Have you read anything that made you think differently about fiction?
I just absolutely love this Ray Bradbury quote:
“Love. Fall in love and stay in love. Write only what you love, and love what you write. The key word is love. You have to get up in the morning and write something you love, something to live for.”
As an amateur/beginner writer, this makes a lot of sense, and is great advice – I guess for successful authors as well. We’re all different – so just do your thing. Give it your best shot. Try to find something that’s meaningful to you in some way to keep yourself going through the trickier times.
Your encouragement here reminds me of the theme of hope I see in your flash fiction “Goodbye, Frenetikov.” The beautiful level of detail in the beginning uniquely balances with the uncertainty felt in the end. Do you find yourself drawn to themes uplifting to readers, or do you take readers into the darker feeling as well?
Thank you for your comments. I wrote a few very sad stories during lockdown. I think I’m out of that, now. In fact, I’ve just started writing a longer piece, and before I started, I decided that it should be something with a very positive theme. If I am going to spend the next few months on it, given what’s happening in the world right now, I feel that’s where I would like to spend my writing time.
In writing short fiction, you have to hook readers to care about characters, ground them in your story’s setting, and leave them pondering about your story’s end all within a few hundred to a thousand words. (“You Die If You Worry” comes to mind.) Can you walk us through the process of crafting your fiction’s pacing and language to accomplish so much so quickly?
I am very much learning the craft and that there are many different ways to produce a successful short story. The word-length requirements (e.g. 300, 500, 750, 1000, 1500, 2000) can influence the plan. I usually write the story to its best, natural length and worry about where to submit to later.
If I pick up a collection of published short stories, what strikes me is the quality of each line, the language. So that is the number one goal for me; the quality of each sentence, the appeal and magic of the jumble of words. For the structure, I really only think in terms of a beginning, middle and ending. You get in the car, start it up, go for a drive and stop somewhere. Apart from that, there is so much variety in short fiction – anything goes. For example, you might have no dialogue or almost all dialogue in a story.
With very short fiction it can be frustrating not being able to fully flesh out character, setting etc, in the way a novel allows you to, but equally that provides much of the fun and challenge of the form – perhaps like poetry – to find evocative/resonant ways to hint at what’s missing, the spaces in between.
You are published in a wide variety of literary magazines and anthologies. Do you have any favorites you’d like to recommend?
The ones that accepted me are the best, of course!
HA! Sorry, go on. 🙂
There really is something for every taste out there. Much of my experience of the writing for the literary world has been for on-line magazines. The creativity and quality right across the board is very impressive.
I have to say Popshotmagazine is just a beautiful object, as well as the great writing. It’s a lovely paper magazine with poetry, fiction and illustrations. I was lucky to get in there once. They commissioned an illustrator to produce something to accompany my short story, which was just amazing – that someone would do that.
Thank you for the recommendation! I’ll have to check them out. What would you consider to be common traps for aspiring writers? I imagine there are a few when it comes to short fic submissions.
I had to learn a lot about the technical side of things – voice, point of view, plot and so on. I think it’s good to remember there is a lot to learn (I notice in your other interviews, writers say this, too).
In terms of submitting to litmags, not understanding at first why you get so many rejections can prove very disheartening. And it would be a great shame if beginner writers gave up because of that.
You learn that you have to know your audience and the market to give yourself a chance, so submitting to the right sort of magazines is important. That means reading the stories in the magazines to guess if yours might work for them, which is both enjoyable and a great way to learn from other writers’ work.
I must mention editors here because they really are the superheroes, along with their ‘readers’. They often do the job for love not money and are the people who choose your story. So be nice to them! And when you submit, follow all of their guidelines very carefully about format, word length and so on.
If you’re lucky they will help and even give a little advice. For some reason, I’ve found sci-fi editors to be especially supportive – or perhaps they’re just super-skilled at letting people down gently! I’ve been trying to ‘find a home’ for a couple of sci-fi stories since I started writing, with no luck. When I started, I kept a folder of ‘nice rejections’ to cheer myself up when the piles of rejections got too much.
I think one useful tip is that if there is a ‘themed call’ for an issue, you might have a better chance with that if you have a story to fit the theme.
As an indie author who is also having a go at lit mag submissions, I’d love to ask about your process in searching magazines and sending multiple pieces. Do you find yourself writing your stories first and then finding magazines that fit the story, or do you scope out the magazine themes first and then craft stories to fit them? I noticed you recently published in a “lockdown” themed anthology, for example.
Good luck with your submissions.
I usually write my story then look for a place to submit. The word length is a big decider on where to submit to, along with the house-style of the magazine.
Calls for submissions for a themed issue – with prompts such as ‘Road trip’, ‘First love’ or ‘Winter’ – can be a great way to get going on a story that you can end up submitting to more than one place or developing into something longer. The theme of the ‘Lockdown’ anthology I was published in fitted with something I was writing at the time and I spotted their call.
The submission pages are crucial. They describe the type of story they are looking for and often say ‘read some of our stories to get a feel of what we’re looking for’. That’s a must, but it’s also great to read the stories. You mentioned, Jean, that you’re inspired by the countryside – there are litmags that have a specific focus on that.
After three years of submitting, I have a much better idea of who might consider or accept a particular type of story.
Having said all of that, it is an amazing, random-feeling process, of being in the right place, at the right time, with a story that appeals to a particular editor, in terms of what they are looking for right then. Getting published anywhere – no matter how big or small – is an enormous thrill, but of course you set targets and have favourites you aim to get into.
Receiving acceptances are tremendously encouraging and validating. There really is nothing else like it. There’s more than a little ego and pride involved there, of course. But, it’s also reward for hard work and effort. And for not giving up.
Let’s wrap up with a little inspiration. Writing and reading can, to me, be a transformative experience. Do you view writing as a kind of spiritual practice?
Yes, in a way. It is certainly a deeply personal process, and also both reflective and instinctive. I often find it quite meditative, even therapeutic. It can be fulfilling and quite emotional at times – as you go through your imagined characters’ experiences. Although it’s a solitary activity you are very engaged with memories and thoughts of other people and the world.
Maybe it sounds corny, but I think words and the way they can be strung together really are magical. It expresses who we are.
Making the connection with a reader is very special too – even if you never meet them beyond a ‘like’ on Twitter or Facebook, or a purchased magazine. The thought that people read your work and find something interesting, rewarding, enjoyable makes the whole process more of a communal, shared activity. It must be great to have people buy your book because they know your work and love your characters. That’s something to aim for in future, for me.
A beautiful encouragement we all should aspire to, Rob. Thank you so much for sharing your time and thoughts here!
I’m super stoked to share an interview from a new SFF publisher as well some amazing music to inspire the epic adventurer within you. There’s also a side project of mine in the works that is so close to “publication”…
Every semester I encourage my newest group of students to read for fun to improve their writing skills, but then here I am, not getting much reading in. Oh, I’d just tell myself the excuse that if I commit to a book, I want to get something out of it as a reader and a writer, and how am I to know what book will give me that? I’ll just watch what my favorite book bloggers recommend and just go from there.
But that doesn’t force me to commit to reading, and that’s just not cool. Sure, time has always been that elusive treasure in this life as a mother, teacher, and writer. That’s not an excuse, though. Besides, there are plenty of other writers with jobs who don’t have much time to read and–
And so, I decided to start a podcast.
Please watch for updates in May while I get this wee podcast off the ground. x
I have just been…uffdah, it’s been a March. Nothing bad, thank heaven, but the plagiarism this term has been particularly ugly–students stealing from classmates, cheating with paraphrasing software, buying papers from paper mills, and so on. Some of my hunts for proof have been successful, some not. Either way, it’s extremely frustrating.
On the positive side, Biff has found a lot of joy in research writing! He spent weeks gathering facts and drawing pictures for his big research project. I may just have to recruit Biff to help me write titles from now on, as his title gathered quite a bit of attention from family and friends. 🙂
Blondie is still working on her own story involving wolves, foxes, and dragons–hopefully I can get her to type the first installment here, especially considering her laments of, “What can I do during Spring Break? I’ll be so boooored.” Welp, this would give her something to do, lol.
Bash has been doing so wonderfully at school, I could cry. Having the extra support from his IEP (Individual Education Plan) has made all the difference. His support teacher encourages his creativity while also helping him stabilize his reactions, and his teacher’s been extremely flexible while also keeping control in the classroom, which is HUGE.
So writing hasn’t happened much this month, but the blessings definitely outweigh the problems. x
I’m also thankful for each and every one of you, so it’s a joy when I can spread good news about your work. Antique Magic series author Juli D. Revezzo and I had another conversation about her goings on and latest work, and now I can share our conversation with you. Welcome back, Juli!
Thank you. Glad to be here.
We last spoke in October 2019 about your work with historical romance and other magical stories. I see you’ve been continuing two different series with publications in 2020. Before we hear about the books themselves, can you first share your process on how you the character arcs and plots straight for such different story-worlds?
Notes! Tons of notes. I keep most of them in old fashioned spiral bound notebooks, and supplement that with word doc files, when the spiral bounds get too unruly. (I do. I have boxes and cabinets full, if you don’t believe me!)
Luckily, in my Antique Magic series, I kept that to one pov throughout the series, the arcs many revolved around her relationships with the minor characters.
Okay, NOW tell us about your latest work.
The latest, well, since we last spoke, I finished off my other series, the paranormal romance series: Stewards War, so it’s completing Stacy’s war against the evil god Balor. If you haven’t read that one, she owns a sacred battleground for an ongoing battle between the mythical Tuatha dé Danann and Balor. The book we talked about in October, Bitter Thorn Tribe, saw her digesting everything that happened in the previous book, Keeper of the Grove and dealing with an unexpected magical threat, while my soon-to-be-released novel Druid Defiance, sees her making a major parlay against Balor. It will wrap up the series, so I can’t say more than that without spoilers. 😉
Sometimes we need to visit a place, be it the setting of a story or a home of a favorite author, in order to be inspired. What literary pilgrimages have you gone on?
I’ve visited Fort Pickens (which is a feature in my Antique Magic series) and the mountains in Druid Warrior’s Heart and those in …well, the forthcoming last book in Stewards War series (Druid Defiance) are inspired by the mountains of North Carolina, which I’ve visited several times.
Your stories cross multiple centuries, so it’s understandable that names are going to change depending on the time period, culture, and so on. How do you select the names of your characters?
The Stewards War series, I assume you mean. The heroes keep their same names across the centuries, in order to keep from confusing everyone. They…ha. Funny story, but when I wrote the first book, I had no intention of turning it into a series, so I picked names that sounded old and either came from history, or mythology. Thinking the modern sounding ones would be good enough. But they branched out, so the main ones (Stacy, Aaron, Erika, Jim and Isaac) needed more friends and family so I had to do some mythology dives.
(For instance: Dylen, Lugh, and Brighid all came from Celtic mythology. Éle is a faery queen name; Caírech, Fintan, Dermot, and Gwenevieve are Irish names, Maedus is named for a son of a legendary Iberian prince; Aaron and Isaac, and Ruth well, their names are Biblical, of course. Lilly comes from… just flowers and Diarrt is a spin on dart, because what were good names 7,000 or 8,000 years ago when those characters lived? Who knows? I only wish I’d given Aaron and Isaac better—more Irish—names. 🙂 )
In Antique Magic, their names were contemporary, so they were much easier to choose!
I’m always on the lookout for good books on the writing craft. Do you have any recommendations?
Oooo, thanks for the recommendations! I’ll have to check those out. Now when I look back, I see you published your first story in a compilation in 2011. How did publishing your first story change your process of writing?
From what I remember, (2011 was an eon ago!) it didn’t? I just had to have the story finished and out by a deadline so I had to write it fast. Since then, I’ve plotted more than I was doing back then; I’ve become more of a plotser, (plantser?) than a true pantser, but I still usually pants my way through the initial ideas of stories. Usually only the first half of the notes, now, to be honest.
From 2011 onward, you have been constantly putting out awesome stories! I’m lucky if I can get one thing published per year. How do you maintain a strong brainstorm-to-publication routine for yourself so that readers can count on new work from you every year?
Aw, thank you for your kind words, Jean Lee. As you say, I’m constantly working on something. While we’re talking, here, about three different books—two recently released and one in pre-order—I’ve got one manuscript finished that I need to do a first read and edit on, and one I’m not quite that far into (*ducks*), and I’m making notes for beginning another—and I have one that I need to get printed out to revamp. Yes, all at once. I work a little bit on this one one day, a little on that one the next. One might be half done at 40k words while one’s only 2k words; and one might be half-edited. *shrugs* It’s just the way I’ve always done things. Ideas I can’t get to right away, I just scribble them down in notebooks to come back to.
Your years of writing have seen a lot of change to the digital market and concept of “author platform.” Can you share a few lessons you’ve learned about marketing your books?
OMG, how much time do you have??
You can’t not do it, so just get to it. But I differ in one thing that everyone else says is a must. Yakking about your unpublished books online. Waste of time. Why do I say that? Why, I was blogging about the books I was sending out to publishers way back, starting in 2000 (that site’s since crashed and lost, alas), and in 2010, I still didn’t have a book out. And I had a professional fellow say to me. “Why aren’t you blogging it?”
Dude, I had been for years at that point! Total waste of my time. Your mileage may vary, but that was my experience and proof that building a platform years before you have a published product to sell was a waste. All the time I spent blogging and coding and recoding, I could have spent writing.
Lesson two: The minute you think you have something figured out, it changes.
Don’t believe that Facebook and Amazon and the all-important newsletter list providers will be around forever—they probably won’t. Tomorrow, they’ll be today’s Myspace. Just expect it.
Thanks so much for sharing your lovely insights, Juli! Let’s wrap up with something you’ve learned from experience. What would you consider to be common traps for aspiring writers?
Focusing on everything but their writing, and believing the first thing they finish is good. It’s not. Not spellchecking, not proofreading. Thinking that your market will never change. Believe me, it will.
And, conversely, another trap is not writing to market.
(???Do you have a headache yet? So do I!)
Just find the best fit for your story you can and send it out. And remember to keep learning. I remember someone saying (I can’t remember which writer I heard this from—Stephen King? Steinbeck? I forget which) but he said you’re never good enough. All you can do is keep writing, and keep improving on your last work, no matter what. But in the meantime, as Dean Wesley Smith says: do as good as you can, and send the book (or story) out, and write the next one, and do it again. 🙂
As Steward, Stacy travels to her ancestral home in Ireland to wed. When she is granted access to the family’s sacred site, her presence opens a magical portal that brings her into a new version of the world. Does this mean the gods approve and her wedding can move forward or will the evil Balor object and end the world once and for all?
If you’d like to check it out, it’s available at Amazon:
About Juli D. Revezzo
Juli D. Revezzo loves fantasy and Celtic mythology and writing stories with all kinds of fantastical elements. She is the author of the Antique Magic paranormal series and the Stewards Wars and Celtic Stewards Chronicles series, the historical romances, Camden Girls series, Vesta’s Clockwork Companions, House of Dark Envy, Watchmaker’s Heart, and Lady of the Tarot, and more. She is also a member of the Independent Author Network and the Magic Appreciation Tour.
A collection of book reviews by Patricia Skalka — A Chicago native, life-long reader and author of "Death Stalks Door County," "Death at Gills Rock," "Death in Cold Water," and "Death on a Ferry," the first four volumes in the Dave Cubiak Door County mystery series.